The Art Department

 

 

 

 

The art department on a project is one of the most important departments. Like the camera crew, its work is seen completely on the screen. The art department is the team that creates the total look of all the sets and locations. While the camera department, specifically the DP, is responsible for the photographic look of the show, the art department is responsible for everything the camera photographs. As with other departments, your script and the extent of your budget will determine how involved or big your art department is. If the film is very high budget, you will most likely find all of the positions listed in this chapter. If the film is medium budget, you may have approximately 60 percent of the crew in Figure 8.1. If your film is low to very low budget, you may have only a few people to cover this area. In low budget, this means that the few people you have will need to double, sometimes triple, their duties in order to accomplish the production design. Following is a list of the many crew involved in this department, along with their duties and responsibilities.

PRODUCTION DESIGNER

The production designer (PD) is the head of the art department. She is completely responsible for the look of the film. Let’s say the film is a futuristic science fiction piece: the PD creates the look of the futuristic world, from what color may dominate the sets to how clean or gritty this futuristic world will look. She is also responsible for the art department budget, which is often a significant part of the overall budget. The PD usually begins working shortly after pre-production has begun.

Pre-Production

  ■ Reads the script and makes artistic decisions, such as what color scheme will be prominent and what style the sets will have. Draws preliminary designs for any sets that are needed.

  ■ Goes to the locations very early to have input into exactly which locations are chosen.

  ■ Meets with the director to collaborate on the look of the film.

 

 

  ■ Goes over every scene in the script to determine any special needs. Prepares the art department section of the budget for the producer.

  ■ Meets with the producer to approve the budget.

  ■ Hires the art director and possibly the set decorator.

  ■ Delegates the execution of the film’s look to the art director.

  ■ Visits the building of various sets periodically to make sure the look is being obtained.

  ■ Holds weekly meetings with the art department crew.

  ■ Continues to meet with the director as needed.

  ■ Continues to work throughout pre-production with the director, DP, and wardrobe to coordinate the look of the show.

Production

  ■ Not on set all the time—may be working on future set designs or wrapping out previously shot sets.

  ■ Approves each set once it is decorated and dressed before shooting begins for that set. Except for the DP and director, the PD has final approval of the set.

  ■ Continues to visit the building of various sets to monitor their progress.

  ■ Continues to monitor the art department budget with the help of the art department coordinator.

Wrap

  ■ Wraps up the budget and confirms with the accounting department that all accounts are cleared.

  ■ In the past, the PD’s job would be finished at the end of principal photography. However, with the advent and more frequent use of computer-generated images (CGI), the PD may be needed in post-production to work with a visual effects team to ensure the look of the film is retained. More and more sets are being designed by computer.

ART DIRECTOR

The art director is responsible for executing the look that the PD wants. She also supervises the construction of the sets. The art director comes onto the project shortly after the PD.

Pre-Production

  ■ Draws all the sets.

  ■ Is responsible for special set considerations. These considerations could be anything from finding a medieval throne to designing a futuristic fireplace.

  ■ Delegates the building of sets to the construction coordinator.

  ■ Works daily with the PD to implement the look of the film.

  ■ May hire the set decorator and construction coordinator.

Production

  ■ Constantly working one set ahead.

  ■ Troubleshoots for the PD.

  ■ Monitors any sets that are not finished.

Wrap

  ■ After one or two days usually turns over wrap to PD.

SET DECORATOR

The set decorator is responsible for decorating the sets as per direction from the art director and PD. He starts work shortly after the art director is hired.

Pre-Production

  ■ Acquires everything needed for the sets: curtains, furniture, etc.

  ■ May shop for and rent what is needed. The person called the buyer may do the shopping. The buyer’s sole job is to go out and purchase items as per the set decorator’s instructions.

  ■ Meets with the lead man and swing gang to coordinate getting large items to the set.

  ■ Meets with the set dresser to discuss set items.

Production

  ■ Is always working one set ahead to make sure everything is on the set that needs to be.

  ■ Supervises the lead man and swing gang.

  ■ Supervises the set dresser.

Wrap

  ■ Makes sure everything is returned that needs to be.

LEAD MAN AND SWING GANG

The lead man is the person who arranges for large items to be transported to and from the set. These items could include furniture, drapes, and fixtures. The lead man also supervises the swing gang, the people who do all the physical labor of transporting items.

ART DEPARTMENT COORDINATOR

The art department coordinator is responsible for maintaining the art department budget for the PD. He works directly with vendors to process any paperwork needed for sets, such as purchase orders and check requests. The coordinator also helps the department coordinate meetings and communication. He is sometimes hired by the PD, or sometimes by the art director, and begins work shortly after the PD comes on the show. At wrap time the coordinator works one or two days of coordination with the lead man to get set dressing items returned.

SET DESIGNER

The set designer works directly under the art director to draw any sets that may need to be constructed from scratch. The set designer’s expertise lies in the ability to construct blueprints for the kind of set that is specifically needed for a production. Most set designers have learned this trade from theater experience. The designer begins work shortly after the art director is hired.

SET DRESSER

The set dresser is a full-time on-set art department crew member. He is there to make sure that all set dressing is placed correctly and maintains continuity. It is understood on set that no one except the set dresser is to touch any set dressing. This way the set dresser can keep continuity as accurate as possible. In order to accomplish this, the set dresser generally never leaves camera. The set dresser comes on the show shortly before the start of principal photography.

PROPS

The props person is responsible for securing and placing all props on set. A prop can be defined as anything an actor touches. However, just because an actor turns on the television does not make it a prop. The television is still set dressing. The props person can start anywhere from 1 to 3 months before the beginning of principal photography, depending on how “prop heavy” the show is. Following is a list of duties and responsibilities.

Pre-Production

  ■ Takes the preliminary prop list from the ADs and makes revisions and completes.

  ■ Meets with the PD to review props that will be used.

  ■ Acquires or manufactures all props. Acquiring may involve renting or subcontracting for manufacturing.

  ■ Creates a schedule of what props are needed on which days.

Production

  ■ Is responsible for making sure all props are on set when needed.

  ■ Stays close to the camera at all times to retrieve or place props. The props person may also assign the assistant props person to do this.

Wrap

  ■ Is responsible for returning all props and settling all accounts for all rented props. Purchased props go to the studio, are sold, or are given to actors.

ILLUSTRATOR

The graphic artist answers directly to the art director and is the person who draws storyboards of scenes and/or sequences. These are mainly used when a particularly complicated scene or sequence occurs. This position would most likely be filled on medium- to high-budget projects. In low-budget production, the art director or PD would complete this task. The illustrator may work run of show if there are many complicated sequences, or may come in only for a small amount of time as needed.

DRAFTSPERSON

The draftsperson in production is much like the draftsperson for other construction venues. This person is responsible for plan and elevation drawings of any sets that need to be built. Obviously, this person must have the proper training and knowledge of how to deliver these kinds of drawings. The draftsperson will work run of show if there are a lot of sets to draw, or may come in only as needed.

ASSISTANT PROPS

The assistant props person assists the prop master. She could have various duties such as copying prop lists, scouting props, buying props, and retrieving props from the props truck while on set. The assistant props person will start work at the same time as the props person.

ART DEPARTMENT PRODUCTION ASSISTANTS

The art department PAs do everything from getting coffee for the set dresser to returning props or set dressing items. They may begin working on the show at any time. Most often how early in pre-production they begin depends on the budget.

ASSISTANT TO PRODUCTION DESIGNER AND ART DIRECTOR

The assistant to the PD and art director is usually hired only on big-budget films. This person works much like a PA, but exclusively for the PD or art director. Duties include, but are not limited to, getting coffee, communicating with the art department coordinator, making copies, and answering phones. The assistant will begin work at the same time as the PD or art director.

CONSTRUCTION COORDINATOR

The construction coordinator is the head of the construction department and responsible for overseeing the construction of all sets. She reports directly to the art director and will start work on a show as soon as the sets are designed and building is ready to begin. Following is a general list of duties:

 

  ■ Meets with the art director to discuss what sets need to be built.

  ■ Meets with the set designer to discuss set blueprints.

  ■ Hires the construction foreman and construction laborers.

  ■ May rent special tools for constructing the set, such as saws, drills, etc.

  ■ Coordinates the building of all sets in conjunction with the production schedule.

  ■ Once a set is wrapped, meaning shooting is fully completed, supervises the striking of the set. The set will not be struck until dailies have returned and the director consents that the set is no longer needed.

  ■ At the end of construction, makes sure all rented equipment is returned.

CONSTRUCTION FOREMAN

The construction foreman deals more with the day-to-day operations of the construction team and the building of the sets. He supervises the construction workers to make sure the sets are making good progress and deals with any problems that may occur along the way. The foreman usually begins working at the same time as the construction coordinator.

CONSTRUCTION LABORERS

The construction laborers, or carpenters, do the actual building of the sets and begin work when the sets are ready to go up.

STANDBY PAINTER

The standby painter is a person who paints sets and stays on through the run of the show to paint anything as needed. He works with the set decorator to determine what will need to be painted on any particular sets. The painter usually begins work when the sets are ready to be painted.

STANDBY GREENSPERSON

The standby greensperson, who also used to be called the nurseryman, is the person in charge of the maintenance or creation of any foliage on set, including, but not limited to, trees, shrubs, flowers, and bushes. In many cases this person is needed to cover up something with greenery that shouldn’t be in the shot. The greensperson begins work anywhere from one week to three months ahead of time, depending on how much greens work is needed. The greensperson may also have a crew of helpers if the work requires it.

OPERATIONS

The operations of the art department are constantly changing. In pre-production the emphasis is on preparing locations and/or building sets. During production, except for the set dresser, the entire department is always working one set ahead to make sure it is ready when the crew needs to shoot. Keep in mind that in order to do this you must secure a location at least one day, and possibly many more, before you actually plan to shoot there. The art department may need time only to dress the set. On the other hand, they may need time to completely transform a location. The art department works with the location department and the director’s department to ensure that adequate time is given to prepare a set for shooting. During wrap time the team concentrates on returning locations to their previous state, striking sets and returning equipment.

Following is what a shooting day might look like for the art department:

 

  ■ The PD, who has already approved the set, may visit set to make sure things are okay.

  ■ The art director may also visit the set or, if applicable, the construction site to check on the progress of the sets.

  ■ The set decorator may continue to acquire set items and will visit sets that are in the process of being decorated, or may decorate the sets with the help of the lead man and swing gang.

  ■ The set dresser, on set, checks to make sure that all set dressing is in its proper place and in proper condition.

  ■ The set dresser stands by camera to ensure that if any set dressing is touched or moved by an actor, it is reset for the next take.

  ■ The lead man and swing gang pick up various set-decorating items and deliver them to set.

  ■ The art department coordinator makes phone calls and processes paperwork.

  ■ Each member of the art department stays in touch with each other to monitor progress, deal with problems, and finish all sets.

SUMMARY

The art department can be one of the largest and most expensive departments on a show, depending on the script. The PD heads up a large team of decorators, artists, painters, dressers, and construction people. The department is large enough on high-budget productions to have its own coordinator to schedule meetings and process funds.