The Story⚡
Chris Udomi is the founder and creative lead of Acaso Designs, the Lagos-based production design studio behind films like Up North, The Set Up, Red Circle, Obara’M, Day of Destiny, and music videos including Ayra Starr’s “Jazzy’s Song.” An AMVCA and AMAA nominee, he is regarded as one of Nigeria’s most dependable production designers.
In this Exclusive interview, we sat down with him to talk serendipity, set secrets, and what’s coming next. But before that, what does he do for Nollywood?
How did the idea of starting Acaso first come to you?
I can’t say there was a light bulb moment; I guess it was just one of those moments where everything aligned and we found ourselves already doing something and decided to name it. This also influenced the name ACASO, which is a Spanish coinage for SERENDIPITY. It is a series of coincidental events that lead up to an amazing thing.
What were the early days of Acaso like before it became an industry leader?
I’ll be lying if I said it was rough; it wasn’t the smoothest, but we sure had a soft landing, because I worked a while with a mentor and friend in the person of Capt. Frost, who also happens to be a top production designer in Nigeria, ensured we got in easily, got us in the right room, and the hard work started with proving ourselves and ensuring we stayed in those rooms.
Can you share your journey to becoming a top production designer in Africa?
It all sums up to SERENDIPITY again, i was serving in bauchi state when Inkblot and Anakle came to make the movie UP NORTH, I got onto crew as an art department intern with the help of my friends and senior colleagues Kelvin Udofia and Frank Iheanochor (In blessed memories), the art department was headed by Chima temple and Capt frost, i guess i pulled my weight and they saw something in me, particularly Isioma Osaje who ensured that Capt frost got me to lagos for Inkblot’s followup project THE SETUP, been here and happy ever since doing the work and rising to the top.
How did you approach the set design for Ayra Starr’s jazzy song video?
For Ayra Starr’s jazzy song video, I approached the set design by first studying the tone and texture of the music, soulful and slightly nostalgic. From there, I focused on building a visual world that complemented that sound: rich colours, soft lighting, and a blend of vintage and contemporary elements that feel intimate yet stylish.
I curated props and furniture that added character without overwhelming the artist, using textures like velvet, wood for ambience. I also paid attention to spatial flow, making sure every corner of the set could serve as a beautiful frame on camera while still giving Ayra room to move naturally. Overall, the goal was to create a mood-driven environment that matched the song’s emotion and elevated the storytelling.
What challenges did you overcome on RED CIRCLE?
There were a number of them, one of which was maintaining scale. We were in different worlds, the RICH and the Poor, but we had a clear and worrisome task of ensuring that in whatever world we were in, ASPIRATION and GRANDEUR were evident; it was quite easy with the wealthy characters. Making the poor stay poor but have a sense of pride and aspiration was where we struggled, but we overcame this by exaggerating subtle elements. Like the Large mural of the Kingpin, the Pop of colours in the poor environment as opposed to browns and muted colours.
Share your process of collaborating with the Director and Producers on major projects?
In working with Directors and producers, I have found that there are two compliments to strive for, “I LOVE YOUR WORK” and “I LOVE YOUR PROCESS” while the first would most likely come from viewers and prospective clients, the later would definetly come from the producer and director, so i ensure to run them through the plan for each space with the aid of sketches, 3D plans (when we have the time) or a very detailed document that explains what the execution plan is, that way my director gets to experience the space even before we start execution, and i also stay active and fluid for crazy changes that may be beyound the control of the producer, so we are up and available to help him or her run the day without any losses, losses or wasted funds are a producer’s nightmare, and we try not to be lead in those nightmare moments.
Who are your key influences in production design?
Internationally, I’ll say Nimish Kotwal is an indian production designer. Naobie Noisette is a South African production designer with whom I have had the privilege to work several times. Locally, I would say Uncle Pat Nebo. I still make references to his work a lot of times. Niyi Akinmolayan doesn’t take credit for his production design work, but if you know, you know!
What’s one upcoming project Chris Udomi is excited about in 2026?
We are cooking something new with the same team from Red Circle. That’s all I can say.
What do you do for fun when not working?
Family time, Gossip with the wife, play with the kids! I put my phone on DND to keep my Call of Duty ranking up. Watch movies, eat, sleep, repeat!
In Summary
Today, Acaso Designs is booked months in advance, and Chris Udomi is already working on his next big feature with the Red Circle team in 2026. Serendipity started it — consistent excellence keeps it going.
Thanks for Reading.
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