Unboxing Netflix: Designing a Cinematic Group Portrait
When Netflix approached us to photograph a large-scale group portrait, it wasn’t just a shoot — it was a full-scale production. With nearly 30 people to include, the goal was clear: create something elegant, cinematic, and layered. No class photo vibes. No chaos. Just storytelling through space, light, and structure.
A Month of Planning in 5 Weeks
From the moment I got the call, we had just over a month to deliver. The timeline was tight, but I knew the only way to make this work was through meticulous planning. The first step: location scouting to get exact measurements and understand the scale we’d be working with. Once I had those dimensions, I built the first layout drafts in SketchUp.
Conceptualization & Collaboration
With the measurements in place, I met with the AV Photo Editor and Art Director from Netflix to start shaping the creative vision. Together we went over mood boards, references, and concepts. The layout had to be dynamic — a blend of clean composition and organic energy. From there, I began building detailed markups in SketchUp: wall structure, platforms, vintage lighting setups, rugs, couches, stands — everything had to be designed digitally to guide the build team later.
Virtual Renderings & Lighting Previews
To bring this vision to life, I exported everything into Twinmotion. This allowed me to simulate lighting, camera angles, and even people placement. With almost 30 individuals involved, I experimented with staggered levels, apple boxes, standing and seated positions — always focusing on balance and visual flow. I tested different focal lengths to define lens choice — wide, medium, or long. This 3D environment gave us full control to pre-visualize the final shot before stepping on set.
We used Twinmotion to test lighting from different sides, play with perspective, and block people according to compositional rules. The goal was to avoid visual clutter and make sure each person had space to breathe — while still feeling connected.
Lighting Diagram
To light 30 people across multiple planes with depth and consistency, we built a setup that allowed full coverage without flattening the image:
2 Elinchrom 6-foot softboxes, each powered with 2400W packs, placed at both sides of the set to wrap light across the group.
A large 12x12 diffusion screen (1-stop) in front of the scene to soften the entire light wash and eliminate harsh shadows.
2 umbrellas positioned underneath eyeline, also powered at 2400W each, to gently lift the shadows and maintain clean detail on every face.
All lights were synced and adjusted to give even exposure across top, middle, and bottom layers — ensuring no one was lost in shadow, regardless of position.
From Digital to Physical: Set Design & Build
Once the full design was approved, I finalized and sent over all the specs to the set designers. This included exact dimensions, materials, and prop lists. They had less than two weeks to construct everything — the custom wall, platforms, steps, and all the vintage elements that would anchor the aesthetic.
We revisited the location two days before the shoot to review the plan with the producer, set builders, and creative team. The day before, we worked alongside the lighting crew and Netflix art directors to prep lighting — ensuring every layer of the set was lit with shape, not just exposure.
Shoot Day Strategy
We arrived early. The set was fully assembled, lighting pre-blocked, and everything ready to go. We had limited time with talent, so efficiency was critical. The group was divided into three sections: left, center, and right, each with marked positions. This allowed us to work fast and avoid chaos.
We shot multiple frames:
One with lighting and no people (for merging later)
One with each group section
One full group frame
This gave our on-site retoucher everything needed to merge cleanly and quickly — making it easier to swap heads, fix eyelines, or remove any visual noise.
Final Frame, Delivered Overnight
The energy was there. The layout held up. And the lighting sculpted each person beautifully. We selected the final image on set, sent it for merging, and the retoucher had it ready within an hour. It was published in press the next morning.
Final Thoughts
This project pushed every part of my process — from creative direction and 3D design to on-set execution and delivery. It reminded me how vital preparation is when scale increases. Thirty people. One shot. No chaos. Just design, precision, and storytelling.
