A typical day for me is pretty standard. I start with a protein-rich breakfast and then potter around the house. Lunch is mainly steamed veggies with protein, usually daal or grilled chicken. However, as a production designer, my work is project-based, and once I sign onto one, there is nothing typical about those days.

Let’s take a typical shooting day for a hypothetical one-day television commercial. The day is a culmination of many days’ work – exactly how many depends on the complexity of the project.

Prior to arriving at the location, I have several meetings with the creative team from the client, the ad agency and the director’s side. During these meetings we decide every aspect of the shoot. Storyboards are discussed in detail: the look and feel of the set, the target audience, the location and the budget. Colour schemes are also considered; TV commercials often require that a specific colour be emphasised. Every shot is planned – from how many plates should be on a table to the lighting fixtures.

The planning is followed by days when the work is executed. There is usually some construction to be done – even when shooting on location – and carpenters are hired. Props have to be purchased or rented – and they have to be perfect. I remember spending an entire day looking for the perfect butter dish, and believe me, they are not easy to find. Perhaps the most gruelling part is the costume design – if that comes under my purview. Purchasing the outfits, or making them from scratch and selecting the correct accessories is fun if it involves a day out with friends, but it turns into a herculean task when planning for large casts or where the requirements are very specific. Of course, Karachi’s heat and traffic do not help. Trust me, planning and strategising for wars could not be more complicated.

But I digress. I was talking about a typical day of shooting. This is when all the meticulous planning goes south, because like all good plans, they do not survive the first encounter. As a production designer, my team and I are the first ones at the location. Chances are I have already been there the day before to ensure work is progressing apace, but I still have to arrive early on the day itself in order to catch the more obvious blunders. Because they will be there. The white wall is perhaps too bright; or, to get the correct depth on screen, the set has to be moved another 10 feet and requires another three walls. You name it; it has happened. Being there early allows me to make these adjustments. I take pains to ensure the set looks fantastic, and if a long shot does not make it into the final cut, it always breaks my heart.

Once things are (mostly) in place, I take a short break while the lighting crew does its magic and the camera crew starts setting up for the first shot. Although I say I take a break, this is usually when I am torturing the makeup team, insisting on more natural and realistic styling. I hate overly made-up models with hair so stiff from the hairspray it could hold up a building. Once done, I return to ensure that the frame is adequately designed. Are the props in the correct place or does a particular plant need to move six inches to the right? Is the lamp I spent three hours sourcing looking good or is it creating too much of a glare and needs to be removed? What is in the foreground? Does it match the overall feel or is there something incongruous that needs to be adjusted? The foreground is very important, as that is where the details are most visible – please remember my butter dish!

The day progresses in a similar manner. Looking through the camera’s electronic viewfinder and ensuring that everything is where it should be and that the spaces are neither too empty nor too full. Over the years, I have built a large collection of props, and my house looks like a museum or a hoarder’s nightmare, depending on the day. But all these items that I have meticulously collected are brought to the set in order to fill in those empty spaces that we could not account or plan for.

As the shoot progresses, every frame has to be looked at with an aesthetic eye and continuity has to be maintained. Someone, or rather a lot of ‘someones,’ will notice if a lamp in the far-right background suddenly disappears. It is my job to make sure that doesn’t happen. It is also my job to ensure that the biryani stains from the lead person’s lunch accident are also covered up or washed – depending on the severity. Then, at the end of a gruelling day, I am also responsible for overseeing the packing up, confirming that all props have been retrieved and are ready for transport back to my home (picture a hoarder’s nightmare here).

I am writing about my ‘typical’ day on a one-day TV commercial shoot, as it encapsulates the experience. However, this is not the totality of my work, and I have been part of the production team for documentaries, art films, commercial films and most recently I ventured into the exciting world of fashion. Each has their unique set of challenges and requirements. But I have to say that fashion has been a whole new world for me; it is a space where my creativity is allowed free rein. What you see in a 30-second commercial is an idealised and highly curated depiction of what we imagine reality could, should or will be. But next time you watch a TV commercial, take a second to appreciate the hard work that goes into creating those visuals by the rarely acknowledged artists who dedicate their lives to bringing a little more beauty into the world!

For the last two years I have been practising intermittent fasting, so my day usually ends early, unless a project takes longer than usual. If I have time, I meet up with friends. As I live alone, I visit my family as often as possible, as they are very important to me and a central tenet of my life. Whenever I get the chance, I travel, as I feel this informs my work, allowing me to see different things and absorb different cultures. My favourite travel destinations include San Francisco and London, and I really want to visit Bali and Scotland in the future.

Tayyab Siddiqui has been working in advertising since 1998 and as a freelance production designer since 2004. siddiquitayyab@gmail.com