Production designer - responsible for the "entire visual appearance of the film" (Maher, 2015). To achieve this they liaise with the whole art department, costume department, make-up department and more. They work with the director to help "bring his vision to life" (Maher, 2015), they also work with the producer to "calculate the needed budget" (Maher, 2015). This cost will vary depending on what time of film they are working on, for example, the budget will vary depending on whether they need to create a simple, modern set or a sci-fi space ship. Sometimes, the production designer is hired before the director, they can look at scripts to estimate the cost needed to bring the story to life. Once the director is hired, they will both decide on the best way to shoot the film - on set or on location.
Art director - reports directly to the production designer. They "oversee the artists and designers who help create the overall look of the film" (Maher, 2015). It is their job to supervise the planning and practical design of sets and set pieces. On smaller productions, the job of the production designer and art director are usually combined.
The art director will analyse the script to make a list of "all necessary props and special set pieces that may require an extended time to design, build, or acquire" (Maher, 2015). They also oversee the creation of all necessary plans that will be given to the construction department. They manage the creation and dressing of all sets and locations.
Assistant art director - responsible for carrying out the art director's plans, including "measuring locations and other necessary information the production designer needs" (Maher, 2015). They are also responsible for researching and making props, assisting with model making and surveying sites.
Standby art director - this role is an art director that monitors the art department during filming. If there isn't a standby art director, the responsibilities fall to the props master and on-set dresser. They'll watch the video playback monitor to make sure all set pieces appear as needed. They will also coordinate with standby painters and standby carpenters if any last minute changes are needed on set during filming.
Draughtsman (set designer) - responsible for the technical drawings of sets. These drawings, computer models and physical models will include "all measurements and materials needed for construction" (Maher, 2015). On many sets, the draughtsman is usually the first assistant art director.
Concept artist (illustrator) - A concept artist works on a specific set piece. This includes the design of creatures and monsters to the look of a space ship. Sitcoms are usually set in everyday locations with everyday characters. Due to the nature of VET-MAN and being set in the present, we will not be needing a concept artist.
Graphic designer - creates physical graphic elements for a set. A graphic artist can create newspapers, posters, contracts, signs etc.
Storyboard artist - turns a screenplay into a set of detailed illustrations. Storyboard artist will create storyboards which the production team use to plan out every shot. The storyboard will show the entire film from the point of view of the camera. It will display camera angles, a character's actions and position, as well as other major elements needed for a shot. They will also list any necessary movements on screen, like a character jumping or an object falling.
Art department coordinator - responsible for monitoring daily operations. They will "work among the various departments to verify that all sets and props are ready on time" (Maher, 2015), they manage the departments' budget and schedule the sets construction and dress. The art department coordinator will also "create location notes" (Maher, 2015). These highlight everything from details of construction, needed set dressing and props. They will use the notes to gain licenses and permission for location shoots, as well as ensuring that health and safety protocols are met.
Set decorator - responsible for decorating a film set. This includes furniture, fixtures and overall decor. Another job for them is to dress props. This includes everything from cars and animals to dishes and household items. Set decorators will work with "product placement and acquiring approval to use copyrighted items" (Maher, 2015). Before a shoot, they will photograph all items and assign them to each set, and on set they will manage the swing gang and place everything in the correct place. After the shoot, they will make sure the set is broken down and everything is back in the right places.
On-set dresser - places and removes all dressing props. They are responsible for practically everything on the set: furniture, rugs etc. If an object is moved during a scene, it is the on-set dresser's job to return the object to the original place to maintain the continuity of the shot. Sometimes, the on-set dresser will take photos to help them remember where the prop originally was. Having an understanding of the characters in a film also helps an on-set dresser do their job. To dress the set, they may want to interpret the character: what the character likes, dislikes. Is the person neat or messy etc. This will help them in terms of how to use the particular prop.
Painter - responsible for the final appearance of a set, all surface preparation, priming, painting and finishing. In addition, they can also apply special finishes, like marbling or graining to sets.
Props master - responsible for finding or making practical props. If the film is a period piece, they are responsible for making sure that the props are accurate to that era. After this, they would then establish the desired look and feel of the production. The props must reflect the overall aesthetic of the show. The prop master is the person who shops for the props through garage sales, thrift stores and high street shops. The budget for a film varies however, it is the aim of the prop master to ask for as much money as they can get and use as little as possible.
Prop maker - responsible for making custom props, including creating any type of castings, or wiring electronics to make a functioning prop. They are usually given instructions, designs or rough ideas by the production designer, art director or props master before the shoot. From the designs, prop makers must plan and create the props necessary for production.
There are a couple of jobs in this list that I have taken on myself, which means I can exclude those particular jobs for our new crew member. Examples include, looking through the script and noting down each prop that is needed and also creating an estimated budget. This would ideally be the art director's role but I have taken this on. Additionally, I have researched towards the specific props in order to get the most appropriate item, for example I specifically looked for an old, used leather doctors bag so the idea of Tim picking up his dads old work bag would be more realistic. I have also made a couple of our props myself, such as the leaflets and the diploma. I feel as if I have taken on the role of art director by going through the script and listing each prop needed. In addition to this, I feel I have take on the role of props master during both the pre-production unit and the major project unit, as I budgeted enough and more for the props, however even though I looked for certain items to create the budget, when I started buying them I was constantly looking for the best price.
As a result of evaluating all the above job roles, I have decided that we would need an on-set dresser to help us on our film. Their job role would consist of knowing the script well and therefore knowing what props are needed, when and where they are needed as well. This will subsequently leave Katie, Alex and myself to be free to concentrate on our own job roles. In addition to this, throughout my research I found out that scenes are often shot out of order, which is why on-set dressers are needed to help keep the continuity the same. Similarly to most productions, I have arranged our schedule so the scenes are out of order, not on purpose but it was simply how the dates fell. However, reading this piece of information I realised how important an on-set dresser would be for the continuity aspect of filming. Their main aim for the day would be to make sure all the props are in the correct places each time they are moved and to do that they would need to know the script well, as I said previously.
The next thing for me to do was to look at who would be experienced enough to know what they are doing on set. Someone who I could trust to leave with the props and where to put them so I can concentrate on producing, making sure the cast and crew are happy and ensuring we have all the shots we need. I researched into the type of degree an on-set dresser would need for a high budget production to know where to look for an appropriate crew member. However, I discovered that a degree isn't necessary, they just need relevant experience, ideally in student theatre or film, low budget independent films and experimental or 'fringe' theatre.
This inspired me to get in contact with someone I went to school with - Harriet Gadd. She is currently in her 3rd year, studying Costume and Performance Design at Arts University Bournemouth and during her degree she has had to create props, as well as her costumes. She has designed, made and sourced photoshoot props as a commission for a handbag company in London. She was a scenic artist on two shows (Blood and Ice and Mary Shelley) where she made props and helped to construct and paint the set for both of these shows. She has made puppets for a production called Freakenstein and she is currently designing and making the puppets for a musical production of The Lion, the Witch and the Wardrobe. In addition to this, Harriet has also completed a lot of design work for costumes and sets since she started at University.
I think she would be a great asset to bring to our team, due to her knowledge from being on sets and having to design items for the sets. She will be able to bring a fresh mind into our production and on the look of it. Although I have already brought / created most of the props, once she familiarises herself with the script she may have new ideas. She is able to visit Kent over the time that we are filming at the Kent Owl Academy, and luckily her half term week is the same as our study week, when she will be returning home - the week in which we will be completing the majority of our filming.
Harriet Gadd
On-set dresser
On-set dresser
Photographer
I was advised to recruit a stills photographer as an art department member. A stills photographer takes the vitally important photographs of film sets or studio shoots that are used to create the press and publicity for feature films. In our case, I can use stills from the shoot days for promotional purposes to aid my marketing and advertising attempts for VET-MAN. If the images are used well, they can contribute to a film's box office and international sales success. Although we are creating a short film on a low budget, professional looking stills would be more likely to persuade people to watch our final film. Someone's thought process could be - if we can take good photos, then maybe we can create a good film. This is the reason as to why I am looking for someone with an interest in photography.
Anyone can take a photo, social media sites such as Instagram can prove this, however, I want to recruit someone who can take exceptionally good photos, therefore I am looking for someone who is currently studying or has studied photography. I will explain that we want stills of the scenes but also behind the scenes photos which include the crew. While the stills will add to the promotional material, such as posters, the behind the scenes photos can be used on the VET-MAN Instagram and Facebook page so people can see how we are creating the film.
I was recommended to ask a student from UCA Rochester who studies Fashion Photography - Gina Riley. I found Gina's website and was very impressed. Her photos are very clear and focused. They are also very creative and imaginative, therefore, I believe that she will have good ideas for photos for us. She was very keen to be involved when I contacted her which makes me think that she will be a part of the project from the first shoot day to the last. She lives in the Kent area and is free to help us with the majority of the shoot days. I listed the most important ones and she is free to attend these days. I explained that the first two shoot days at the owl academy are essential as we will have the opportunity to get a lot of good promotional material here with the owls. The Bell Inn is another important location as it may be interesting to our social media followers that we are shooting in a pub. Finally, the next shoot day that she said she could attend was the Margate one where we aim to hit the dog. This sequence of shots, along with the surgery scene and blood splatter may be interesting for the social media so we would like professional photos at this location as well.
Gina Riley
Photographer
Photographer
References:
- Maher, M. (2015). The Art Department: Design, Construction, Decor, and Props. Available: https://www.premiumbeat.com/blog/the-art-department-design-construction-decor-and-props/. Last accessed 2nd Feb 2019.
- http://getinmedia.com/careers/prop-master
- https://www.ucas.com/ucas/after-gcses/find-career-ideas/explore-jobs/job-profile/set-designer
- http://www.media-match.com/usa/media/jobtypes/still-photographer-jobs-402791.php
- http://getinmedia.com/careers/prop-master
- https://www.ucas.com/ucas/after-gcses/find-career-ideas/explore-jobs/job-profile/set-designer
- http://www.media-match.com/usa/media/jobtypes/still-photographer-jobs-402791.php
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