CASE STUDY / PRODUCTION 06
Luis Miguel — Netflix Mexico
CASE STUDY / PRODUCTION 06
Luis Miguel — Netflix Mexico
CASE STUDY / PRODUCTION 06
Luis Miguel — Netflix Mexico
Production
Production
Netflix Mexico
Netflix Mexico
DIRECTORs
DIRECTORs
Humberto Hinojosa Ozcariz,
Natalia Beristáin, and Adrian Grunberg
Humberto Hinojosa Ozcariz,
Natalia Beristáin, and Adrian Grunberg
YEAR
YEAR
2020
2020
PRODUCTION TYPE
PRODUCTION TYPE
Series show / Studio set
Series show / Studio set
01 / THE CONCEPTION
Defining the visual style for the period (1980s–1990s) to match the show’s historical setting
Defining the visual style for the period (1980s–1990s) to match the show’s historical setting
Defining the visual style for the period (1980s–1990s) to match the show’s historical setting
The second season follows the singer through the 1990s, at the height of his fame and also one of the most turbulent times of his life. The design had to recreate that era in detail: concert stages, luxury homes and the glamour of a star who seemed to have everything, while hinting at the loneliness behind the image.
The second season follows the singer through the 1990s, at the height of his fame and also one of the most turbulent times of his life. The design had to recreate that era in detail: concert stages, luxury homes and the glamour of a star who seemed to have everything, while hinting at the loneliness behind the image.
As set designer, I was in charge of the concert stages, which had to be filmed on the same day. I designed one stage that could change quickly and reuse the same pieces, so it became a new concert each time. I also drew plans for interior and exterior sets and helped supervise construction.
As set designer, I was in charge of the concert stages, which had to be filmed on the same day. I designed one stage that could change quickly and reuse the same pieces, so it became a new concert each time. I also drew plans for interior and exterior sets and helped supervise construction.
Fig. 01 — The stage needed to recreate real concert stages in different times.
Fig. 01 — The stage needed to recreate real concert stages in different times.
Fig. 02 — Each concert needed to re use as many elements as needed, while fully change the era it took place in real life.
Fig. 02 — Each concert needed to re use as many elements as needed, while fully change the era it took place in real life.
Fig. 03 — The lighting design was essential to shift the mood of each stage.
Fig. 03 — The lighting design was essential to shift the mood of each stage.
“On a production this big, you can’t work in silos. Graphics, props and set dressing all had to move as one team, because there was no time to fix things twice.”
“On a production this big, you can’t work in silos. Graphics, props and set dressing all had to move as one team, because there was no time to fix things twice.”
“On a production this big, you can’t work in silos. Graphics, props and set dressing all had to move as one team, because there was no time to fix things twice.”
Andrea C.G.
Andrea C.G.
Stage designer
Stage designer
02 / DESIGN PROCESS
Beginning to end ons a stage
Beginning to end ons a stage
Beginning to end ons a stage
Every set starts on paper. Sketches turn into a scale model and technical plans, so the director, the art team and the construction crew can see the space and agree on it before anything is built.
Every set starts on paper. Sketches turn into a scale model and technical plans, so the director, the art team and the construction crew can see the space and agree on it before anything is built.
Next, the set is built at full size. Construction is only half the job, though. Paint, ageing and texture make new wood and fresh walls look like they’ve been lived in for years, and that’s what makes the space believable on camera.
Next, the set is built at full size. Construction is only half the job, though. Paint, ageing and texture make new wood and fresh walls look like they’ve been lived in for years, and that’s what makes the space believable on camera.
Finally, the set is installed on location and lit for filming. Light shows the depth, the materials and the mood, and the space is ready for the cameras.
Finally, the set is installed on location and lit for filming. Light shows the depth, the materials and the mood, and the space is ready for the cameras.