One modular set, three campaign settings

Design a structure that can carry more than one scene

Dmitrii developed the room in 3D before construction. The studio then built the modular set and changed its layout and dressing to give each setting its own character. Reusing the structure helped control costs and kept a consistent look and feel across the three films.

The project shows one way to approach a campaign with several environments. A shared construction can carry different scenes when the visual idea allows it. Explore whether a shared structure can support the visual needs of each scene in your brief.

Give each setting a distinct purpose

The auction hall combined a podium and audience seating. In the gallery, the painting became the centre of the scene. Furniture, plants and artwork turned the room into Pirlo’s apartment. The structure connected the settings while changes in layout and dressing gave each one a different character.

• Auction hall: podium, audience and the presentation of the painting.
• Gallery: the painting at the centre of the scene.
• Apartment: furniture, plants and artwork within the room.

Keep the layout, construction and finished work visible

The case study includes Dmitrii’s 3D layout, photographs of the room during construction and the finished campaign films. They show different stages of the same project: a planned room, a physical structure and the dressed spaces on camera.

Kitavin Studio’s credited role is set design and build. The films demonstrate the completed settings. The original case retains its campaign images, films and exact role.

What to decide when briefing a similar set

Begin with the number of scenes, visual references and the product or action each setting needs to support. Explain which elements should stay consistent and which must change. Share the planned shoot sequence, camera requirements and location constraints with the team so the proposal can address them.

Ask the design proposal to distinguish the shared structure from scene-specific dressing and changeovers. Agree what needs to be built, what can be sourced and who approves the result. Use those decisions to define the scope of your own production.

Scope the whole set-design assignment

A modular structure still needs preparation, construction, installation and dressing. Changes between scenes also need to be planned. Define those responsibilities with the production team instead of treating reuse as an automatic price or timing guarantee.

Bring a reference, an early concept or an existing production brief. We can discuss set design within your team or a wider campaign production, with the responsibilities made explicit.