RA VINCENT

This is one of the first images Ra produced for 'What We Do In The Shadows'. the goal was to establish a hero look for the house where much of the story would take place.

'Working in pen and water color you can relay in very simple color ways and basic shapes how you would like a key environment to feel.'

Set Design in CAD allows accurate breakdown of set elements for pricing and an opportunity for the director to interact with a 3D model and make changes before committing to the build. This model was designed and built by Matt Hunkin and Ra Vincent.

The Final dressed set wanted to be a classic version of a B movie deadpan Vampire flat.

We gave the set plenty of room for tonnes of action shots.

For cost effectivness this room had to take advantage of the exsisting studio wall and stair case.

This is the final set piece after we set the stunt man on fire.

Some major set builds only need brief illustrations to describe them, like this very quick sketch of a hallway on rollers. 

A very basic construction plan based on the real life crime scene. 

Because of the requirement to flood the set, the flat was built on top of a pool liner, which was later given sides and made into a water catchment.

Trailer here..http://www.stuff.co.nz/entertainment/film/film-festival-2015/70291092/trailer--belief-the-possession-of-janet-moses 

The set was to match an exsisting location, so special care was taken to match materials and the finishes on the front of the building.

The flat in which much of the documentry is shot, was made to come apart at almost every joint. This gave camera and lighting oppertunity to shoot dramatic frames outside of the confines of the set. 

Ra standing in the break away section of house, this set was built as a floodable unit.

Half shot on the exterior location, the front of the building had to be replecated back in the studio.

The replecated studio set version of the exterior location.

These exterior flats were chosen for their strong resemblance to the original crime scene.

https://www.youtube.com/watch?v=5BaVb2TlWb0

This concept art served as both set design lead and Set Decoration design.

This was a concept for set design and a set dressing pass for props and set decoration. The colorways and furniture treatments where conceived at this point early on in prep.

The final product, translated from concept art to final set.

This painting was used as both concept art and a set dressing pass. Many of the photoshopped elements where taken from photos of available prop house items.

Set dressing study for the Looking glass parlour. 

Hatters house detail, set dressing details showing the Hatters workstation and his family portrait.

Concept art for Alices time travel machine.

Set dressing Art for lonely mountain Amoury.

This is a dressing pass on what would become the city of Dale. The artwork was painted from various technical drawings almost a year in advance of the set construction.

The exhibition sign, designed and built to be mounted on the parapit of the museum building for the five year exhibition period. Poly, fiberglass, steel and gold leaf.

The introduction to the exhibition is a small belgium village, complete with the sounds of nearby music and people.

Cut away of a typical British trench.

Details the use of field telephones, in this case an original artifact.

This false garden was designed as a quite area to sit and reflect on the exhibition. 

This project was completed in 7 days with 3 sculptors 2 scenic artists.

The introduction to the exhibition is a small belgium village, complete with the sounds of nearby music and people.

Cut away of a typical British trench.

Stone, Bronze, Timber sculpture wellington Nz