A podcast set is read from every angle.3D shows them all before the build.

A video podcast is rarely shot on a single camera. Each guest, each reverse shot and the wide shot reveal a different part of the set.

In short: list your camera positions and seats, then have the set visualized in 3D from each of them. You check the table, the backdrop behind each guest, the lighting and the branding before anything is built. Set design starts at €300 excl. VAT per image with a supplied 3D file.

What I offer: I design your set in 3D and render it from each of your camera positions, so you can sign off on the table, backdrop, lighting and branding before anything is built.

3D podcast set for Zack Nani’s Lockin Show — **Lockin Show · Zack Nani**

What each shot needs to show

Shot	What has to read	What the 3D view checksMe
Wide shot	The whole set and the show’s identity	The balance of the set and where the brand sits
Close-up on the host	The face, the mic and a readable background	What shows up behind the head
Reverse shot on the guest	A different but consistent background	That this background is not a blank wall
Table shot	Hands, mics, objects on the table	The table’s height and depth

See my 3D set design offer

Production notes

Start from the camera positions, not the floor plan

On a floor plan, the set is seen from above. On screen, it is seen in pieces: a wide shot, then close shots that cut every few seconds.

The first step is to place the seats and cameras. Each camera position becomes a 3D view. You then see what each shot actually shows, and what is missing.

The reverse shot is often a set’s weak spot. The wall behind the guest matters as much on screen as the one behind the host.

Table, backdrop and branding on screen

The table sets the distance between people, where the mics go and what lands in the table shot. Its shape and height can be tested in 3D before it is made.

The backdrop creates depth: shelves, plants, a screen, an opening onto a landscape as on Domingo’s The OGs. Several layers read better than a flat wall.

The show’s brand needs to stay visible in several shots, not just the wide one. 3D shows where a logo, a neon sign or a screen stays readable without crowding the frame.

Lighting and mood

Lamps, neon and indirect lighting visible in the set are part of the image. 3D lets you compare several moods on the same set, as with the McFly & Carlito studio.

The renders show a lighting intent. Setting the lights on faces remains the shoot crew’s job, on site.

Acoustics and constraints to flag

An image does not measure sound. Hard, bare surfaces can make a room ring: acoustics should be checked with a specialist, and their panels can then be worked into the set in 3D.

Flag the doors, windows, pillars, outlets, cable runs, ceiling height and camera positions in the brief. Anything left off the plan will not appear in the views.

3D design does not replace the architect, the carpenter or the installer. It gives them a shared picture to work from.

What I offer

I visualized the set of the Lockin Show, Zack Nani’s podcast, in 3D: its volumes and its mood. For Domingo’s The OGs, I designed an interior opening onto a tropical landscape, from working renders to the set used on screen.

I also designed the McFly & Carlito set in 3D, later built with the help of architects. I work in Cinema 4D and Octane, with previews to approve before the final render.

My work covers design and 3D visualization only. Fabrication, purchasing and installation are up to you or a contractor. Set design starts at €300 excl. VAT per image with a supplied 3D file; without one, the price is set on quote.

Frequently asked questions

How many views does a podcast set need?

At least one per camera position: the wide shot, one shot per seated person and, if needed, a table shot. The exact number depends on your camera setup.

What should I send to get started?

The floor plan or room measurements, camera and seat positions, your brand guidelines, references, photos of furniture you keep and your timeline.

Can the renders be used for fabrication?

They serve as a visual reference and a brief. Shop drawings and technical choices belong to the architect or fabricator, as with the McFly & Carlito set.

Can you handle acoustics?

No. I can work the panels or treatments chosen by a specialist into the set, so you can see how they look on camera.