https://unscenesets.com Unscene Sets Mon, 26 Oct 2020 23:45:22 +0000 https://unscenesets.com en https://unscenesets.com/Main Tue, 22 Sep 2020 06:07:13 +0000 Unscene Sets https://unscenesets.com/Main &nbsp; &nbsp; &nbsp;&nbsp; https://unscenesets.com/Secondary-Page Tue, 22 Sep 2020 06:07:13 +0000 Unscene Sets https://unscenesets.com/Secondary-Page Unscene Sets is a look into the minds of some of Australia’s best and brightest set designers, decorators and curators working in Film and Television. Seldom does a brief elicit such unique and personal input. It was the first time the participating artists had been asked to create a set that reflected their personality and lifestyle. Working in collaboration with photographer Benny Capp, artists discussed light and colour prior to shooting, as Benny lit and directed them on the finished set. All sets were built and shot at All Time Studios during a period where many of the subjects were experiencing a drastic reduction in work due to the COVID-19 restrictions. Unscene Sets was created with the intention of showcasing the wealth of incredible talent in the Melbourne Film and Television arena. The brief: Decorate a 3x4m set and create a space you identify with and best represents who you are as artists. Created by Benny Capp. Benny is a Melbourne based advertising photographer, specialising in shooting people.bencapp.com Retouching by Elise Healy at Colour CartelColour Cartel is a retouching studio based in Sydney Australia, specialising in advertising, beauty and fashion. colourcartel.com.au <img width="2726" height="298" width_o="2726" height_o="298" data-src="https://freight.cargo.site/t/original/i/7580e63798e4278f990c1a599c119d0645f03600a3953f454563a218900c3a3e/Marty.png" data-mid="97432697" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/7580e63798e4278f990c1a599c119d0645f03600a3953f454563a218900c3a3e/Marty.png" /><img width="3075" height="239" width_o="3075" height_o="239" data-src="https://freight.cargo.site/t/original/i/6c96016df7c77231726bfa045e85becb3f19d3936003355805b264dd3c3012c4/Glenn.png" data-mid="97432695" border="0" data-scale="100" data-no-zoom src="https://freight.cargo.site/w/1000/i/6c96016df7c77231726bfa045e85becb3f19d3936003355805b264dd3c3012c4/Glenn.png" /> <img width="3113" height="235" width_o="3113" height_o="235" data-src="https://freight.cargo.site/t/original/i/df2792779f33025aea4fa91e6b63a77175a48e801f2dd12f10676c06d094471d/Callum.png" data-mid="97432692" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/df2792779f33025aea4fa91e6b63a77175a48e801f2dd12f10676c06d094471d/Callum.png" /> <img width="2922" height="284" width_o="2922" height_o="284" data-src="https://freight.cargo.site/t/original/i/0c8f43a8ee89de117c8755f6f7235ec1ae847c5b03ade7042c39215c95817175/Romy.png" data-mid="97432698" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/0c8f43a8ee89de117c8755f6f7235ec1ae847c5b03ade7042c39215c95817175/Romy.png" /> <img width="2664" height="310" width_o="2664" height_o="310" data-src="https://freight.cargo.site/t/original/i/e34e89729b96c24355010ad93ff537e991d7dcb22c56119747204efdbae2cf63/Carben.png" data-mid="97432693" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/e34e89729b96c24355010ad93ff537e991d7dcb22c56119747204efdbae2cf63/Carben.png" /> <img width="4671" height="239" width_o="4671" height_o="239" data-src="https://freight.cargo.site/t/original/i/a6f11621032001dc9c92cdb5a6005a3bcf34158bdf0ff6bee24c1c5ddadb1622/Establishment-copy.png" data-mid="100191247" border="0" src="https://freight.cargo.site/w/1000/i/a6f11621032001dc9c92cdb5a6005a3bcf34158bdf0ff6bee24c1c5ddadb1622/Establishment-copy.png" /> <img width="3737" height="240" width_o="3737" height_o="240" data-src="https://freight.cargo.site/t/original/i/5d26021e64062c3ef270de416fadb88a4b18174f1d2bac06ca0e22f7f1a09f53/Marni.png" data-mid="97432696" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/5d26021e64062c3ef270de416fadb88a4b18174f1d2bac06ca0e22f7f1a09f53/Marni.png" /> <img width="3709" height="243" width_o="3709" height_o="243" data-src="https://freight.cargo.site/t/original/i/dca3ebf1215e375501b565ea177cca66342f573a7c81606199c45b621d7bb73c/Victoria.png" data-mid="97432699" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/dca3ebf1215e375501b565ea177cca66342f573a7c81606199c45b621d7bb73c/Victoria.png" /> <img width="1981" height="242" width_o="1981" height_o="242" data-src="https://freight.cargo.site/t/original/i/ef3e2c396a7179bf06a203fad6dcc07e43cd7f19f03931e2aa7996dea7a6b784/Zoe.png" data-mid="97432700" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/ef3e2c396a7179bf06a203fad6dcc07e43cd7f19f03931e2aa7996dea7a6b784/Zoe.png" /> Click here to purchase prints. Proudly Sponsored By: &nbsp;<img width="600" height="598" width_o="600" height_o="598" data-src="https://freight.cargo.site/t/original/i/f21fbf57293ff77f10370f76f0dac5195142309f56381fc0cdc35cc3a5593e43/All-Time-Studios-Logo.png" data-mid="97552696" border="0" data-scale="7" src="https://freight.cargo.site/w/600/i/f21fbf57293ff77f10370f76f0dac5195142309f56381fc0cdc35cc3a5593e43/All-Time-Studios-Logo.png" /> &nbsp; <img width="3046" height="505" width_o="3046" height_o="505" data-src="https://freight.cargo.site/t/original/i/8bbbeeeba1f0f3eaf17685eaea7c0225131ceb84b5e51e5af2f8af49c95103af/Mono-3D-Straight-Logo.png" data-mid="100184290" border="0" data-scale="30" src="https://freight.cargo.site/w/1000/i/8bbbeeeba1f0f3eaf17685eaea7c0225131ceb84b5e51e5af2f8af49c95103af/Mono-3D-Straight-Logo.png" /> &nbsp;<img width="2238" height="1657" width_o="2238" height_o="1657" data-src="https://freight.cargo.site/t/original/i/022a6a3f78e44c4768fac6005cef10261155a514eb9444f4ce8d363aa549e5a5/MSG_Logo_1-color.png" data-mid="100184505" border="0" data-scale="13" src="https://freight.cargo.site/w/1000/i/022a6a3f78e44c4768fac6005cef10261155a514eb9444f4ce8d363aa549e5a5/MSG_Logo_1-color.png" />&nbsp; &nbsp;<img width="1175" height="1176" width_o="1175" height_o="1176" data-src="https://freight.cargo.site/t/original/i/449cf82c5c7c30965ca70cbe8804c7ec32708f083a10963d90a01e90003e12d6/Colour-Cartel-LARGE.png" data-mid="101466037" border="0" data-scale="7" src="https://freight.cargo.site/w/1000/i/449cf82c5c7c30965ca70cbe8804c7ec32708f083a10963d90a01e90003e12d6/Colour-Cartel-LARGE.png" /> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; https://unscenesets.com/MARTY-1 Tue, 22 Sep 2020 07:36:48 +0000 Unscene Sets https://unscenesets.com/MARTY-1 https://unscenesets.com/Secondary-Page-MARTY Tue, 22 Sep 2020 07:38:55 +0000 Unscene Sets https://unscenesets.com/Secondary-Page-MARTY Q&amp;A WITH MARTY MANCA Benny: How did you get your start? Marty: Whilst I was at art school, I had a friend who knew someone that needed help with some set pieces for the ‘The Big Day Out’.. After that, I was painting the street course for the ‘Globe world cup’ skate competition for the same Art director. Events was where I started. That same friend who put me forward for the event work, was working as a runner in the Art Department on a Television series, but realised that he much preferred the carpenter's life, so I suggested that if he got another running job offer that he would turn down, to suggest that I do it instead. That is exactly how it happened. BC: What is it that you love about your job? MM: There are so many things I love about my job, so I’ll keep it brief. I love my colleagues, my mentors and all the colourful characters I meet like suppliers, collectors, experts and professionals. I love that everyday is different, be it locations, sets, tasks, challenges and overcoming those challenges. I love creating narratives with objects, I love that I am learning everyday. I love collaborating with creatives and exchanging ideas about styles, periods, moods, and all the things that make a picture. I could go on.... BC: Tell us about your set…what do you call it? MM: I suppose you could call this set ‘My quintessential collaborative self portrait.’ All the objects are from my home. Each item tells a short story and everything has been considered. Although it is heavily staged, and somewhat exaggerated, I wanted to make something personal or introspective, but also something I would be happy with myself. BC: What’s yours and what’s not? MM: It’s all mine, except for the cigar. I am a smoker, and I do enjoy a cigar when the occasion arises, however this is one exaggeration. The rum was supplied. Thanks Benny. BC: You have 3 taxidermy pieces in your set… can you tell us about each of these? MM: I am fascinated by taxidermy. I have a small collection, but these are my favourites. The faun and the cockatoo were purchased from ‘Dracula’s’ theatre restaurant when it closed its doors a few years ago. The rat was purchased at the end of a production where it was used as a prop. BC: How heavily influenced is your film and tv work by your own personal aesthetic? MM: For me the two don’t really cross over. My approach to Film and Television work is about how we interpret the pictures in someone else’s head, and guide them with language and references they perhaps hadn’t considered. This could either be the writer, director or both. My own personal aesthetic is mine, and whether it sneaks into sets I’m involved with, is debatable. BC: What are you working on now? MM: Jack Irish series 3 BC: Anything to add? MM: Thank you for making a portrait I’m happy with. Without your photographer’s intuition and skills, it would look very different indeed. Also, thank you for keeping me involved in the process, there were many things I would not have considered without your collaboration. <img width="4096" height="2732" width_o="4096" height_o="2732" data-src="https://freight.cargo.site/t/original/i/c74a73a79bbe1ae1aec628d947a1b065ab8f6fb79bb335ca58fc944695130ddb/MARTY-MANCA---Set-Dresser-and-Buyer-for-Film---TV.jpg" data-mid="90676561" border="0" src="https://freight.cargo.site/w/1000/i/c74a73a79bbe1ae1aec628d947a1b065ab8f6fb79bb335ca58fc944695130ddb/MARTY-MANCA---Set-Dresser-and-Buyer-for-Film---TV.jpg" /> https://unscenesets.com/CALLUM-1 Mon, 26 Oct 2020 23:43:38 +0000 Unscene Sets https://unscenesets.com/CALLUM-1 https://unscenesets.com/Secondary-Page-CALLUM Mon, 26 Oct 2020 23:45:22 +0000 Unscene Sets https://unscenesets.com/Secondary-Page-CALLUM Q&amp;A WITH CALLUM PRESTON Benny: Hey mate, firstly… your job description and a brief overview of your career and how you got to be where you’re at? Callum: My job is pretty much whatever gets thrown at me and whatever I throw at myself. A mix of "could you do this?" and "what do I really want to do?" and a whole lot of just having a crack at whatever takes my fancy. I came up through design and art in the punk/hardcore music scene, paralell to my life in the Melbourne street art scene all from end of ‘02 when I was finishing high school. That led to doing lots of design for bands, flyers, tees, logos, and of course playing, and touring in bands. Then on the street art side being a part of the art collective Everfresh from 05 as the youngest of the group and really learning a lot from everyone, collaborating and finding my own voice too. Flash forward 15 + years and I'm still doing a lot of design for music related projects but really thankful that people mostly come to me for "my style" whatever that is, I’m still not 100% on it myself, and then my art had evolved into a lot of physical "making" using timber and hard rubbish and playing a lot with nostalgia and pop culture stuff. BC: Tell us a bit about your inspiration behind your set... CP: Basically, I love my studio, and it is my way of hoarding memories, I have lots of bits and bobs that I find along the way.&nbsp; A lot of things that I have held onto from since I was a little kid all the way through ‘til now. Things that I cherished, like my first video camera, signs, skate stuff, music, whatever. Alongside that stuff I have always kept physical drawings from design projects, whether they are loose or in sketchbooks, but they all sit in draws packed away. I thought, what if those drawers of drawings were to explode out and I flick back through 15+ years of drawings and they rain down over all of the trinkets and tools that fill my space with functionality and inspiration. So I loaded all kinds of stuff into my van and we moved it into the photo studio to shoot! BC: What was your process creating this set and did your initial idea translate through to the finished set? Did you have any other ideas that you wanted to build? CP: I knew that I couldn't plan it too much, it would look forced, so we brought everything in and we just started piling stuff up, and tried to just keep stacking it til it looked full and natural. I knew we had enough stuff, it was just about it being all spread and feeling natural (what is natural for a huge pile of random stuff though). With the sketches, we purposefully didn't look at what they were placed, it all went up as it was in the big stack, I didn't want to curate it, it's all part of my process. Some are fully finished drawings, some are random text that I wrote and scanned, some are textures I have made for different things, there is lots to see in there. I'm so happy with how overloaded the frame is. BC: You’ve got what looks to be an infinite amount of pieces you’ve collected or made over time… what’s your favourite piece you made and what’s your favourite you’ve acquired? CP: It's funny, for all the things I've made, once they are done and finished, the shine wears off them a little bit. It's definitely all about the making process for me, that's the part I love. They are all great to have, but it's about always moving forward and striving to improve on my skills and ideas. As for items I've collected, the Steve Urkel doll was from the 94 Melbourne show, I didn't even get to go. Our neighbours went and I somehow knew it was available in some showbag and that was my one request. It was in my room forever as a kid and eventually just found its way into all my studios. It's just such a ridiculous item, I love it. BC: Is there a relationship between what you create and what you collect? CP: I think that's undeniable, I like to make things that can fit in seamlessly in my studio and not look out of place alongside 80s, 90s and 00 relics. I think surrounding myself with the aesthetic of these things rubs off on my style for sure.&nbsp; BC: How long have you been collecting these items? CP: It's passive collecting, I haven't ever bought things to fill a gap, things just find their way to me. I've bought old things to use for projects, like an old VHS video camera and then when it's done it just becomes part of the furniture. But really, I have stuff from as young as 5 or 6 I reckon and lots of hard rubbish finds too. If you can see past all the busted ikea stuff, there are still gold nuggets out there. BC: What is it that draws you to this style of work? CP: Getting to make props and sets for videos, or for my own art works. It's exciting to me because it's all about the challenge to make something that looks like it has a story, a history and a purpose. I love writing that story in my head as I'm designing something and watching it come together. Where would the wear and tear marks be, what would the usage have done to this item, how would it age. I have so much respect for the amazing scenics out there who do this stuff, I feel very lucky that I am often dictating the story of things I build in the name of art. BC: How does your personal taste translate to sets you build for your commercial work? CP: I can do what's needed for a strict brief, but I like to think that when given the freedom to explore and play around, I can really add some of my personal style into things and when the right job calls for that authentic feel, it's so fun and rewarding. BC: Anything else to add? CP: Thanks for the opportunity, love your work. So much respect to all the set builders, scenics, prop makers, production designers, chippys, lights, gaffers and all the crew that make things happen! <img width="4096" height="2731" width_o="4096" height_o="2731" data-src="https://freight.cargo.site/t/original/i/d6bc9d8a2843529eef69b95899b5eb447b69f73cbfbb60ce8f554e55fadc0aec/CALLUM-PRESTON---Set-Designer--Builder--Dresser--Props-Guy-and-Artist.jpg" data-mid="100181776" border="0" src="https://freight.cargo.site/w/1000/i/d6bc9d8a2843529eef69b95899b5eb447b69f73cbfbb60ce8f554e55fadc0aec/CALLUM-PRESTON---Set-Designer--Builder--Dresser--Props-Guy-and-Artist.jpg" /> https://unscenesets.com/GLENNO Tue, 22 Sep 2020 07:50:28 +0000 Unscene Sets https://unscenesets.com/GLENNO https://unscenesets.com/Secondary-Page-GLENNO Tue, 22 Sep 2020 07:50:57 +0000 Unscene Sets https://unscenesets.com/Secondary-Page-GLENNO Q&amp;A WITH GLENN JOHNSON Benny: Tell us a bit about yourself and how you came to be working with greens in Film and Tv. Glenn: Originally from Sydney, my wife, Beth and I moved to Melbourne in 2002 after I finished my trade as a Golf Course Greenkeeper. I got work at&nbsp; a nursery and picked up skills in nursery work and garden maintenance.&nbsp; In 2006 a good friend was working as a Set Decorator and gave me a few numbers of people working on Where The Wild Things Are. I was employed as an Assistant Greensman and my main job was collecting materials for the construction of sets. I was hooked at this point and this is the work I wanted to do. I was then asked to join the Greens crew on the film Australia as a Greensman and have been doing Greens for film, Tv&nbsp; and Tvc’s since. To help with the Greens work I do, we have a rental nursery keeping plants on hand mostly plant stock that does not look like it has just been bought from a retail nursery. Old over grow, weedy, leggy, shitty looking stuff. BC: Tell us a bit about your set. GJ: My set is a bit of a homage to the first film I worked on. I have tried to make it feel as if I am in a deep dark forest that is melding into the indoors, represented by the book shelf, carpet and potted plants. BC: What was your process and how did you prepare? GJ: I started by marking out the floor dimensions on the shed floor. I then placed the trees and the book shelf. After selecting the live plants from the nursery I did a rough placement of them. To give the ground shape I built up the levels with mulch bags. replaced the live plants then added the moss. I loaded up the book shelf, added the branches to the trees and fallen leaves to the ground then took a few reference photos. The day before the shoot I pulled the whole thing apart and loaded the trailer.&nbsp;Once at the studio I rebuilt the set and tweaked anything I felt still did not work. BC: Where did you get those Birch trees from and how do you accumulate all these pieces? GJ: The Birch tree came from a Japanese Tv commercial for fruit milk. They were used to make location look more scandonavinan. They now live in my steel rack out of the weather and I pull them out when needed. As for the rest of my stuff I have been collecting plants and pots ever since I started at fitzroy nursery. I would collect anything clients or the nursery did not want, this has been how I have been able to accumulate so many things of character. Since starting the Greens work I have also developed an eye for things that I can offer up to be used on sets. &nbsp; BC: What personal items have you included in your set and what do they mean to you? GJ:&nbsp;There are many things in the set that are my collected things. I like collecting skulls and have quite a few in personal collections at home and I've gotten a few into the set there are possum and wallaby on the book shelf, as well as the cow skull in the foreground. This one came from a river bed up in the Hunter Valley in NSW where I was working on a film about 10 years ago. There are also fossils I found over in Coober pedy and a fisherman's float I picked up from a beach on the Coorong SA. There are a couple of toy dinosaurs in there&nbsp; and these guys I have had since I was a child ! in fact I got when I was only a few days old. I've included pots of cactus which I propagated close to twenty years ago. I like hanging on to things, especially interesting things, and often they end up dotted through the house and our garden. BC: What are you working on now? GJ: I'm currently up in Sydney doing my quarantine getting ready to start a big job on a blockbuster film.&nbsp;I will be up here for about 9 months, and am hoping that the borders open up between Vic and NSW soon, so I can pop back for weekends with the family.<img width="3348" height="2236" width_o="3348" height_o="2236" data-src="https://freight.cargo.site/t/original/i/2b7544dc19228f10a7da0865805a5eda4a47d3b5d2319083a4d1f5015356469d/GLENNO.jpg" data-mid="83400843" border="0" src="https://freight.cargo.site/w/1000/i/2b7544dc19228f10a7da0865805a5eda4a47d3b5d2319083a4d1f5015356469d/GLENNO.jpg" /> https://unscenesets.com/ROMMY Tue, 22 Sep 2020 08:03:28 +0000 Unscene Sets https://unscenesets.com/ROMMY https://unscenesets.com/Secondary-Page-ROMMY Tue, 22 Sep 2020 08:03:47 +0000 Unscene Sets https://unscenesets.com/Secondary-Page-ROMMY Q&amp;A WITH ROMY McCANN Benny: Tell us about yourself Romy, what’s your job title and how long have you been working in the industry?&nbsp; Romy: I’m a buyer/dresser! Often confused with costume buyer to people who aren't in the business. I like to say “Set Dresser” for ease. I’m still relatively new to the industry. I’ve slowly worked my way up from an intern, to a runner/art department assistant, to junior dresser, to buyer dresser in about 4 years. BC: How did you get your start? RM: I was super lucky! I finished my study at the SAE film school and was doing nothing with my degree. One of my old lecturers approached me and asked if I was interested in doing an internship in the Art Department on a show for Channel 10, The Wrong Girl (S1), I said “absolutely” and it was guns blazing from there. I worked for free for about 3 months and it paid off. I met the most amazing people and made some great contacts. From then on, I haven’t stopped working! BC: Tell us about your set… RM: My set is essentially my living room... elevated. It’s my happy place. There’s no place I’d rather be than at home with my dogs and my partner. I went a little wild with the colours of the walls and the type of flooring .. because I could! Living in a rental is so boring and drab. BC: You seemed to know exactly what you wanted to do from the get go! Can you tell us about your process? RM: From the get go I knew I wanted a pink coral wall, a vibrant colour that gives the space a little personality... and it’s my favourite colour. I also really wanted to recreate the mantle piece in my living room. It holds so many objects with so many stories. So finding the most perfect mantle was essential. And flowers too! Flowers are my thing. Having lots of plants and fresh flowers around gives me life. So I absolutely had to have all of my favourite flowers and plants in the space. BC: What in this set is personal to you and why did you include it? RM: So much in this set is so personal to me. My favourite, my greyhound rescue Rosie. I love her so much and we truly bonded through lockdown. There’s lots of little “Easter eggs” too. Like my Kill Bill action figures (one of my favourite films), the New York school bus reminds me of my last trip away, the photo of me and my grandpa on the wall, prints from an artist I love. From an outsider's perspective it’s all a bit crazy and probably doesn’t make any sense.. but it doesn’t have to.. does it?! BC: What items did you rent or purchase specifically for this shoot? RM: For this shoot I sourced the mantle and painted it white. I also hired the check flooring and borrowed a lamp from work as none of my lamps at home really suited the aesthetic I was going for. Aside from that, everything came from home BC: What was behind your decision for the check flooring? RM: I’ve always loved check tiled floors, It reminds me of my grandparents house when I was a kid. It’s also kind of gives me “regal vibes”. And a bit twin peaks-y BC: How does the final outcome compare to the room you envisaged? RM: Looks pretty damn close to how I imagined! I did one initial sketch of the space and it’s not too different. The colour is so perfect, it’s so wild and over the top. Just the way I like it! BC: What are you working on now? RM: It’s very exciting times for me at the moment. I’ve just landed my first buyer/dresser job on an American feature film being shot in melbourne, called Blacklight. It’s honestly my dream job! <img width="2657" height="1772" width_o="2657" height_o="1772" data-src="https://freight.cargo.site/t/original/i/8832416acd3738547682829d23aa802474f980bf21d4609e2628e5f7bcbb34b7/ROMY.jpg" data-mid="83401580" border="0" src="https://freight.cargo.site/w/1000/i/8832416acd3738547682829d23aa802474f980bf21d4609e2628e5f7bcbb34b7/ROMY.jpg" />