Building Worlds

ISSUE: 130

How does working with digital platforms compare to working with actual movie sets?

JD: Working on actual film sets with low budgets requires a tremendous amount of prep. I generally meticulously do low-resolution previsualization in my 3D modelling software. I decide early on where I want the camera to be placed and map out all the shots we require for coverage and then rehearse it with timings, lighting setups, etc. That way we know exactly how we’re spending our money and what we should expect to be able to capture in-camera for the day.

Do you believe awards and recognition are important for a designer?

JD: I have internal strife that I constantly have to reckon with when it comes to critically evaluating my work against the recognition that it receives. It often requires me to be brutally honest with myself without necessarily buying into the praise. While that can be stifling at times, it keeps you honest to the core intention of your work. There’s always pressure to succumb to and serve the overpowering voices of critics or audiences. The potential of awards and recognition can drive a project off-course, especially when you want to push boundaries, be a nonconformist and make work that is truly experimental.

What are you currently working on?

JD: I am currently working on a film called Drawbridge-Restitch, which takes place in a world built to critique the geo-demographic misrepresentation of certain Los Angeles neighbourhoods in mainstream media and its contribution to gentrification. And this is still under wraps at the moment, but I’m working as a World-Builder for a TV show that is currently in development. I’m looking forward to bringing this new setting to life and sharing our vision with audiences soon.

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