I was asked by Jerry Bruckheimer and Les Moonves to reinvent the look of CSI:NY after it's first season -- this is the set I designed, which was kept for 8 seasons until the show's close.


Click on any image below to expand it.


These next few shots are of the main atrium area of the set.

In all cases I always put several layers of architecture between the backing and the camera lens.

You can see through the floors of the building.

This is the nexus of activity on the set. In addition to the lobby, the Main character's office is to the left behind camera. Note that the camera does not have to tilt at all to catch the second floor walkway as it is set at an actor's head height on the main floor.


All of the labs have at least two large walls of glass.


This is 125' of the major labs for the show. All of the glass walls gimbal and whole sections can be moved and pulled vertically into the grid.

This is the terminus of the hallway. There are two levels of glass before you get to the backing.

This is the Central Hallway at night.


A typical office set-up.


This is the massive layout and fingerprint lab. The walls are custom vac-u-form panels as is the ceiling. Each lab had it's own individual wall and ceiling textures which became visual cues as the series progressed. 

There are three levels of glass to the outside world.


3 of the 4 walls in the office have glass between the office, hallways and the backing. There was always activity and something visually dynamic to look at in his office. When the occasion would arise, shades were hidden in the design of the glass walls and could be deployed quickly.

There are three levels of glass working in concert here.


Inside the trace lab. Here we have four levels of glass and activity before we get to the backing.

Multiple levels of transparency and activity.




I kept the glass theme of the main set. We have a set that is more than a room -- there is always a place where professional but subdued activities can occur in the BG.

Even though the BG is dark, the lighted wash areas give tonal interest without overwhelming the foreground.

I wanted the set area relatively dark save for the featured autopsy area.  I added stainless steel textures to many of the surrounding walls which pick up the minimal lighting.  This feature adds interest and texture to the BG without overwhelming the main area.