{"id":6173,"date":"2026-08-19T06:05:21","date_gmt":"2026-08-19T06:05:21","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=6173"},"modified":"2026-08-19T06:05:21","modified_gmt":"2026-08-19T06:05:21","slug":"how-a-knight-of-the-seven-kingdoms-fallout-and-spider-noir-production-designers-built-out-their-worlds-while-honoring-the-source-material","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=6173","title":{"rendered":"How \u2018A Knight of the Seven Kingdoms,\u2019 \u2018Fallout\u2019 and \u2018Spider-Noir\u2019 Production Designers Built Out Their Worlds While Honoring the Source Material"},"content":{"rendered":"
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\n\tThis year, an unprecedented number of genre and fantasy shows broke into the Emmys race, including \u201cWidow\u2019s Bay,\u201d \u201cA Knight of the Seven Kingdoms,\u201d \u201cIt: Welcome to Derry,\u201d \u201cFallout,\u201d \u201cSpider-Noir\u201d and \u201cAlien: Earth,\u201d which were all recognized across multiple below-the-line categories.<\/p>\n

Read more \u2018Days of Our Lives\u2019 EP on Bringing John Oliver\u2019s Dream Soap Opera Role to Life: \u2018He Wanted to Be Slapped\u2019<\/a><\/p>\n

\n\tShows like \u201cAKOTSK,\u201d \u201cAlien: Earth,\u201d \u201cIt: Welcome to Derry\u201d and \u201cFallout\u201d already have an aesthetic that can be adapted from their source material, whether that\u2019s a video game, novel, movie franchise, comic book or series, as well as a passionate fan base. For the production designers and artists behind these shows, already having that established audience served as both a blessing and a curse.<\/p>\n

\n\t\u201cSpider-Noir\u201d is based on David Hine and Fabrice Sapolsky\u2019s 2009 comic book, but production designer Warren Alan Young says the crew was more focused on presenting Nicolas Cage\u2019s titular character and the surrounding 1930s noir-drenched New York landscape as if audiences were encountering this story for the first time.<\/p>\n

\n\tThe show brought an entirely unique approach, with the episodes designed for either black and white or color viewing. For Young, that meant extensive testing to make sure the textures, patterns and wallpaper fabrics on all the sets would pop in both settings, leading the filmmaking team to apply a LUT filter on top of the digital cameras.<\/p>\n

\n\tYoung says the Rockefeller Center construction site was one of the most difficult sets to build as part of the show\u2019s period setting. \u201cThe framing you see is all steel beams, and our magnificent metal worker and welder worked with us on getting it together. There was a lot of engineering that needed to happen,\u201d he says. \u201cThe next trick was figuring out how to make a set that we could afford to build look like you\u2019re moving throughout the floor during the fight scene.\u201d\u00a0<\/p>\n

\n\tMuch of the show was filmed on Sony, Universal and Warner Bros. backlots, including historic areas of downtown L.A. Young took inspiration from classic noirs like \u201cThe Maltese Falcon\u201d and \u201cThe Lady From Shanghai,\u201d while adding, \u201cWe weren\u2019t looking to mimic specific moments or worlds, and I think the most identifiable aspect would be the use of unmotivated light and shadow.\u201d<\/p>\n

\n\tLike \u201cSpider-Noir,\u201d \u201cFallout\u201d is one of the rare nominated shows to be shot locally in Los Angeles \u2014 a significant move given the current production downturn in the area, and the success the first season found shooting in New York. But the creative team was set on expanding the scale of the show by moving the action to New Vegas in the year 2296.<\/p>\n

\n\tThis season is more closely attached to the story of the 2010 game \u201cFallout: New Vegas,\u201d but production designer Howard Cummings noticed that the game\u2019s visuals were lacking due to how \u201cquickly\u201d it was produced.<\/p>\n

\n\t\u201cIt\u2019s both a challenge and privilege, actually, to have the freedom to expand the game in certain directions, and then we have a producer from [game publisher] Bethesda [Softworks] who works with us and they\u2019ll share assets,\u201d Cummings says. For example, he revamped the look of the Deathclaws using Illustrator to make them \u201cmeaner\u201d and \u201cless goofy.\u201d<\/p>\n

\n\tWhile the show relies heavily on visual effects, the goal is to always do everything as practically as possible \u2014 including creatures like the Radscorpion and Deathclaws, which use puppets and animatronics.<\/p>\n

\n\tIn addition to filming in real California locations, including an abandoned hotel in Baker and landscapes across the Mojave Desert, the majority of the season was shot using LED-volume soundstages, which helped expand the exterior views of the nighttime Las Vegas Strip. \u201cAnd we shot on film, which is very different. It was a way of making it feel less video and more like a Western,\u201d Cummings adds.<\/p>\n

\n\tFor \u201cA Knight of the Seven Kingdoms,\u201d which is adapted from George R.R. Martin\u2019s novellas \u201cTales of Dunk and Egg,\u201d production designer Tom McCullagh and set decorator Stephanie Rea were tasked with bringing audiences back into the kingdom of Westeros a century before the events of HBO\u2019s blockbuster series \u201cGame of Thrones.\u201d<\/p>\n

\n\t\u201cBy no means did we try to scale it down because we were a much smaller production and had less money. It still had to have a wow factor to it, and I hope that was achieved in the jousting and the markets,\u201d McCullagh says, with one of the show\u2019s biggest builds including the Ashford Meadow tournament base that had to be built out of steel.<\/p>\n

\n\tThe show was filmed across Northern Ireland, and the weather proved to be brutal, with the rain constantly destroying sets that had to be rebuilt. But both McCullagh and Rea commend the artisans within their department, many of whom were brought over from \u201cGame of Thrones.\u201d\u00a0<\/p>\n

Read more Clive Barker Announces Kickstarter-Exclusive Anthology Book Series \u2018Library of the Dead\u2019 (EXCLUSIVE)<\/a><\/p>\n

\n\t\u201cIt was the end of winter when we were starting to dress and build those sets. It was tough on morale,\u201d Rea says. \u201cBut that\u2019s the joy of the crew here \u2014 they really pour everything into it, and that\u2019s why it\u2019s great having a production like this over here.\u201d<\/p>\n

\n\tIsland-set \u201cWidow\u2019s Bay\u201d is one of the rare genre shows this year to fully build out an original world. Having worked on Mike Flanagan\u2019s \u201cMidnight Mass,\u201d which is set on a remote island, production designer Steve Arnold knew exactly how to approach this idiosyncratic world.<\/p>\n

\n\t\u201cWe couldn\u2019t work on an actual island, so it was cobbling together a bunch of pieces of New England,\u201d Arnold says. \u201cFortunately, we\u2019re in Massachusetts, which has a lot of great older buildings, houses, things that haven\u2019t been messed with or modernized very much. So it has a great quality and texture already.\u201d<\/p>\n

\n\tMost of the locations had to be built from scratch across four large soundstages, including the Loftus house, the Breakwater Inn and the two boats serving as the only transportation in and out of the island.<\/p>\n

\n\tArnold and his department had to be savvy and find ways to reuse certain sets without audiences noticing.<\/p>\n

\n\t\u201cWe built the basement for the Breakwater Inn set, which was kind of small, and then we just expanded that to be the basement of the town hall,\u201d he says. \u201cAnd we reused the buildings that we had built for the ferry landing wharf area for the town in the 1700s.\u201d<\/p>\n

\n\tBeyond production design, \u201cIt: Welcome to Derry\u201d made waves online for its Emmy-nominated title design sequence, which established the unsettling world of Derry both for audiences familiar with director Andy Muschietti\u2019s two \u201cIt\u201d films, and King\u2019s decades-spanning novel.<\/p>\n

\n\t\u201cI wanted to do justice to all the things that are connective tissue that we are or are not necessarily going to see in the show,\u201d Muschietti says. \u201cI wanted to base it on the art of advertising in the \u201850s, early \u201860s, mainly tourist illustrations and postcards.\u201d<\/p>\n

\n\tSeth Kleinberg, Aaron Becker and Troy Miller of L.A.-based Filmograph worked on the design for over six months, with eight artists officially recognized by the Emmys for their work.<\/p>\n

\n\t\u201cThis is essentially an endless diorama that you\u2019re pulling back from, and that diorama flattens out into your nice little perfect take-home postcard at the end that you would get in the Derry tourist shop,\u201d Becker says of the creative brief. \u201cWe\u2019ve touched on all these different eras and it makes me wonder if we\u2019re going to need to make another one [for Season 2]!\u201d<\/p>\n

\n\tThe sequence is full of Easter eggs and references to events that have yet to happen in the \u201cWelcome to Derry\u201d series, teasing future seasons and storylines that fans of the book will recognize. For Muschietti and his team, thinking outside the box with a title design sequence like this is just one example of how showrunners and below-the-line artisans can elevate the way they bring multiple generations of fans together.<\/p>\n

\n\t\u201cI\u2019m a filmmaker that believes a movie [or show] should be an interactive experience where people have to use their brains because there\u2019s nothing more fun than to put the pieces together,\u201d Muschietti says. \u201cIt was a work of love.\u201d<\/p>\n

Read more John Irvin, Director of \u2018Hamburger Hill,\u2019 \u2018Tinker Tailor Soldier Spy,\u2019 Dies at 86<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Emmy-nominated production designers behind “A Knight of the Seven Kingdoms,” “Spider-Noir” and more shows break down how they designed their worlds.<\/p>\n","protected":false},"author":1,"featured_media":6172,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[217],"tags":[4799,469,757],"class_list":["post-6173","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-artisans","tag-a-knight-of-the-seven-kingdoms","tag-fallout","tag-spider-noir"],"yoast_head":"\nHow \u2018A Knight of the Seven Kingdoms,\u2019 \u2018Fallout\u2019 and \u2018Spider-Noir\u2019 Production Designers Built Out Their Worlds While Honoring the Source Material - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=6173\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"How \u2018A Knight of the Seven Kingdoms,\u2019 \u2018Fallout\u2019 and \u2018Spider-Noir\u2019 Production Designers Built Out Their Worlds While Honoring the Source Material - 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