[laughs] For our listeners who might not know, what does a production designer do exactly [laughs] and how does that role help to shape the visual identity of a show or a film?

We're usually fairly early in on the process, usually before even the cinematographer, scouting, looking for locations, working with the producer, if it's television, a showrunner/writer, getting out there trying to fi- if there are locations involved, trying to find those, you know, breaking down the script, then hiring, usually hiring a- an art director that then the art director hires the rest of the design crew to come in.

And it's, you know, it's, it's working with a lot of departments, you know, from lighting to, to story to the producer to budget, um, trying to sort of keep it all, like, sort of intact and, and going in the right direction.

And it's, you know, it's great to be ...

I've worked with, uh, a couple cinematographers a lot, so you sort of depart...

You sort of build this sort of shorthand so you can get the project running in the right direction fast, 'cause obviously time, time is money.

How do you decide what gets physically built versus extended with help of VFX?

There's, it's sort of two things.