Yoshimura adds fondly, “Studio 8H was built with his ideas around studio production. Studio is there, and it feels like it will always be there,” Raywood says. While his work is writer-driven, he says, “The adrenaline of having four days forces you to make things better.”īoth production designers worked alongside the late Eugene Lee, who had been with “SNL” since its 1975 debut and built some of the famous sets, including the “Saturday Night Live: 15th Anniversary” show and “SNL Presents: Halloween.” Lee died earlier this year but his presence remains strong. It wasn’t until Thursday when Yoshimura saw the camera pull back in rehearsals that he realized something was lacking in the design: “I like to stretch what the camera sees, so I added the pool of foggy water.” “We painted leaf shapes, and we rendered exotic colorful flowers, so when the cameras turned blue, it added a saturated pigment,” he says. He wrapped the trees in aluminum foil, primarily used a Styrofoam cave with landscaping, and added a bird for “a visual layer.” Yoshimura, who built the Na’vi planet, had to do something outside of the norm for the scene: “We had to do camera tests to turn the cast blue, which added a layer of technology to the performers.” With space and swiftness in mind, the designers begin their work.Īn “Avatar” sketch in January featuring host Aubrey Plaza and Heidi Gardner was one example of how a set evolved from conception.
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