First some definitions:
Production Designer
A Production Designer is responsible for the overall look of a film, television episode, music videos, plays or commercials.
A cornerstone of creativity for any film, the Production Designer interfaces directly with the Director and Producer and often works closely with the Director of Photography to establish the visual catalog of a film. The Production Designer should be present at all productions meetings.
The Production Designer is ultimately responsible for all creative decisions (sans direction) on a film. It is not unusual for the Production Designer to also participate in various phases of media and promotion of the film as well, and help to ensure continuity of imagery and style even through the advertising phase.
As most of you already know, the actual position of Production Designer was created in 1939 to reflect William Cameron Menzies amazing design work on the groundbreaking film Gone with the Wind.
Art Designer
In the hierarchy of a film’s art department the Art Director is a direct report to the Production Designer and coordinates many aspects of the department including: assignments, scheduling, appointments, budgets, quality and function inspections, etc.
Art Directors usually interact with other departments including Special Effects, Location & Scouting and Prop Transportation.
Always attending Production Meetings and work closely with the Set Designers to prepare dimensions and floor plans.
Set Designer & Decorator
Set Designers and Decorators…well, they design sets for film and television. They are usually supported by the Lead Man, Set Dressers and a battery of carpenters and electricians.
Functionally, they build or supervise the physical space in which the film is set. This often includes floors, walls, furnishings, wallpapers, lighting fixtures, props, and other tangibles.
Usually, the Set Design budget is separate from the Set Dressing budget which is largely ornamental.
Property Master
The Property Master is in charge of the prop catalog and is responsible for its acquisition, storage, transportation to and from set, compliance to script expectations and senior Art Department personnel, and frequently interacts with Continuity Supervisors where perishable or altered props are required.
These are not the same position: that is why they have different names.
One of the most complicated and demanding departments of any film, the Art Department is collectively responsible for nothing less than the entire aesthetic and execution of that aesthetic in any film.
Some uncomfortable things members of the Art Department have to be prepared to endure include:
■Grips totally disarranging meticulously dressed sets without even a blush;
■Gaffers standing in front of monitors obfuscating the view of everyone else;
■Directors framing out the more interesting angles or props;
■General disregard for just how much time something actually took to make;
■In short, the very same grievances every other department feels they alone endure.
As in the corporate world, the power, principals and protocols of a creative director or design studio might as well be sorcery to the untrained or the initiate.
You cannot teach the unimaginative how to dream or design.
Any creative person knows inspiration is an untamable force that comes and goes with no regard for its human channels.
You design as the Spirit moves you.
Now, the absolute best way to educate the rest of the crew about the co-sovereignty of design in a film (every bit an equal to directing and acting) is to methodically communicate how the Art Department works, how it generates reports, answer requests, fulfill prop needs, handles changes or correction or revision, etc.
This will create a more agreeable work environment for you, your team as well as everyone else on the production.
Design away.
Production Designer
A Production Designer is responsible for the overall look of a film, television episode, music videos, plays or commercials.
A cornerstone of creativity for any film, the Production Designer interfaces directly with the Director and Producer and often works closely with the Director of Photography to establish the visual catalog of a film. The Production Designer should be present at all productions meetings.
The Production Designer is ultimately responsible for all creative decisions (sans direction) on a film. It is not unusual for the Production Designer to also participate in various phases of media and promotion of the film as well, and help to ensure continuity of imagery and style even through the advertising phase.
As most of you already know, the actual position of Production Designer was created in 1939 to reflect William Cameron Menzies amazing design work on the groundbreaking film Gone with the Wind.
Art Designer
In the hierarchy of a film’s art department the Art Director is a direct report to the Production Designer and coordinates many aspects of the department including: assignments, scheduling, appointments, budgets, quality and function inspections, etc.
Art Directors usually interact with other departments including Special Effects, Location & Scouting and Prop Transportation.
Always attending Production Meetings and work closely with the Set Designers to prepare dimensions and floor plans.
Set Designer & Decorator
Set Designers and Decorators…well, they design sets for film and television. They are usually supported by the Lead Man, Set Dressers and a battery of carpenters and electricians.
Functionally, they build or supervise the physical space in which the film is set. This often includes floors, walls, furnishings, wallpapers, lighting fixtures, props, and other tangibles.
Usually, the Set Design budget is separate from the Set Dressing budget which is largely ornamental.
Property Master
The Property Master is in charge of the prop catalog and is responsible for its acquisition, storage, transportation to and from set, compliance to script expectations and senior Art Department personnel, and frequently interacts with Continuity Supervisors where perishable or altered props are required.
These are not the same position: that is why they have different names.
One of the most complicated and demanding departments of any film, the Art Department is collectively responsible for nothing less than the entire aesthetic and execution of that aesthetic in any film.
Some uncomfortable things members of the Art Department have to be prepared to endure include:
■Grips totally disarranging meticulously dressed sets without even a blush;
■Gaffers standing in front of monitors obfuscating the view of everyone else;
■Directors framing out the more interesting angles or props;
■General disregard for just how much time something actually took to make;
■In short, the very same grievances every other department feels they alone endure.
As in the corporate world, the power, principals and protocols of a creative director or design studio might as well be sorcery to the untrained or the initiate.
You cannot teach the unimaginative how to dream or design.
Any creative person knows inspiration is an untamable force that comes and goes with no regard for its human channels.
You design as the Spirit moves you.
Now, the absolute best way to educate the rest of the crew about the co-sovereignty of design in a film (every bit an equal to directing and acting) is to methodically communicate how the Art Department works, how it generates reports, answer requests, fulfill prop needs, handles changes or correction or revision, etc.
This will create a more agreeable work environment for you, your team as well as everyone else on the production.
Design away.
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