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lilynager
Lily Nager
Production Design, Illustrations and Graphic Design - Lucerne, Dublin & Berlin
New Website!!! Finally after working on it for weeks - & loosing my domain halfway through - my new updated website is live!
7th of February 2026 10:09
I decided this morning journal page and stream of consciousness will be my caption for the illustration I’ve been holding off from posting, am I happy with it? No but its the first one in a year and im happy I can be creative again after my final year of college robbed me off it. Every morning I wake up and I feel paralysed by possibilities, if I could do anything right now what would it be?
I check my phone, never helps, im very happy to see people successful, but it does string a bit at my heart. I know it takes time with recovery bla bla bla! What am I scrolling for? What am I looking to find? I do my morning checklist every morning one day at a time, so hopefully one day I get up without dreading it. Its raining again and I really wanted to go for a walk, I also have to send that job application, maybe a cute cafe would be nice but honestly I’d rather just stay home. Lets get back to it, the illustration is about having no fucking clue what to do with life and uncertainty after graduating and I really thought I had figured it out…hmmm, in a more positive light: I did enjoy telling a bit of a story of a girl getting out of her bed and choosing a door, a possibility, a fig, a road, a river but in the end she chooses herself for the time being. Well I guess thats it for now, the first illustration in a year!! now time to continue on with my morning routine.
7th of February 2026 10:09
I decided this morning journal page and stream of consciousness will be my caption for the illustration I’ve been holding off from posting, am I happy with it? No but its the first one in a year and im happy I can be creative again after my final year of college robbed me off it. Every morning I wake up and I feel paralysed by possibilities, if I could do anything right now what would it be?
I check my phone, never helps, im very happy to see people successful, but it does string a bit at my heart. I know it takes time with recovery bla bla bla! What am I scrolling for? What am I looking to find? I do my morning checklist every morning one day at a time, so hopefully one day I get up without dreading it. Its raining again and I really wanted to go for a walk, I also have to send that job application, maybe a cute cafe would be nice but honestly I’d rather just stay home. Lets get back to it, the illustration is about having no fucking clue what to do with life and uncertainty after graduating and I really thought I had figured it out…hmmm, in a more positive light: I did enjoy telling a bit of a story of a girl getting out of her bed and choosing a door, a possibility, a fig, a road, a river but in the end she chooses herself for the time being. Well I guess thats it for now, the first illustration in a year!! now time to continue on with my morning routine.
7th of February 2026 10:09
I decided this morning journal page and stream of consciousness will be my caption for the illustration I’ve been holding off from posting, am I happy with it? No but its the first one in a year and im happy I can be creative again after my final year of college robbed me off it. Every morning I wake up and I feel paralysed by possibilities, if I could do anything right now what would it be?
I check my phone, never helps, im very happy to see people successful, but it does string a bit at my heart. I know it takes time with recovery bla bla bla! What am I scrolling for? What am I looking to find? I do my morning checklist every morning one day at a time, so hopefully one day I get up without dreading it. Its raining again and I really wanted to go for a walk, I also have to send that job application, maybe a cute cafe would be nice but honestly I’d rather just stay home. Lets get back to it, the illustration is about having no fucking clue what to do with life and uncertainty after graduating and I really thought I had figured it out…hmmm, in a more positive light: I did enjoy telling a bit of a story of a girl getting out of her bed and choosing a door, a possibility, a fig, a road, a river but in the end she chooses herself for the time being. Well I guess thats it for now, the first illustration in a year!! now time to continue on with my morning routine.
7th of February 2026 10:09
I decided this morning journal page and stream of consciousness will be my caption for the illustration I’ve been holding off from posting, am I happy with it? No but its the first one in a year and im happy I can be creative again after my final year of college robbed me off it. Every morning I wake up and I feel paralysed by possibilities, if I could do anything right now what would it be?
I check my phone, never helps, im very happy to see people successful, but it does string a bit at my heart. I know it takes time with recovery bla bla bla! What am I scrolling for? What am I looking to find? I do my morning checklist every morning one day at a time, so hopefully one day I get up without dreading it. Its raining again and I really wanted to go for a walk, I also have to send that job application, maybe a cute cafe would be nice but honestly I’d rather just stay home. Lets get back to it, the illustration is about having no fucking clue what to do with life and uncertainty after graduating and I really thought I had figured it out…hmmm, in a more positive light: I did enjoy telling a bit of a story of a girl getting out of her bed and choosing a door, a possibility, a fig, a road, a river but in the end she chooses herself for the time being. Well I guess thats it for now, the first illustration in a year!! now time to continue on with my morning routine.
7th of February 2026 10:09
I decided this morning journal page and stream of consciousness will be my caption for the illustration I’ve been holding off from posting, am I happy with it? No but its the first one in a year and im happy I can be creative again after my final year of college robbed me off it. Every morning I wake up and I feel paralysed by possibilities, if I could do anything right now what would it be?
I check my phone, never helps, im very happy to see people successful, but it does string a bit at my heart. I know it takes time with recovery bla bla bla! What am I scrolling for? What am I looking to find? I do my morning checklist every morning one day at a time, so hopefully one day I get up without dreading it. Its raining again and I really wanted to go for a walk, I also have to send that job application, maybe a cute cafe would be nice but honestly I’d rather just stay home. Lets get back to it, the illustration is about having no fucking clue what to do with life and uncertainty after graduating and I really thought I had figured it out…hmmm, in a more positive light: I did enjoy telling a bit of a story of a girl getting out of her bed and choosing a door, a possibility, a fig, a road, a river but in the end she chooses herself for the time being. Well I guess thats it for now, the first illustration in a year!! now time to continue on with my morning routine.
5/5 Indecent Exposure – Apartment Set
The apartment was built using flats in the IADT workshop and then moved into the studio. We painted everything ourselves, adding a clay plaster effect to the walls to help hide seams and add texture and character. For the kitchen, we repurposed existing cabinets and materials, including an old Belfast sink and MDF sheets adapted to look like tiles.
We worked across sourcing, dressing and problem-solving throughout the build and shoot. Furniture and props were gathered from multiple places to keep costs down and give the space a lived-in feel. One of the key pieces, the couch, was found in a skip that I spotted from the bus and we collected for the set.
During filming, the set was continuously adjusted between takes to suit the needs of each scene. This post shows the finished apartment set and shots from the final TV pilot.
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
5/5 Indecent Exposure – Apartment Set
The apartment was built using flats in the IADT workshop and then moved into the studio. We painted everything ourselves, adding a clay plaster effect to the walls to help hide seams and add texture and character. For the kitchen, we repurposed existing cabinets and materials, including an old Belfast sink and MDF sheets adapted to look like tiles.
We worked across sourcing, dressing and problem-solving throughout the build and shoot. Furniture and props were gathered from multiple places to keep costs down and give the space a lived-in feel. One of the key pieces, the couch, was found in a skip that I spotted from the bus and we collected for the set.
During filming, the set was continuously adjusted between takes to suit the needs of each scene. This post shows the finished apartment set and shots from the final TV pilot.
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
5/5 Indecent Exposure – Apartment Set
The apartment was built using flats in the IADT workshop and then moved into the studio. We painted everything ourselves, adding a clay plaster effect to the walls to help hide seams and add texture and character. For the kitchen, we repurposed existing cabinets and materials, including an old Belfast sink and MDF sheets adapted to look like tiles.
We worked across sourcing, dressing and problem-solving throughout the build and shoot. Furniture and props were gathered from multiple places to keep costs down and give the space a lived-in feel. One of the key pieces, the couch, was found in a skip that I spotted from the bus and we collected for the set.
During filming, the set was continuously adjusted between takes to suit the needs of each scene. This post shows the finished apartment set and shots from the final TV pilot.
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
5/5 Indecent Exposure – Apartment Set
The apartment was built using flats in the IADT workshop and then moved into the studio. We painted everything ourselves, adding a clay plaster effect to the walls to help hide seams and add texture and character. For the kitchen, we repurposed existing cabinets and materials, including an old Belfast sink and MDF sheets adapted to look like tiles.
We worked across sourcing, dressing and problem-solving throughout the build and shoot. Furniture and props were gathered from multiple places to keep costs down and give the space a lived-in feel. One of the key pieces, the couch, was found in a skip that I spotted from the bus and we collected for the set.
During filming, the set was continuously adjusted between takes to suit the needs of each scene. This post shows the finished apartment set and shots from the final TV pilot.
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
5/5 Indecent Exposure – Apartment Set
The apartment was built using flats in the IADT workshop and then moved into the studio. We painted everything ourselves, adding a clay plaster effect to the walls to help hide seams and add texture and character. For the kitchen, we repurposed existing cabinets and materials, including an old Belfast sink and MDF sheets adapted to look like tiles.
We worked across sourcing, dressing and problem-solving throughout the build and shoot. Furniture and props were gathered from multiple places to keep costs down and give the space a lived-in feel. One of the key pieces, the couch, was found in a skip that I spotted from the bus and we collected for the set.
During filming, the set was continuously adjusted between takes to suit the needs of each scene. This post shows the finished apartment set and shots from the final TV pilot.
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
5/5 Indecent Exposure – Apartment Set
The apartment was built using flats in the IADT workshop and then moved into the studio. We painted everything ourselves, adding a clay plaster effect to the walls to help hide seams and add texture and character. For the kitchen, we repurposed existing cabinets and materials, including an old Belfast sink and MDF sheets adapted to look like tiles.
We worked across sourcing, dressing and problem-solving throughout the build and shoot. Furniture and props were gathered from multiple places to keep costs down and give the space a lived-in feel. One of the key pieces, the couch, was found in a skip that I spotted from the bus and we collected for the set.
During filming, the set was continuously adjusted between takes to suit the needs of each scene. This post shows the finished apartment set and shots from the final TV pilot.
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
5/5 Indecent Exposure – Apartment Set
The apartment was built using flats in the IADT workshop and then moved into the studio. We painted everything ourselves, adding a clay plaster effect to the walls to help hide seams and add texture and character. For the kitchen, we repurposed existing cabinets and materials, including an old Belfast sink and MDF sheets adapted to look like tiles.
We worked across sourcing, dressing and problem-solving throughout the build and shoot. Furniture and props were gathered from multiple places to keep costs down and give the space a lived-in feel. One of the key pieces, the couch, was found in a skip that I spotted from the bus and we collected for the set.
During filming, the set was continuously adjusted between takes to suit the needs of each scene. This post shows the finished apartment set and shots from the final TV pilot.
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
5/5 Indecent Exposure – Apartment Set
The apartment was built using flats in the IADT workshop and then moved into the studio. We painted everything ourselves, adding a clay plaster effect to the walls to help hide seams and add texture and character. For the kitchen, we repurposed existing cabinets and materials, including an old Belfast sink and MDF sheets adapted to look like tiles.
We worked across sourcing, dressing and problem-solving throughout the build and shoot. Furniture and props were gathered from multiple places to keep costs down and give the space a lived-in feel. One of the key pieces, the couch, was found in a skip that I spotted from the bus and we collected for the set.
During filming, the set was continuously adjusted between takes to suit the needs of each scene. This post shows the finished apartment set and shots from the final TV pilot.
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
5/5 Indecent Exposure – Apartment Set
The apartment was built using flats in the IADT workshop and then moved into the studio. We painted everything ourselves, adding a clay plaster effect to the walls to help hide seams and add texture and character. For the kitchen, we repurposed existing cabinets and materials, including an old Belfast sink and MDF sheets adapted to look like tiles.
We worked across sourcing, dressing and problem-solving throughout the build and shoot. Furniture and props were gathered from multiple places to keep costs down and give the space a lived-in feel. One of the key pieces, the couch, was found in a skip that I spotted from the bus and we collected for the set.
During filming, the set was continuously adjusted between takes to suit the needs of each scene. This post shows the finished apartment set and shots from the final TV pilot.
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
5/5 Indecent Exposure – Apartment Set
The apartment was built using flats in the IADT workshop and then moved into the studio. We painted everything ourselves, adding a clay plaster effect to the walls to help hide seams and add texture and character. For the kitchen, we repurposed existing cabinets and materials, including an old Belfast sink and MDF sheets adapted to look like tiles.
We worked across sourcing, dressing and problem-solving throughout the build and shoot. Furniture and props were gathered from multiple places to keep costs down and give the space a lived-in feel. One of the key pieces, the couch, was found in a skip that I spotted from the bus and we collected for the set.
During filming, the set was continuously adjusted between takes to suit the needs of each scene. This post shows the finished apartment set and shots from the final TV pilot.
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
5/5 Indecent Exposure – Apartment Set
The apartment was built using flats in the IADT workshop and then moved into the studio. We painted everything ourselves, adding a clay plaster effect to the walls to help hide seams and add texture and character. For the kitchen, we repurposed existing cabinets and materials, including an old Belfast sink and MDF sheets adapted to look like tiles.
We worked across sourcing, dressing and problem-solving throughout the build and shoot. Furniture and props were gathered from multiple places to keep costs down and give the space a lived-in feel. One of the key pieces, the couch, was found in a skip that I spotted from the bus and we collected for the set.
During filming, the set was continuously adjusted between takes to suit the needs of each scene. This post shows the finished apartment set and shots from the final TV pilot.
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
5/5 Indecent Exposure – Apartment Set
The apartment was built using flats in the IADT workshop and then moved into the studio. We painted everything ourselves, adding a clay plaster effect to the walls to help hide seams and add texture and character. For the kitchen, we repurposed existing cabinets and materials, including an old Belfast sink and MDF sheets adapted to look like tiles.
We worked across sourcing, dressing and problem-solving throughout the build and shoot. Furniture and props were gathered from multiple places to keep costs down and give the space a lived-in feel. One of the key pieces, the couch, was found in a skip that I spotted from the bus and we collected for the set.
During filming, the set was continuously adjusted between takes to suit the needs of each scene. This post shows the finished apartment set and shots from the final TV pilot.
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
4/5 Indecent Exposure – Apartment Set
The apartment set was designed to contrast directly with the casting office. It represents the private space of the characters and reflects their personalities. Jess Sammon and I wanted it to feel like a slightly run-down Georgian apartment in Dublin, shaped over time by the people living in it.
Visually, we focused on strong Georgian features and layered the space with modern and personal dressing. The walls were finished in soft pink and clay-toned textures to add warmth and depth, while also referencing mould, wear and general neglect. This helped the apartment feel worn-in and lived with rather than styled.
We developed multiple SketchUp layouts to work within the studio limitations, as the apartment and casting room needed to exist in the studio at the same time. These early designs helped us refine the layout, flow and how the space would read on camera.
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
4/5 Indecent Exposure – Apartment Set
The apartment set was designed to contrast directly with the casting office. It represents the private space of the characters and reflects their personalities. Jess Sammon and I wanted it to feel like a slightly run-down Georgian apartment in Dublin, shaped over time by the people living in it.
Visually, we focused on strong Georgian features and layered the space with modern and personal dressing. The walls were finished in soft pink and clay-toned textures to add warmth and depth, while also referencing mould, wear and general neglect. This helped the apartment feel worn-in and lived with rather than styled.
We developed multiple SketchUp layouts to work within the studio limitations, as the apartment and casting room needed to exist in the studio at the same time. These early designs helped us refine the layout, flow and how the space would read on camera.
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
4/5 Indecent Exposure – Apartment Set
The apartment set was designed to contrast directly with the casting office. It represents the private space of the characters and reflects their personalities. Jess Sammon and I wanted it to feel like a slightly run-down Georgian apartment in Dublin, shaped over time by the people living in it.
Visually, we focused on strong Georgian features and layered the space with modern and personal dressing. The walls were finished in soft pink and clay-toned textures to add warmth and depth, while also referencing mould, wear and general neglect. This helped the apartment feel worn-in and lived with rather than styled.
We developed multiple SketchUp layouts to work within the studio limitations, as the apartment and casting room needed to exist in the studio at the same time. These early designs helped us refine the layout, flow and how the space would read on camera.
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
4/5 Indecent Exposure – Apartment Set
The apartment set was designed to contrast directly with the casting office. It represents the private space of the characters and reflects their personalities. Jess Sammon and I wanted it to feel like a slightly run-down Georgian apartment in Dublin, shaped over time by the people living in it.
Visually, we focused on strong Georgian features and layered the space with modern and personal dressing. The walls were finished in soft pink and clay-toned textures to add warmth and depth, while also referencing mould, wear and general neglect. This helped the apartment feel worn-in and lived with rather than styled.
We developed multiple SketchUp layouts to work within the studio limitations, as the apartment and casting room needed to exist in the studio at the same time. These early designs helped us refine the layout, flow and how the space would read on camera.
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
4/5 Indecent Exposure – Apartment Set
The apartment set was designed to contrast directly with the casting office. It represents the private space of the characters and reflects their personalities. Jess Sammon and I wanted it to feel like a slightly run-down Georgian apartment in Dublin, shaped over time by the people living in it.
Visually, we focused on strong Georgian features and layered the space with modern and personal dressing. The walls were finished in soft pink and clay-toned textures to add warmth and depth, while also referencing mould, wear and general neglect. This helped the apartment feel worn-in and lived with rather than styled.
We developed multiple SketchUp layouts to work within the studio limitations, as the apartment and casting room needed to exist in the studio at the same time. These early designs helped us refine the layout, flow and how the space would read on camera.
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
4/5 Indecent Exposure – Apartment Set
The apartment set was designed to contrast directly with the casting office. It represents the private space of the characters and reflects their personalities. Jess Sammon and I wanted it to feel like a slightly run-down Georgian apartment in Dublin, shaped over time by the people living in it.
Visually, we focused on strong Georgian features and layered the space with modern and personal dressing. The walls were finished in soft pink and clay-toned textures to add warmth and depth, while also referencing mould, wear and general neglect. This helped the apartment feel worn-in and lived with rather than styled.
We developed multiple SketchUp layouts to work within the studio limitations, as the apartment and casting room needed to exist in the studio at the same time. These early designs helped us refine the layout, flow and how the space would read on camera.
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
4/5 Indecent Exposure – Apartment Set
The apartment set was designed to contrast directly with the casting office. It represents the private space of the characters and reflects their personalities. Jess Sammon and I wanted it to feel like a slightly run-down Georgian apartment in Dublin, shaped over time by the people living in it.
Visually, we focused on strong Georgian features and layered the space with modern and personal dressing. The walls were finished in soft pink and clay-toned textures to add warmth and depth, while also referencing mould, wear and general neglect. This helped the apartment feel worn-in and lived with rather than styled.
We developed multiple SketchUp layouts to work within the studio limitations, as the apartment and casting room needed to exist in the studio at the same time. These early designs helped us refine the layout, flow and how the space would read on camera.
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
4/5 Indecent Exposure – Apartment Set
The apartment set was designed to contrast directly with the casting office. It represents the private space of the characters and reflects their personalities. Jess Sammon and I wanted it to feel like a slightly run-down Georgian apartment in Dublin, shaped over time by the people living in it.
Visually, we focused on strong Georgian features and layered the space with modern and personal dressing. The walls were finished in soft pink and clay-toned textures to add warmth and depth, while also referencing mould, wear and general neglect. This helped the apartment feel worn-in and lived with rather than styled.
We developed multiple SketchUp layouts to work within the studio limitations, as the apartment and casting room needed to exist in the studio at the same time. These early designs helped us refine the layout, flow and how the space would read on camera.
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
4/5 Indecent Exposure – Apartment Set
The apartment set was designed to contrast directly with the casting office. It represents the private space of the characters and reflects their personalities. Jess Sammon and I wanted it to feel like a slightly run-down Georgian apartment in Dublin, shaped over time by the people living in it.
Visually, we focused on strong Georgian features and layered the space with modern and personal dressing. The walls were finished in soft pink and clay-toned textures to add warmth and depth, while also referencing mould, wear and general neglect. This helped the apartment feel worn-in and lived with rather than styled.
We developed multiple SketchUp layouts to work within the studio limitations, as the apartment and casting room needed to exist in the studio at the same time. These early designs helped us refine the layout, flow and how the space would read on camera.
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
3/5 Indecent Exposure - Bedroom Set
The bedroom set was much smaller than the other two. It was built from four flats in the studio, but most of the work went into creating Frankie’s stalker collage.
Frankie keeps track of whoever she is currently obsessed with, so the wall included Instagram screenshots, poems, news articles, maps, stalker photography, cups with leftover lipstick, and even locks of hair. We filled the wall with printed and aged materials to match her character and what she likes.
For the connection string, we used the same shade of pink that Frankie wears in the scene. This helped tie her visually into the collage and made the space feel like an extension of her mindset.
This post shows the set, the collage details and the final shots from the TV pilot.
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
Edited · 1w
3/5 Indecent Exposure - Bedroom Set
The bedroom set was much smaller than the other two. It was built from four flats in the studio, but most of the work went into creating Frankie’s stalker collage.
Frankie keeps track of whoever she is currently obsessed with, so the wall included Instagram screenshots, poems, news articles, maps, stalker photography, cups with leftover lipstick, and even locks of hair. We filled the wall with printed and aged materials to match her character and what she likes.
For the connection string, we used the same shade of pink that Frankie wears in the scene. This helped tie her visually into the collage and made the space feel like an extension of her mindset.
This post shows the set, the collage details and the final shots from the TV pilot.
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
Edited · 1w
3/5 Indecent Exposure - Bedroom Set
The bedroom set was much smaller than the other two. It was built from four flats in the studio, but most of the work went into creating Frankie’s stalker collage.
Frankie keeps track of whoever she is currently obsessed with, so the wall included Instagram screenshots, poems, news articles, maps, stalker photography, cups with leftover lipstick, and even locks of hair. We filled the wall with printed and aged materials to match her character and what she likes.
For the connection string, we used the same shade of pink that Frankie wears in the scene. This helped tie her visually into the collage and made the space feel like an extension of her mindset.
This post shows the set, the collage details and the final shots from the TV pilot.
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
Edited · 1w
3/5 Indecent Exposure - Bedroom Set
The bedroom set was much smaller than the other two. It was built from four flats in the studio, but most of the work went into creating Frankie’s stalker collage.
Frankie keeps track of whoever she is currently obsessed with, so the wall included Instagram screenshots, poems, news articles, maps, stalker photography, cups with leftover lipstick, and even locks of hair. We filled the wall with printed and aged materials to match her character and what she likes.
For the connection string, we used the same shade of pink that Frankie wears in the scene. This helped tie her visually into the collage and made the space feel like an extension of her mindset.
This post shows the set, the collage details and the final shots from the TV pilot.
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
Edited · 1w
3/5 Indecent Exposure - Bedroom Set
The bedroom set was much smaller than the other two. It was built from four flats in the studio, but most of the work went into creating Frankie’s stalker collage.
Frankie keeps track of whoever she is currently obsessed with, so the wall included Instagram screenshots, poems, news articles, maps, stalker photography, cups with leftover lipstick, and even locks of hair. We filled the wall with printed and aged materials to match her character and what she likes.
For the connection string, we used the same shade of pink that Frankie wears in the scene. This helped tie her visually into the collage and made the space feel like an extension of her mindset.
This post shows the set, the collage details and the final shots from the TV pilot.
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
Edited · 1w
3/5 Indecent Exposure - Bedroom Set
The bedroom set was much smaller than the other two. It was built from four flats in the studio, but most of the work went into creating Frankie’s stalker collage.
Frankie keeps track of whoever she is currently obsessed with, so the wall included Instagram screenshots, poems, news articles, maps, stalker photography, cups with leftover lipstick, and even locks of hair. We filled the wall with printed and aged materials to match her character and what she likes.
For the connection string, we used the same shade of pink that Frankie wears in the scene. This helped tie her visually into the collage and made the space feel like an extension of her mindset.
This post shows the set, the collage details and the final shots from the TV pilot.
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
Edited · 1w
3/5 Indecent Exposure - Bedroom Set
The bedroom set was much smaller than the other two. It was built from four flats in the studio, but most of the work went into creating Frankie’s stalker collage.
Frankie keeps track of whoever she is currently obsessed with, so the wall included Instagram screenshots, poems, news articles, maps, stalker photography, cups with leftover lipstick, and even locks of hair. We filled the wall with printed and aged materials to match her character and what she likes.
For the connection string, we used the same shade of pink that Frankie wears in the scene. This helped tie her visually into the collage and made the space feel like an extension of her mindset.
This post shows the set, the collage details and the final shots from the TV pilot.
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
Edited · 1w
2/5 Indecent Exposure - Casting Room (Build and Final Set)
After finalising the design, Jess Sammon and I moved into building the casting room set in the workshop at IADT. We built the walls using flats, painted everything ourselves and then moved the finished structure into the studio. We handed our plans over to the workshop team and worked closely with them during construction. Bryce and Alice worked with us as our assistants throughout the build and pre-production.
We constructed and dressed the full space, including the custom receptionist table that appears throughout the scene. The aim was to keep the set simple and functional, matching the look of a real casting office while still fitting into the world of the story. We added graphics such as posters and signage to finish the environment and add to the storytelling.
This post shows the build process, the final casting room before filming, and a few shots from the finished TV pilot
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
2/5 Indecent Exposure - Casting Room (Build and Final Set)
After finalising the design, Jess Sammon and I moved into building the casting room set in the workshop at IADT. We built the walls using flats, painted everything ourselves and then moved the finished structure into the studio. We handed our plans over to the workshop team and worked closely with them during construction. Bryce and Alice worked with us as our assistants throughout the build and pre-production.
We constructed and dressed the full space, including the custom receptionist table that appears throughout the scene. The aim was to keep the set simple and functional, matching the look of a real casting office while still fitting into the world of the story. We added graphics such as posters and signage to finish the environment and add to the storytelling.
This post shows the build process, the final casting room before filming, and a few shots from the finished TV pilot
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
2/5 Indecent Exposure - Casting Room (Build and Final Set)
After finalising the design, Jess Sammon and I moved into building the casting room set in the workshop at IADT. We built the walls using flats, painted everything ourselves and then moved the finished structure into the studio. We handed our plans over to the workshop team and worked closely with them during construction. Bryce and Alice worked with us as our assistants throughout the build and pre-production.
We constructed and dressed the full space, including the custom receptionist table that appears throughout the scene. The aim was to keep the set simple and functional, matching the look of a real casting office while still fitting into the world of the story. We added graphics such as posters and signage to finish the environment and add to the storytelling.
This post shows the build process, the final casting room before filming, and a few shots from the finished TV pilot
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
2/5 Indecent Exposure - Casting Room (Build and Final Set)
After finalising the design, Jess Sammon and I moved into building the casting room set in the workshop at IADT. We built the walls using flats, painted everything ourselves and then moved the finished structure into the studio. We handed our plans over to the workshop team and worked closely with them during construction. Bryce and Alice worked with us as our assistants throughout the build and pre-production.
We constructed and dressed the full space, including the custom receptionist table that appears throughout the scene. The aim was to keep the set simple and functional, matching the look of a real casting office while still fitting into the world of the story. We added graphics such as posters and signage to finish the environment and add to the storytelling.
This post shows the build process, the final casting room before filming, and a few shots from the finished TV pilot
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
2/5 Indecent Exposure - Casting Room (Build and Final Set)
After finalising the design, Jess Sammon and I moved into building the casting room set in the workshop at IADT. We built the walls using flats, painted everything ourselves and then moved the finished structure into the studio. We handed our plans over to the workshop team and worked closely with them during construction. Bryce and Alice worked with us as our assistants throughout the build and pre-production.
We constructed and dressed the full space, including the custom receptionist table that appears throughout the scene. The aim was to keep the set simple and functional, matching the look of a real casting office while still fitting into the world of the story. We added graphics such as posters and signage to finish the environment and add to the storytelling.
This post shows the build process, the final casting room before filming, and a few shots from the finished TV pilot
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
2/5 Indecent Exposure - Casting Room (Build and Final Set)
After finalising the design, Jess Sammon and I moved into building the casting room set in the workshop at IADT. We built the walls using flats, painted everything ourselves and then moved the finished structure into the studio. We handed our plans over to the workshop team and worked closely with them during construction. Bryce and Alice worked with us as our assistants throughout the build and pre-production.
We constructed and dressed the full space, including the custom receptionist table that appears throughout the scene. The aim was to keep the set simple and functional, matching the look of a real casting office while still fitting into the world of the story. We added graphics such as posters and signage to finish the environment and add to the storytelling.
This post shows the build process, the final casting room before filming, and a few shots from the finished TV pilot
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
2/5 Indecent Exposure - Casting Room (Build and Final Set)
After finalising the design, Jess Sammon and I moved into building the casting room set in the workshop at IADT. We built the walls using flats, painted everything ourselves and then moved the finished structure into the studio. We handed our plans over to the workshop team and worked closely with them during construction. Bryce and Alice worked with us as our assistants throughout the build and pre-production.
We constructed and dressed the full space, including the custom receptionist table that appears throughout the scene. The aim was to keep the set simple and functional, matching the look of a real casting office while still fitting into the world of the story. We added graphics such as posters and signage to finish the environment and add to the storytelling.
This post shows the build process, the final casting room before filming, and a few shots from the finished TV pilot
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
2/5 Indecent Exposure - Casting Room (Build and Final Set)
After finalising the design, Jess Sammon and I moved into building the casting room set in the workshop at IADT. We built the walls using flats, painted everything ourselves and then moved the finished structure into the studio. We handed our plans over to the workshop team and worked closely with them during construction. Bryce and Alice worked with us as our assistants throughout the build and pre-production.
We constructed and dressed the full space, including the custom receptionist table that appears throughout the scene. The aim was to keep the set simple and functional, matching the look of a real casting office while still fitting into the world of the story. We added graphics such as posters and signage to finish the environment and add to the storytelling.
This post shows the build process, the final casting room before filming, and a few shots from the finished TV pilot
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
2/5 Indecent Exposure - Casting Room (Build and Final Set)
After finalising the design, Jess Sammon and I moved into building the casting room set in the workshop at IADT. We built the walls using flats, painted everything ourselves and then moved the finished structure into the studio. We handed our plans over to the workshop team and worked closely with them during construction. Bryce and Alice worked with us as our assistants throughout the build and pre-production.
We constructed and dressed the full space, including the custom receptionist table that appears throughout the scene. The aim was to keep the set simple and functional, matching the look of a real casting office while still fitting into the world of the story. We added graphics such as posters and signage to finish the environment and add to the storytelling.
This post shows the build process, the final casting room before filming, and a few shots from the finished TV pilot
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
2/5 Indecent Exposure - Casting Room (Build and Final Set)
After finalising the design, Jess Sammon and I moved into building the casting room set in the workshop at IADT. We built the walls using flats, painted everything ourselves and then moved the finished structure into the studio. We handed our plans over to the workshop team and worked closely with them during construction. Bryce and Alice worked with us as our assistants throughout the build and pre-production.
We constructed and dressed the full space, including the custom receptionist table that appears throughout the scene. The aim was to keep the set simple and functional, matching the look of a real casting office while still fitting into the world of the story. We added graphics such as posters and signage to finish the environment and add to the storytelling.
This post shows the build process, the final casting room before filming, and a few shots from the finished TV pilot
Directed and Written by: Nicole Crowley @nicolespatella
Head of Camera: Tom Farrelly @tomfarrelly01
Produced by: Aaron Hallows @aaronhallows
Production Designers: Lily Nager and
Jess Sammon
Assistant Production Design:
Alice Jolyet-Cunningham @alice.jc29
Bryce Manoovaloo @fabbryce_
Frankie: Claudia De Luca
Carrie: Emma Dennehy
Victor: Truman Callan Rudy Qualter
Maya: Katie Buggle
Edited by Nicole Crowley
Casting Director Eve Kiang
Casting Assistant Luke O’Donoghue
Production Manager Patryk Lukaszewski
Production Assistant Neasa O’Brien
Floor Managers Orla Engstfeld & Aindreas Fallon Verbruggen
Continuity Laura Gallaghar
PA Adelecia Boakye Diadem
Vision Mixer Daniel Byrne/Ana Francis
Media Manager Seán McNamara
Head of Camera Tom Farrelly
Camera Operators/Assistants Daragh O’Shea, Tadgh McLoughlin, Karl Corcoran, Harry Merton
Gaffer Vince Lévay
Best Girl Masha Moroz
Sparks Arlen Green & Percy Yates
Sound Recordist Eadaoin O’Shea Costley
Sound Assistant Jack King, Hasan Al-Sadar & Catie Grainger
Sound Design Manus Graham
Original Music by Hansel Hee Hon Wye
Costume Design by Hannah McKenzie
Makeup Artist Rebecca Duggan
SPX Makeup Artist Wanda Gal
GFX Bryce Manoovaloo & Francesca Marcus
1/5 Indecent Exposure -
Casting Room (Research and Design)
For my major project, I worked on Indecent Exposure, a TV pilot written and directed by Nicole Crowley and made in collaboration with the fourth-year TV course at IADT. The story follows a young woman determined to become an actress. Jess Sammon and I were the production designers, and together we created three sets in a studio: the casting room, the apartment and part of a bedroom.
For the casting room, we started with the idea of “Grand Canal Docks Chic.” We wanted this space to stand in contrast to the apartment set and to quietly reference the housing crisis in Dublin. It needed to feel like the kind of place where everything is presented as orderly and professional, which sits against the reality shown in the home environment later.
This post covers the early design stage, including research, moodboards, SketchUp tests and the final concept design and plans created in AutoCAD.
1/5 Indecent Exposure -
Casting Room (Research and Design)
For my major project, I worked on Indecent Exposure, a TV pilot written and directed by Nicole Crowley and made in collaboration with the fourth-year TV course at IADT. The story follows a young woman determined to become an actress. Jess Sammon and I were the production designers, and together we created three sets in a studio: the casting room, the apartment and part of a bedroom.
For the casting room, we started with the idea of “Grand Canal Docks Chic.” We wanted this space to stand in contrast to the apartment set and to quietly reference the housing crisis in Dublin. It needed to feel like the kind of place where everything is presented as orderly and professional, which sits against the reality shown in the home environment later.
This post covers the early design stage, including research, moodboards, SketchUp tests and the final concept design and plans created in AutoCAD.
1/5 Indecent Exposure -
Casting Room (Research and Design)
For my major project, I worked on Indecent Exposure, a TV pilot written and directed by Nicole Crowley and made in collaboration with the fourth-year TV course at IADT. The story follows a young woman determined to become an actress. Jess Sammon and I were the production designers, and together we created three sets in a studio: the casting room, the apartment and part of a bedroom.
For the casting room, we started with the idea of “Grand Canal Docks Chic.” We wanted this space to stand in contrast to the apartment set and to quietly reference the housing crisis in Dublin. It needed to feel like the kind of place where everything is presented as orderly and professional, which sits against the reality shown in the home environment later.
This post covers the early design stage, including research, moodboards, SketchUp tests and the final concept design and plans created in AutoCAD.
1/5 Indecent Exposure -
Casting Room (Research and Design)
For my major project, I worked on Indecent Exposure, a TV pilot written and directed by Nicole Crowley and made in collaboration with the fourth-year TV course at IADT. The story follows a young woman determined to become an actress. Jess Sammon and I were the production designers, and together we created three sets in a studio: the casting room, the apartment and part of a bedroom.
For the casting room, we started with the idea of “Grand Canal Docks Chic.” We wanted this space to stand in contrast to the apartment set and to quietly reference the housing crisis in Dublin. It needed to feel like the kind of place where everything is presented as orderly and professional, which sits against the reality shown in the home environment later.
This post covers the early design stage, including research, moodboards, SketchUp tests and the final concept design and plans created in AutoCAD.
1/5 Indecent Exposure -
Casting Room (Research and Design)
For my major project, I worked on Indecent Exposure, a TV pilot written and directed by Nicole Crowley and made in collaboration with the fourth-year TV course at IADT. The story follows a young woman determined to become an actress. Jess Sammon and I were the production designers, and together we created three sets in a studio: the casting room, the apartment and part of a bedroom.
For the casting room, we started with the idea of “Grand Canal Docks Chic.” We wanted this space to stand in contrast to the apartment set and to quietly reference the housing crisis in Dublin. It needed to feel like the kind of place where everything is presented as orderly and professional, which sits against the reality shown in the home environment later.
This post covers the early design stage, including research, moodboards, SketchUp tests and the final concept design and plans created in AutoCAD.
1/5 Indecent Exposure -
Casting Room (Research and Design)
For my major project, I worked on Indecent Exposure, a TV pilot written and directed by Nicole Crowley and made in collaboration with the fourth-year TV course at IADT. The story follows a young woman determined to become an actress. Jess Sammon and I were the production designers, and together we created three sets in a studio: the casting room, the apartment and part of a bedroom.
For the casting room, we started with the idea of “Grand Canal Docks Chic.” We wanted this space to stand in contrast to the apartment set and to quietly reference the housing crisis in Dublin. It needed to feel like the kind of place where everything is presented as orderly and professional, which sits against the reality shown in the home environment later.
This post covers the early design stage, including research, moodboards, SketchUp tests and the final concept design and plans created in AutoCAD.
1/5 Indecent Exposure -
Casting Room (Research and Design)
For my major project, I worked on Indecent Exposure, a TV pilot written and directed by Nicole Crowley and made in collaboration with the fourth-year TV course at IADT. The story follows a young woman determined to become an actress. Jess Sammon and I were the production designers, and together we created three sets in a studio: the casting room, the apartment and part of a bedroom.
For the casting room, we started with the idea of “Grand Canal Docks Chic.” We wanted this space to stand in contrast to the apartment set and to quietly reference the housing crisis in Dublin. It needed to feel like the kind of place where everything is presented as orderly and professional, which sits against the reality shown in the home environment later.
This post covers the early design stage, including research, moodboards, SketchUp tests and the final concept design and plans created in AutoCAD.
4/4 For the final part of the project, I made an animatic to Would That I by Hozier.
To match the people with the render, I had to redraw every frame by hand. It created a rotoscoping effect that blended the Ophelia inspired Character with the 3D space.
It was the most time consuming part, but the end result felt cohesive and close to what I had imagined for the full video.
4/4 For the final part of the project, I made an animatic to Would That I by Hozier.
To match the people with the render, I had to redraw every frame by hand. It created a rotoscoping effect that blended the Ophelia inspired Character with the 3D space.
It was the most time consuming part, but the end result felt cohesive and close to what I had imagined for the full video.
4/4 For the final part of the project, I made an animatic to Would That I by Hozier.
To match the people with the render, I had to redraw every frame by hand. It created a rotoscoping effect that blended the Ophelia inspired Character with the 3D space.
It was the most time consuming part, but the end result felt cohesive and close to what I had imagined for the full video.
4/4 For the final part of the project, I made an animatic to Would That I by Hozier.
To match the people with the render, I had to redraw every frame by hand. It created a rotoscoping effect that blended the Ophelia inspired Character with the 3D space.
It was the most time consuming part, but the end result felt cohesive and close to what I had imagined for the full video.
4/4 For the final part of the project, I made an animatic to Would That I by Hozier.
To match the people with the render, I had to redraw every frame by hand. It created a rotoscoping effect that blended the Ophelia inspired Character with the 3D space.
It was the most time consuming part, but the end result felt cohesive and close to what I had imagined for the full video.
4/4 For the final part of the project, I made an animatic to Would That I by Hozier.
To match the people with the render, I had to redraw every frame by hand. It created a rotoscoping effect that blended the Ophelia inspired Character with the 3D space.
It was the most time consuming part, but the end result felt cohesive and close to what I had imagined for the full video.
4/4 For the final part of the project, I made an animatic to Would That I by Hozier.
To match the people with the render, I had to redraw every frame by hand. It created a rotoscoping effect that blended the Ophelia inspired Character with the 3D space.
It was the most time consuming part, but the end result felt cohesive and close to what I had imagined for the full video.
4/4 For the final part of the project, I made an animatic to Would That I by Hozier.
To match the people with the render, I had to redraw every frame by hand. It created a rotoscoping effect that blended the Ophelia inspired Character with the 3D space.
It was the most time consuming part, but the end result felt cohesive and close to what I had imagined for the full video.
4/4 For the final part of the project, I made an animatic to Would That I by Hozier.
To match the people with the render, I had to redraw every frame by hand. It created a rotoscoping effect that blended the Ophelia inspired Character with the 3D space.
It was the most time consuming part, but the end result felt cohesive and close to what I had imagined for the full video.
4/4 For the final part of the project, I made an animatic to Would That I by Hozier.
To match the people with the render, I had to redraw every frame by hand. It created a rotoscoping effect that blended the Ophelia inspired Character with the 3D space.
It was the most time consuming part, but the end result felt cohesive and close to what I had imagined for the full video.
4/4 For the final part of the project, I made an animatic to Would That I by Hozier.
To match the people with the render, I had to redraw every frame by hand. It created a rotoscoping effect that blended the Ophelia inspired Character with the 3D space.
It was the most time consuming part, but the end result felt cohesive and close to what I had imagined for the full video.
4/4 For the final part of the project, I made an animatic to Would That I by Hozier.
To match the people with the render, I had to redraw every frame by hand. It created a rotoscoping effect that blended the Ophelia inspired Character with the 3D space.
It was the most time consuming part, but the end result felt cohesive and close to what I had imagined for the full video.
3/4
Set 2: The Underwater Room.
The process was similar to the garden set, but for this one I focused more on floor plans and elevation drawings created in Layout. The circular windows and overall structure were inspired by Victorian architecture and maritime buildings found along the coast.
Like the garden set, the furniture was based on Victorian designs and upholstered with the same calico fabric to connect both environments. The set kept the same LED screen approach. It was a way to build something that could never quite exist in real life, but still feel like part of the same world.
3/4
Set 2: The Underwater Room.
The process was similar to the garden set, but for this one I focused more on floor plans and elevation drawings created in Layout. The circular windows and overall structure were inspired by Victorian architecture and maritime buildings found along the coast.
Like the garden set, the furniture was based on Victorian designs and upholstered with the same calico fabric to connect both environments. The set kept the same LED screen approach. It was a way to build something that could never quite exist in real life, but still feel like part of the same world.
3/4
Set 2: The Underwater Room.
The process was similar to the garden set, but for this one I focused more on floor plans and elevation drawings created in Layout. The circular windows and overall structure were inspired by Victorian architecture and maritime buildings found along the coast.
Like the garden set, the furniture was based on Victorian designs and upholstered with the same calico fabric to connect both environments. The set kept the same LED screen approach. It was a way to build something that could never quite exist in real life, but still feel like part of the same world.
3/4
Set 2: The Underwater Room.
The process was similar to the garden set, but for this one I focused more on floor plans and elevation drawings created in Layout. The circular windows and overall structure were inspired by Victorian architecture and maritime buildings found along the coast.
Like the garden set, the furniture was based on Victorian designs and upholstered with the same calico fabric to connect both environments. The set kept the same LED screen approach. It was a way to build something that could never quite exist in real life, but still feel like part of the same world.
3/4
Set 2: The Underwater Room.
The process was similar to the garden set, but for this one I focused more on floor plans and elevation drawings created in Layout. The circular windows and overall structure were inspired by Victorian architecture and maritime buildings found along the coast.
Like the garden set, the furniture was based on Victorian designs and upholstered with the same calico fabric to connect both environments. The set kept the same LED screen approach. It was a way to build something that could never quite exist in real life, but still feel like part of the same world.
3/4
Set 2: The Underwater Room.
The process was similar to the garden set, but for this one I focused more on floor plans and elevation drawings created in Layout. The circular windows and overall structure were inspired by Victorian architecture and maritime buildings found along the coast.
Like the garden set, the furniture was based on Victorian designs and upholstered with the same calico fabric to connect both environments. The set kept the same LED screen approach. It was a way to build something that could never quite exist in real life, but still feel like part of the same world.
2/4 The Garden Set
Set 1: The Garden.
My first approach was Built mostly in SketchUp with some Blender assets mixed in. But because the file size and complexity got too heavy, I decided to use an LED screen background instead of full 3D environments.
The bed was based on Victorian wooden bed designs from my first research. The curtains inspired by boat sails, and the bedding was inspired by the lyrics “cotton and calico.” The bedside table also contains smaller objects tied to memories and references from earlier research.
This post goes from the early V-Ray tests to the final render. It was mostly about learning how to use the software and test different lighting and texture setups while figuring out the overall design.
2/4 The Garden Set
Set 1: The Garden.
My first approach was Built mostly in SketchUp with some Blender assets mixed in. But because the file size and complexity got too heavy, I decided to use an LED screen background instead of full 3D environments.
The bed was based on Victorian wooden bed designs from my first research. The curtains inspired by boat sails, and the bedding was inspired by the lyrics “cotton and calico.” The bedside table also contains smaller objects tied to memories and references from earlier research.
This post goes from the early V-Ray tests to the final render. It was mostly about learning how to use the software and test different lighting and texture setups while figuring out the overall design.
2/4 The Garden Set
Set 1: The Garden.
My first approach was Built mostly in SketchUp with some Blender assets mixed in. But because the file size and complexity got too heavy, I decided to use an LED screen background instead of full 3D environments.
The bed was based on Victorian wooden bed designs from my first research. The curtains inspired by boat sails, and the bedding was inspired by the lyrics “cotton and calico.” The bedside table also contains smaller objects tied to memories and references from earlier research.
This post goes from the early V-Ray tests to the final render. It was mostly about learning how to use the software and test different lighting and texture setups while figuring out the overall design.
2/4 The Garden Set
Set 1: The Garden.
My first approach was Built mostly in SketchUp with some Blender assets mixed in. But because the file size and complexity got too heavy, I decided to use an LED screen background instead of full 3D environments.
The bed was based on Victorian wooden bed designs from my first research. The curtains inspired by boat sails, and the bedding was inspired by the lyrics “cotton and calico.” The bedside table also contains smaller objects tied to memories and references from earlier research.
This post goes from the early V-Ray tests to the final render. It was mostly about learning how to use the software and test different lighting and texture setups while figuring out the overall design.
2/4 The Garden Set
Set 1: The Garden.
My first approach was Built mostly in SketchUp with some Blender assets mixed in. But because the file size and complexity got too heavy, I decided to use an LED screen background instead of full 3D environments.
The bed was based on Victorian wooden bed designs from my first research. The curtains inspired by boat sails, and the bedding was inspired by the lyrics “cotton and calico.” The bedside table also contains smaller objects tied to memories and references from earlier research.
This post goes from the early V-Ray tests to the final render. It was mostly about learning how to use the software and test different lighting and texture setups while figuring out the overall design.
2/4 The Garden Set
Set 1: The Garden.
My first approach was Built mostly in SketchUp with some Blender assets mixed in. But because the file size and complexity got too heavy, I decided to use an LED screen background instead of full 3D environments.
The bed was based on Victorian wooden bed designs from my first research. The curtains inspired by boat sails, and the bedding was inspired by the lyrics “cotton and calico.” The bedside table also contains smaller objects tied to memories and references from earlier research.
This post goes from the early V-Ray tests to the final render. It was mostly about learning how to use the software and test different lighting and texture setups while figuring out the overall design.
2/4 The Garden Set
Set 1: The Garden.
My first approach was Built mostly in SketchUp with some Blender assets mixed in. But because the file size and complexity got too heavy, I decided to use an LED screen background instead of full 3D environments.
The bed was based on Victorian wooden bed designs from my first research. The curtains inspired by boat sails, and the bedding was inspired by the lyrics “cotton and calico.” The bedside table also contains smaller objects tied to memories and references from earlier research.
This post goes from the early V-Ray tests to the final render. It was mostly about learning how to use the software and test different lighting and texture setups while figuring out the overall design.
1/4 Research & First Sketches
This project was part of my final year and was more about experimenting with SketchUp, V-Ray and Layout than creating a finished product. I chose a song by Hozier to build a visual world around.
I started by researching Hozier’s recurring themes: fire, water, mythology, and how women are often central in his videos. I also looked at Victorian paintings like Die Toteninsel by Arnold Böcklin and Ophelia by Sir John Everett Millais, along with Irish ruins and natural environments for character, architecture and furniture inspiration.
These first sketches and ideas helped shape the tone and atmosphere of the project before I even started building anything.
1/4 Research & First Sketches
This project was part of my final year and was more about experimenting with SketchUp, V-Ray and Layout than creating a finished product. I chose a song by Hozier to build a visual world around.
I started by researching Hozier’s recurring themes: fire, water, mythology, and how women are often central in his videos. I also looked at Victorian paintings like Die Toteninsel by Arnold Böcklin and Ophelia by Sir John Everett Millais, along with Irish ruins and natural environments for character, architecture and furniture inspiration.
These first sketches and ideas helped shape the tone and atmosphere of the project before I even started building anything.
1/4 Research & First Sketches
This project was part of my final year and was more about experimenting with SketchUp, V-Ray and Layout than creating a finished product. I chose a song by Hozier to build a visual world around.
I started by researching Hozier’s recurring themes: fire, water, mythology, and how women are often central in his videos. I also looked at Victorian paintings like Die Toteninsel by Arnold Böcklin and Ophelia by Sir John Everett Millais, along with Irish ruins and natural environments for character, architecture and furniture inspiration.
These first sketches and ideas helped shape the tone and atmosphere of the project before I even started building anything.
1/4 Research & First Sketches
This project was part of my final year and was more about experimenting with SketchUp, V-Ray and Layout than creating a finished product. I chose a song by Hozier to build a visual world around.
I started by researching Hozier’s recurring themes: fire, water, mythology, and how women are often central in his videos. I also looked at Victorian paintings like Die Toteninsel by Arnold Böcklin and Ophelia by Sir John Everett Millais, along with Irish ruins and natural environments for character, architecture and furniture inspiration.
These first sketches and ideas helped shape the tone and atmosphere of the project before I even started building anything.
1/4 Research & First Sketches
This project was part of my final year and was more about experimenting with SketchUp, V-Ray and Layout than creating a finished product. I chose a song by Hozier to build a visual world around.
I started by researching Hozier’s recurring themes: fire, water, mythology, and how women are often central in his videos. I also looked at Victorian paintings like Die Toteninsel by Arnold Böcklin and Ophelia by Sir John Everett Millais, along with Irish ruins and natural environments for character, architecture and furniture inspiration.
These first sketches and ideas helped shape the tone and atmosphere of the project before I even started building anything.
1/4 Research & First Sketches
This project was part of my final year and was more about experimenting with SketchUp, V-Ray and Layout than creating a finished product. I chose a song by Hozier to build a visual world around.
I started by researching Hozier’s recurring themes: fire, water, mythology, and how women are often central in his videos. I also looked at Victorian paintings like Die Toteninsel by Arnold Böcklin and Ophelia by Sir John Everett Millais, along with Irish ruins and natural environments for character, architecture and furniture inspiration.
These first sketches and ideas helped shape the tone and atmosphere of the project before I even started building anything.
1/4 Research & First Sketches
This project was part of my final year and was more about experimenting with SketchUp, V-Ray and Layout than creating a finished product. I chose a song by Hozier to build a visual world around.
I started by researching Hozier’s recurring themes: fire, water, mythology, and how women are often central in his videos. I also looked at Victorian paintings like Die Toteninsel by Arnold Böcklin and Ophelia by Sir John Everett Millais, along with Irish ruins and natural environments for character, architecture and furniture inspiration.
These first sketches and ideas helped shape the tone and atmosphere of the project before I even started building anything.
1/4 Research & First Sketches
This project was part of my final year and was more about experimenting with SketchUp, V-Ray and Layout than creating a finished product. I chose a song by Hozier to build a visual world around.
I started by researching Hozier’s recurring themes: fire, water, mythology, and how women are often central in his videos. I also looked at Victorian paintings like Die Toteninsel by Arnold Böcklin and Ophelia by Sir John Everett Millais, along with Irish ruins and natural environments for character, architecture and furniture inspiration.
These first sketches and ideas helped shape the tone and atmosphere of the project before I even started building anything.
1/4 Research & First Sketches
This project was part of my final year and was more about experimenting with SketchUp, V-Ray and Layout than creating a finished product. I chose a song by Hozier to build a visual world around.
I started by researching Hozier’s recurring themes: fire, water, mythology, and how women are often central in his videos. I also looked at Victorian paintings like Die Toteninsel by Arnold Böcklin and Ophelia by Sir John Everett Millais, along with Irish ruins and natural environments for character, architecture and furniture inspiration.
These first sketches and ideas helped shape the tone and atmosphere of the project before I even started building anything.
View Instagram Stories in Secret
The Instagram Story Viewer is an easy tool that lets you secretly watch and save Instagram stories, videos, photos, or IGTV. With this service, you can download content and enjoy it offline whenever you like. If you find something interesting on Instagram that you’d like to check out later or want to view stories while staying anonymous, our Viewer is perfect for you. Anonstories offers an excellent solution for keeping your identity hidden. Instagram first launched the Stories feature in August 2023, which was quickly adopted by other platforms due to its engaging, time-sensitive format. Stories let users share quick updates, whether photos, videos, or selfies, enhanced with text, emojis, or filters, and are visible for only 24 hours. This limited time frame creates high engagement compared to regular posts. In today’s world, Stories are one of the most popular ways to connect and communicate on social media. However, when you view a Story, the creator can see your name in their viewer list, which may be a privacy concern. What if you wish to browse Stories without being noticed? Here’s where Anonstories becomes useful. It allows you to watch public Instagram content without revealing your identity. Simply enter the username of the profile you’re curious about, and the tool will display their latest Stories. Features of Anonstories Viewer: - Anonymous Browsing: Watch Stories without showing up on the viewer list. - No Account Needed: View public content without signing up for an Instagram account. - Content Download: Save any Stories content directly to your device for offline use. - View Highlights: Access Instagram Highlights, even beyond the 24-hour window. - Repost Monitoring: Track the reposts or engagement levels on Stories for personal profiles. Limitations: - This tool works only with public accounts; private accounts remain inaccessible. Benefits: - Privacy-Friendly: Watch any Instagram content without being noticed. - Simple and Easy: No app installation or registration required. - Exclusive Tools: Download and manage content in ways Instagram doesn’t offer.
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