25 April 13
Meet set designer Bingemann, the man who is responsible for setting the scene for the BAFTAs.
Peter Bingemann has been the set designer for BAFTA's Film Awards ceremonies since 2002 and for the Television Awards since 2007. Each year he brings a unique concept to the stage, always achieving a set design that reflects the glamour and prestige of the event.
In this interview Peter explains exactly what is involved when it comes to setting the scene for the biggest night in UK film.
It was a childhood ambition combined with a love of theatre. I went to art school and studied Theatre Design.
My first proper design job was working as a staff designer at Tyne Tees Television in Newcastle.
BAFTA/ Simon LeighMost of my work in the past 20 years has been linked by television. I have designed some wonderful events like LIVE8 and Concert for Diana at Wembley Stadium and some big and unique specials with artists like Paul McCartney Take That, Kylie and Michael Bublé. I have been the Production Designer of The Brit Awards for the past 3 years and am proud to have designed 5 Royal Variety shows. For 12 years I have been the designer of the Nobel Peace Prize Concert in Norway. I have designed shows in most of the great theatres and venues in the UK and a show in the grounds of Buckingham Palace. Also dozens of television shows of all shapes and sizes and of course 12 BAFTA Film Awards!
I work on about 12 shows each year.
I have been designing the BAFTA Film Awards since 2002 and The BAFTA Television Awards since 2007
The BAFTA Film Awards have always been a special show for me. It is an incredibly glamorous show to be involved with. Even more so when it moved to The Royal Opera House in 2007.
BAFTA/ Simon LeighIt is wonderful working at the Royal Opera House but we have to work around their enormously busy schedule. It is not uncommon for 2 whole productions to be moved on and off stage in a single day. Our BAFTA set moves on and off stage twice in 48 hours so the design has to take this into consideration. We discuss with the Opera House what they can accommodate and have to carefully consider how the design will integrate with their current shows.
With difficulty! Ideas develop over the year. We look at current trends. The idea of glamour has always been a linking theme.
It varies but usually about 8-10 weeks.
BAFTA/ Simon LeighCAD is not essential but a very useful tool that we use in the design process. We use a CAD programme to produce all the technical drawings of our designs. The actual designs are presented as colour scale models. This is the way that most theatre designs are still created and presented. Despite the popularity of computer drawn visuals, in my opinion a scale model is still the best and most accurate way of presenting a set design.
As well as creating a stunning environment the design has to be very practical for the TV show. It has to give the television director plenty of scope for varied and interesting shots of the celebrities making their entrances. We also carefully consider the background of the main shots of people standing at the lectern.
Seeing the biggest film stars appearing on a set I have designed is always a thrill!
Over 13 years a number of creative people have contributed ideas and helped to develop designs. Once the design is agreed the set builders work on realising the design and then we spend several days at the Opera House fitting up the finished set.
I also work closely with the Lighting Designer. The lighting is a very important part of the finished picture.
BAFTA/ Simon Leigh
The best design is always a result of a collaborative exchange of ideas.
I think a degree in theatre or film design is still a good start. However designing is a craft so working as an assistant to a designer is when the real learning process starts. It requires a lot of drive and commitment as well as creativity so it has to be something that you feel passionately about doing.
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