Nina Ruscio, production designer on the drama max The PittA meticulously designed a set which would precisely represent an emergency room. “We never wanted to set up a dynamic where there was something that you could not watch or there was something that was inacculy, because if all this brought you out of the immersive experience of the series, it would have been on us,” she said THR. “We were very careful.”
The basics
Ruscio was invited to conceptualize the design of production for The Pitt While she had another project. During her vacation, she designed this plan before a single script. The writers then used it to concoct scenarios. “From the first day, they would affect patients and people at each space on my layout,” explains Ruscio, who entered on board four months later. Because The Pitt takes place in one place for 15 episodes, she designed a set that would never have trouble. “The corridor curve was my solution to give the impression of having a continuous movement,” explains Ruscio. “You could [always] Return where you come from.
With the kind permission from HBO
Real equipment
Ninety percent of the medical equipment used on the issue have been purchased, and not rented. This trauma tower – a robust hanging arm that contains all the necessary equipment for seriously ill patients, without taking a precious property ER – is an example of real medical equipment and work that Ruscio and his team have obtained to make the whole authentic. The set Matt Callahan set that has found two that were imported from Canada, and the 2,000 -pound pieces had to be pized at the top of the stage to accommodate their 6,000 pounds of couple. Around the trauma tower, a white color palette is used everywhere. “It is a whitewashed palette, because, really, most of your hospital experiences are sterile like that,” explains Ruscio.
With the kind permission from HBO
Ceiling as canvas
Ruscio has dotted certain specific design elements to the architectural heritage of Pittsburgh buildings overall, like the marble columns of this photo, to really put it in the ground in one place. She also played with the design of the ceiling. “The ceiling has this dynamic geometry which maintains the buzzing of the eyes,” she explains. “It is not all linear, and it was intentional.” Ruscio did not put the lighting on the ground and rather integrated the lighting only into the ceiling to add to the “sterile” sensation of a real ER.
With the kind permission from HBO
A “long checklist”
Before the start of production, Ruscio told his team: “We will choose the floor, we will choose the palette and we will choose the ceiling. These things will be our choices forever. ” Everything, pods in the nurses, has been made to measure and built. Ruscio visited several hospitals and does research on the industrial design of hospitals to learn what is happening in the development of such a space. “I had a very, very long list of control of essential needs,” she says.
The super grid
The emergency room was built Fire Lane sur Fire Lane on a set of 24,000 square feet in 10 weeks. The wooden subnet, nicknamed “The Super Grid”, at the top is a structure to maintain the ceiling of the whole. Ruscio has built ceilings to add to the feeling of claustrophobia that one would live within a real emergency. The space has also been designed to guarantee the movement of fluids so that the use of portable cameras makes a documentary feel at the show, rather than a narrative series, explains Ruscio. The sets in the waiting room and the staircase leading to administrative offices were built on a separate scene.
With the kind permission from HBO
This story appeared for the first time in an autonomous issue in June from the Hollywood Reporter Magazine. To receive the magazine, click here to subscribe.
