The design of the set progressed for costing and layout until the director and DP started and then through conversation of images and discussion of the progression of light in the courtroom throughout the day, we added more windows on the jury side of the courtroom as a light source.

The textures of the Courtroom resonated in the outlying spaces – the dark timber behind Kate in the courtroom followed her into the meeting room. The textured concrete behind the jury followed them into their jury room and the light timber behind the judge and on the ceiling moved out into the public corridor. The harmony of textures and finishes never dominated the action but acted as a scaffold for the action and weight of the juror’s experience in the courtroom.

The set was designed for the jury and their experience in the courtroom, the weight of their role as a jury was reflected in the church of the law design of the space.

Click pictures to enlarge. 

Unlike the typical crime drama, The Twelve  views the court process from the perspective of the Jury. The details and images of the controversial, complex and harrowing case are explored from different personal perspectives of the jurors as prosecution case is gradually presented to the jury over each episode. The emotional and personal impact of the court case on the lives and relationships of various jury members are explored, as the ramifications unfold and their personal lives become entangled.

Each of the jury’s houses were also cast to reflect the socio-economic standing and to suit their various backgrounds. For example, Corrie’s mixed Christian and Hindi family traditions are present in the dressing of her house, while the physical and biological clocks ticking for Vanessa’s and her partner were reflected in the set dressing.

A substantial studio build realised of the courtroom and corridor in one studio and the Jury room and Kate’s photography studio in another.

This layout worked well for resets as well as the flow of the shoot. Having a studio set as opposed to locations allowed space in the schedule to regroup and speed up the shooting days as well as weather cover (which was well utilised as we experienced one of the wettest Sydney summers in decades).

Kate’s studio was exterior on location and interior set-in studio – this worked extremely well as this set was used as a backdrop for Kate’s artistic work which was shot in pre and then throughout the series as more depth in her work was explored.

Art Director Patrick James Howe
Set Decoration Diana Robertson
Art Dept Co-ord Isra Parr
Plain Buyer Dresser Mia Summerville
Buyer Dresser Mitchil Mann
Casual Buyer Melinda Cluer
Props Master Samatha Chebatte
Standby Props Velvet Chitham
Assist Standby Props Grace Lunn
Graphics Brian Carlin
Art Dept Runner Scott Russell
Swing Millie Dondas
Swing Josh Irvin
Art Dept Assit Holly-Jane Cole
Vehicle Wrangler Adam Pinnock
Vehicle Wrangler Morgan Mackay