tag:blogger.com,1999:blog-65137668159959976502023-11-16T07:01:39.871-08:00Set Design MagazineAvanarthttp://www.blogger.com/profile/06315163631618841751noreply@blogger.comBlogger88125tag:blogger.com,1999:blog-6513766815995997650.post-18733638561300254622012-09-11T09:13:00.002-07:002012-09-11T09:13:55.984-07:00The Most Valuable Lesson from Drafting SchoolLearning how to be a top notch draftsperson wasn't the catalyst for my successful set design career. When I enrolled in drafting school, I was one of the very few students that wasn't a recent architecture or engineering graduate. My class was filled with budding degree professionals. Why?<br />
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In the real world, a draftsperson drafts up huge projects. From the tiniest nuts and bolts to the largest spanned beams. It is the job of the engineer and architect to design the construction, however, it is the job of the draftsperson to look up every detail, and draft accordingly. From the thread of the bolt to the thickness of the I-beam. None of the graduated architecture or engineering students were qualified to take a drafting job, without a ticket.<br />
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One of the best lessons I learned was how to research. We had to research everything. Everything has a standard. I found that my research skills payed off immensely. Set design involves extensive research. In film, there are no specialties. One day you need to draft up a house, the next day a spaceship.<br />
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It's ok if you don't know how a spaceship is built, or how a sewer works. But you can find anything out. Do it before you draw it. That way, when the tough questions or criticisms arise, you have research to back your work.<br />
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Of course, this doesn't protect you from following incorrect research.... It happened to me. There's a bank teller detail in the Time Savers standards, that is at an incorrect height. I fell for it. Perhaps if I had just checked another source for reference, I would have caught it in time!<br />
<br />Avanarthttp://www.blogger.com/profile/06315163631618841751noreply@blogger.com1tag:blogger.com,1999:blog-6513766815995997650.post-87147424835844065572012-09-02T20:49:00.001-07:002012-09-02T20:49:21.097-07:00The Last Minute DesignerThey drive me crazy. There's too many factors that make last minute design ideas a supreme headache. There should be a law against last minute design ideas. At least a law for a mandatory huddle to discuss it in detail. I pity the poor soul working for a last minute designer in film.<br />
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I love it when it's a last minute large format print! Or a last minute hero book cover. Let's get an ice cream truck! Forget clearances it shoots in an hour! It'll be awesome!!! (that was written in sarcasm font, in case you missed it.)<br />
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Inevitably the last minute design idea gets done in a hurry and looks like shit. <br />
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I eventually learned to stop running for them. The faster you run, the more last minute design ideas they have.<br />
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Wanna piss off your assistant? Call them when they're on the road and tell them they need to come back to the office to design a 24'-0" banner that shoots tomorrow :-)Avanarthttp://www.blogger.com/profile/06315163631618841751noreply@blogger.com0tag:blogger.com,1999:blog-6513766815995997650.post-148857147856094672012-08-27T08:53:00.000-07:002012-08-27T08:54:52.953-07:00Never Use 3/4" Scale. Period.I did it once. My drawing was ripped up in front of me. Yes. I was green. Luckily I remembered the advice I was given: Never take anything personally. The Art Director was making a point, and I got it. Never ever draw sets at 3/4" scale. He taught me a valuable lesson. Here's why.<br />
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Firstly, we pull off an incredible feat by putting up these sets in record time. The speed at which our crews pull it all together are what make the mission possible. The trouble with 3/4" scale is it leaves way too much room for error. It's a trap. Too often it will get mistaken for 1/2" or 1" scale, often it get's mixed up with 3/8" scale: another no-no.<br />
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Secondly, we always want to blow the images up on the photocopier. 50% = easy and fast. So is 200%. Both 3/4 & 3/8 give difficult scales to then work from.<br />
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Thirdly, we're always adding things in our heads. Working with 3/4" and 3/8" scale makes it harder. Too hard for most. In our heads we can easily double or half things.<br />
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As a rule, I was taught to stick with scales you can double or half easily. 1/16, 1/8, 1/4, 1/2, 1, and full size scale only. 3 is ok for details, but avoid 1-1/2.<br />
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Of course, this doesn't apply to metric. Who uses metric in film? I'm curious.Avanarthttp://www.blogger.com/profile/06315163631618841751noreply@blogger.com1tag:blogger.com,1999:blog-6513766815995997650.post-24415616406831268262012-08-25T13:01:00.002-07:002012-08-25T13:01:26.817-07:00The Walk About. What It's All About.The department heads regularly do a walkabout around the progressing set construction. They are looking for flaws and potential problems. If you haven't been a set designer yet, and you want to, you will soon find out that your drawings will often be modified, for various reasons, as the sets get built. Sometimes it happens verbally during the walkabout, as they realise technical issues. Sometimes the set builders cut corners for time and budget.<br />
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As a set designer, I often found myself missing out on the group cruise. Often the revisions happened without my knowledge. I soon found it was imperative I cruised, too. Only if I cruised the set would I spot all the discrepancies and revisions. I knew every detail intimately. Things the critical eyes of the heads on a walkabout would miss. Things they weren't looking for. Technical set detail things. Small things. Some things didn't matter. Some things did.<br />
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So they chose a different moulding because the one I picked was out of stock. No one would likely notice or say anything. Things like that don't matter. <br />
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But the time they made the 'as-stone.' steps with a straight riser and a 1" nosing because it was cheaper and quicker than bullnosing canted risers, did matter.<br />
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Often, the designer or art director will miss those small modifications. Things like that may seem petty, but it is embarassing for a designer to later have someone come up to them and point out that their stone steps looked like wood steps painted like stone. <br />
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<br />Avanarthttp://www.blogger.com/profile/06315163631618841751noreply@blogger.com0tag:blogger.com,1999:blog-6513766815995997650.post-60629141443835281712012-08-19T08:19:00.001-07:002012-08-19T08:19:45.901-07:00'Should I Go To Film School Or Design School?'That is by far the most popular question I get asked by promising new Art Department candidates. I think it depends on each individual person and their situation. I don't have an answer. However, I can tell you I wish I had gone to Film School.<br />
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Film School for filmmakers is like Art School for artists. You get to explore the multi disciplines and mediums that fall under the profession. You don't need to have a degree to be a successful filmmaker, or artist. But a solid background is key. You need some basic design and filmmaking experience and/or education. Next best thing to Film School is volunteering on indies. You get to do it all.<br />
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Because I fell into the factory production end of filmmaking, and arrived with a narrow view, I learned fairly late in my career that I was also equally, if not more passionate about working in other departments. I wish I had discovered my other passions earlier. Not only that, I think that by working in other departments, it made me a better designer, as I understood the creative process from different perspectives.<br />
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Subjects that really helped my Art Department career were Drafting, Graphic Design, Illustration, Architecture, Interior Design, Art History, VFX and Math. I use those disciplines all the time, and I think most of my associates do too. The more disciplines you can master, the more indispensable you will be.Avanarthttp://www.blogger.com/profile/06315163631618841751noreply@blogger.com0tag:blogger.com,1999:blog-6513766815995997650.post-82642634969648787612012-08-16T06:43:00.003-07:002012-08-16T06:43:45.894-07:00".....With Double Hung Windows."I don't think I was ever asked to draft a 'single hung' window in my entire career. Yet, all anyone ever wanted was a single hung window. But I knew that.<br />
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Mullions is another one that gets misused. So many times I was asked to put mullions in the window. <br />
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How quickly the traditional architectural terms get misused and lost over time. After a while, everyone knows what you're talking about, even though you're refering to something different.<br />
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Are we already calling webisodes and online films TV?Avanarthttp://www.blogger.com/profile/06315163631618841751noreply@blogger.com0tag:blogger.com,1999:blog-6513766815995997650.post-85495115492101400802012-07-31T06:10:00.001-07:002012-07-31T06:10:29.254-07:00What's A Bit?Oh, yeah, I was that newbie that ruined the shot once. I was lucky, and given a second chance. I went on to have a great career. But I still ruined the shot. It'll haunt me forever. And since then, I've seen a handfull of newbies walk into trouble, in other, similar ways. Some made it through, some didn't.<br />
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We were installing a SPFX wall on a location. It was a cinderblock wall. We used a wood core and applied foam brick skins to it. In the center, an explosion was designed to blast through the wall. In this area, we used full size foam bricks; there was an opening in the wood frame to accomodate it.<br />
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As we were laying in the bricks, we were adding talcum powder inside, bettween the cracks, inside the wall so that when the explosion was triggered, there would be the effect of concrete dust coming out from the explosion. "Just put a bit in each crack", the head painter handed me the talc. I had never done this before.<br />
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I poured "a bit" in each crack as my partner installed the bricks. We added the mortar to the outer edges, and sealed up the wall. We painted it, it looked fantastic.<br />
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But the following day shit hit the fan. The shot was ruined. There was way too much talc in the cracks, and the explosion just looked like a big white cloud puff.<br />
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Why did this happen? Because I didn't ask, "What's a bit?"Avanarthttp://www.blogger.com/profile/06315163631618841751noreply@blogger.com0tag:blogger.com,1999:blog-6513766815995997650.post-41748973951996218492012-07-27T04:30:00.000-07:002012-07-27T04:30:38.921-07:00Putting Out FiresIt's a common expression in film. And it doesn't necessarily refer to fire. One of the greatest challenges of filmmaking is the unbelievable orchestration of talents and industries that put it all together within just a few weeks. If you think about it, it's really amazing we pull it off at all.<br />
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There's always a mishap around the corner. Something no one forethought. There are just too many factors. Like the aproaching helicopter that accidentally fanned the spfx flames of the set, causing the whole set to burn down.<br />
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It reminded me of a disaster I watched go down in the shop. The set had called for a dozen or so 4'x8' sheets of brushed aluminum. The real stuff. It had to be shiny. It had been a budget squeeze; they were an important quality in the set. <br />
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The Painters had them all laying flat on the paint tables. They were varnishing them prior to construction installation. It was really important to varnish them first, because they were short on time, and it was much quicker and easier. The finish was tricky. It was super glossy.<br />
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As I was delivering some drawings, I paused to admire the vast shiny production. Then, WHOOOOOM! Someone from another department opened up the rolling double doors. A huge gust of autumn wind picked up all the dirt and leaves from outside, and in a big cloud of billowing dust, as if aimed right at them, it blasted the wet, super glossy panels with shit.<br />
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Oops!Avanarthttp://www.blogger.com/profile/06315163631618841751noreply@blogger.com0tag:blogger.com,1999:blog-6513766815995997650.post-7698523131756695872012-07-25T12:41:00.001-07:002012-07-25T12:41:37.294-07:00Oops, We Need to Build Over the Fire LaneStudios have fire lane laws for safety. In the event of a fire, and limited vision, a person ought to be able to feel their way around the perimeter of the stage, and be able to safely escape without obstruction. Here, it varies from 4-5 feet. There have been many times when I have had to place sets closer together than I would have liked to, but I had to adhere to the regulations.<br />
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On one show, I was working with a 'think-outside-the-box' Designer. We had a studio that was just perfect for our set: it had a nice big opening. We needed to build a set with a practical exterior. In essence, we sandwiched the building entrance wall between the interior set and the exterior facade, so that we could build our own practical entrance.<br />
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But the set would have to cross over and block the fire lane. As it turned out, as long as we had a standard fire size door over the fire lane, the Fire Chief could pass the inspection.<br />
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We made them into "FIRE EXITS"Avanarthttp://www.blogger.com/profile/06315163631618841751noreply@blogger.com0tag:blogger.com,1999:blog-6513766815995997650.post-7902593262218093922012-07-22T22:41:00.000-07:002012-07-22T22:41:46.146-07:00Damn That Paint Colour's Hard to MatchThe trouble with painted location walls is they're usually aged already. I matched the colour and sheen, (my first hint: it was almost impossible to match) but the patches showed after the painters patched the walls. The wall aging and fading varied throughout the room, and it was impossible to get a true match.<br />
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There's no way out if a location owner isn't happy with the patch jobs. Often, after a shoot the painters need to fill the goudges the grips left in the wall (its always the grips). Sometimes, though the whole room doesn't need a repaint if the patches diddn't work out too well. A tip from a seasoned painter was just to paint the damaged walls. But I had to paint out the whole wall, or if there was a jog, just to the jog. Corner to corner. <br />
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Because of the way light plays on the walls, it works like magic. The eye doesn't pick up the subtle colour shift at a change in the wall angle.<br />
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Another tip was to muddy up a bit of the paint a little with a teeny tiny dab of diluted raw umber. It's the magic scenic dirt tint. Kills the hotness of a brand new colour. Seriously, its quicker to just paint the damn wall.Avanarthttp://www.blogger.com/profile/06315163631618841751noreply@blogger.com0tag:blogger.com,1999:blog-6513766815995997650.post-5505956784943109142012-07-18T11:02:00.001-07:002012-07-18T11:03:23.378-07:00Should You Get An Agent?There comes a time when most people who want to make it as a Production Designer wonder about the Agent thing. I asked around about Agents when I first pondered it for myself. It seemed like the Agent's had the inside scoop on the positions that came up. and it seemed like all the PD's I knew had such an Agent.<br />
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But it was not an easy topic to research. I found tight lips. Secret Agents. No one wanted to share their information. "You don't need an Agent" was almost always tossed back at me. True. I diddn't at the time. <br />
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Of course the mystery only made me believe that it was the elusive Agent that would make it possible for me to pursue my dreams. I applied at Agencies. Most of them did not respond. One did. She was honest with me. A breath of fresh air. She reminded me, that I did not have any paid credits on my resume. No one would look at me. Free gigs are great experience, but they don't count when push comes to shove.<br />
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So how did people break in unless they had someone above the line that was somehow personally related to them? I became hung up on the obstacle. Then I met someone who set me free.<br />
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"Don't get an Agent" he replied. "I hate Agents". He said. He was an independent Producer. A very successful one. He was outside the box I knew, the box being the Studio system. The union rosters. The weekly paychecks and mortgage paying shows. Having only worked in that area of film, I was blinded by the reality of the system I was ensconced in. As I followed my independent path, and asked more independent filmmakers, I found this to be true of most of the independent producers whom I worked with. An Agent was just an extra body to maneuver around in order to make the film. <br />
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Yes, you need an Agent if you want to pursue the box system. The system demands it. Agents are a part of the structure. No, you don't if you, like me, are wandering down the independent aisle. At least, not at first. You do, however, need to do the Agent's work. You need to find those gigs, before they go looking for Production Designers. That's how you beat the competition.Avanarthttp://www.blogger.com/profile/06315163631618841751noreply@blogger.com0tag:blogger.com,1999:blog-6513766815995997650.post-49660936376907784922012-07-13T17:06:00.000-07:002012-07-13T17:06:34.642-07:00A Void Above the Crown: A Tip from ConstructionI want to share a great tip that I got from the Construction Dept.<br />
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It is really difficult to construct a set on the stage and have the finished walls end up absolutely plumb. Usually it goes unnoticed. In a set with crown mouldings and ceiling flats, unfortunately it is a common problem that suddenly becomes visible. <br />
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Because the ceiling flats are wild (unsecured, for camera) and because they undergo installs and uninstalls, what often happens is the movement exacerbates the imperfections, causing a void or uneven gap where the crown is supposed to meet the flat. It never fits exactly like it did before it was removed.<br />
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The trick to reduce the obvious, is to install the crown 1/4" below the ceiling flat, establishing a deliberate void all around. The flats are supported by the walls, not the crown. It works, because the eye picks up void/absence-of-void, as opposed to smaller-void/bigger-void.Avanarthttp://www.blogger.com/profile/06315163631618841751noreply@blogger.com0tag:blogger.com,1999:blog-6513766815995997650.post-44925915404626808042012-07-09T19:43:00.000-07:002012-07-09T19:43:09.602-07:00Cheating & Why We Do ItCheating is the fun part of Set Designing. There are many reasons we need to cheat a set. It is a common necessity when recreating a location set on the stage. Cheating is problem solving. It is creative solutions. It is tricking the eye; the object is to do so undetected by the viewer.<br />
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We use forced perspective to make a set look longer than it is, because the studio space is too small, or the build would be too expensive.<br />
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We cheat heights all the time. A fire escape outside the location window. We shoot the POV out of the window on location, then re-create the fire escape on the stage, to shoot the POV inside the window.<br />
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The upstairs of a set is usually on a 4' platform, so that we can build the last few steps as if to suggest to the viewer that the whole staircase was there. In fact, the handrail is dying into the studio floor. The downstairs set has a staircase, but there's an actor's access stair at the top of it. <br />
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Window sills are often cheated. On location they may be at 25" from the ground. On stage, we would need to raise it to 36" in order to avoid shooting the studio floor outside the window.<br />
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We cheat window reflections by gimballing the windows and mirrors. Sometimes you can really tell; gimballing can be tricky, depending on the depth of the gimbal and the exposure of the jambs. <br />
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The best cheaters rise to the top. A good cheat always saves the day.<br />
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<br />Avanarthttp://www.blogger.com/profile/06315163631618841751noreply@blogger.com0tag:blogger.com,1999:blog-6513766815995997650.post-43237420656521206512012-07-03T10:13:00.002-07:002012-07-03T10:13:47.698-07:003 Things To Look For While Shopping For GakWhen I was an Art Department Assistant, I was asked to shop for Gak. The Designer wanted me to bring back samples of items that could be used for Set Design. Most of the items I brought back remained on the Gak shelf, interesting, yet useless. The ones that he used had 3 things in common.<br />
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1. They were big. Small stuff is for Props. You can't cover large areas without alot of work, nor does the camera pick up the tiny details in the background.<br />
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2. They were cheap and readily available. The construction could go and buy 20 the next day, or within 48 hrs. He loved anything plastic!<br />
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3. They were perforated. Lighting is one f the greatest challenges with SpaceShip type sets. Bonus if you can light through the walls.<br />
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That being said, seek out your local industrial drainage supplier type yard. It's a gold mine for Gak.Avanarthttp://www.blogger.com/profile/06315163631618841751noreply@blogger.com1tag:blogger.com,1999:blog-6513766815995997650.post-9816394588410056212012-06-30T06:59:00.001-07:002012-06-30T06:59:40.457-07:00My Fancy Camera Angle Calculator and Why I Never Use ItWhen I was starting out, fresh from Drafting School, all I ever dreamed of was being a Set Designer. I gathered all the tools, I was rapidly developing the greatest collection of tools and templates. This did not go unnoticed, in fact, I received several gifts to ad to my kit. One of them was a really nice Camera Angle calculator.<br />
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At first, I was overwhelmed with it, as I was undereducated when it came to understanding the camera angles. As I learned more about Camera Angles, I would pick it up and figure out how to use it.<br />
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By the time I was actually working as a Set Designer, I hadn't yet used the calculator. I had yet to design a complete set. But the day came: I was asked to calculate the backdrop needed on a set. I proudly pulled out my fancy calculator. The Art Director just stared at me. "What?" I asked.<br />
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"What are you doing?" He asked. I showed him my nice shiny calculator. He stared back, blankly and said: "And how the hell do you know what lenses and angles they are going to use?"<br />
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He had a legitimate point. In fact, I had indeed wondered that myself: It was part of the mystery of the gadget. He then educated me on the reality of designing for film & TV. He taught me how to calculate for (realistic) worst-case-scenarios. By covering every possible angle, regardless of what the camera's angle would be, the set would be covered. To this day, I use his methods. I still have my shiny calculator, and Its still never been used.<br />
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The bottom line is if you can see off the set, so can the camera.Avanarthttp://www.blogger.com/profile/06315163631618841751noreply@blogger.com1tag:blogger.com,1999:blog-6513766815995997650.post-78744204037930262522012-06-27T08:17:00.002-07:002012-06-27T08:17:27.768-07:00My Biggest FanWe wanted a big fan in the set. A really big fan. The set was all about the fan. We spent almost 3 days looking for one. We wanted it for lighting: it had to be operational.<br />
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We also had no money. We found a few fans that were big, but they were too theatrical. In the end we decided to make one, with a 7 day episodic turnaround it was becoming urgent.<br />
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The Set Designer drew up the blades, and the carpenters rigged them on an axle with the help of spfx. It looked great, it was awesome, but it was static.<br />
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We had to come up with a motor to turn the fan on for shooting, but we could not resolve the noise issue in time. Merely hours before shooting, someone jokingly suggested to use a bike and a grip off camera. It was a brilliant idea. Not only did we have the fan up and running for camera, we were able to shoot it immediately because we had no more technical issues.<br />
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The fan not only was silent, we had the added benefit of being able to control the speed at which the fan gave off the most interesting shadows. It was an awesome solution.Avanarthttp://www.blogger.com/profile/06315163631618841751noreply@blogger.com0tag:blogger.com,1999:blog-6513766815995997650.post-28818418659686672392012-06-22T09:58:00.001-07:002012-06-22T09:58:14.696-07:00There's Something Wrong If You Feel You Can't Go PeeMy old habits of sitting at the computer for 12 hours a day, like an OCD
video game freak sucking back coffee and chocolate all day long had caught up to me. I was stressed and went to see my Doctor.<br />
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"Just say no to stress. Stress is an option." My doctor reminded me. She also told me that she has alot of film employees visit her with bladder infections, telling her that they feel that they can't go pee for lengthy periods. She told me how important it is to take time out to care for your health, even if it meand just walking away from your desk once an hour and stretching. Thats hard to do! We are all just human, and sometimes we find ourselves in a position where our health can become compromised due to our workplace.<br />
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For whatever reason, some folks find it hard to make a stand, and they get sick. Marriage is like film. Sometimes you feel you need to leave the one you love. But then it gets better. A new project. A better time. Ups and downs. But the downs shouldn't be too bad, or compromise your health.<br />
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The big picture arrives at some point. Are you the person who goes pee when you need to, regardless of whether or not you have been told to stay put? Or are you the person who waits and waits, because you want the next gig so bad? Is the biz causing you so much stress that you have other health problems? Unfortunately, the facts are that long term film employees generally have a shorter life span.<br />
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At what point do you make a change? We are lucky today. Today, walking away from the production line film industry does not necessarily mean the end of a film career. In fact, it can herald the beginning of endless new opportunities.<br />
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I remember the day I decided to make a change. I was in the craft service room. An "In Memoriam" poster was on the wall. It was my associate from 2 films ago. How sad. He was 47. He left 6 kids. I thought about what my Doctor said. I haddn't unlearned my bad habits. I was still revving high. I was not walking away from my desk every hour. I kept forgetting, procrastinating, "Just one more line..." 17 years of my life had just flown by, and all I did was work. I had to stop and take stock. It was the scariest and most rewarding thing I ever did. I said no to the next gig. I had never done that! Was I crazy? The phone kept ringing. Every time I said no, I felt more confident that it was the right choice. <br />
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Some people sail through film, they take care of themselves, regardless of their schedules. They start the day at the gym. They are fit. They make fitness and health their priority, not the next gig. They not only last in the production line industry; they usually thrive. <br />
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Health <i>is</i> everything.Avanarthttp://www.blogger.com/profile/06315163631618841751noreply@blogger.com0tag:blogger.com,1999:blog-6513766815995997650.post-77272700685244702772012-06-21T10:48:00.002-07:002012-06-21T10:52:04.315-07:00The 4' RuleIts not just me. Most Set Designers I know walk into their set for the first time and feel "Oooh, is it too small?"<br />
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Why does this always happen? A well seasoned Designer once taught me to always add an extra 4'-0" to the overall length and width of an average room. (I'm not talking about closet/small space sets: those are always shot with wild walls for shooting)<br />
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The reason is the Unit. The Unit will eat up at least 16 sq ft of room space. Even though you have accounted for the Unit on the stage, the crew on set will still need the space. The camera alone eats up at least 8 sq ft.<br />
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Its true. I never feel like a room is "too small" in a house. I only ever question the size of a set, because I have experienced an unhappy crew, I have seen how they shoot, the space they use. Its a rule that has served me well.<br />
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And no one has ever said to me afterwards, "Oooh, I think the set was too big."Avanarthttp://www.blogger.com/profile/06315163631618841751noreply@blogger.com0tag:blogger.com,1999:blog-6513766815995997650.post-33595217132261906482012-06-18T11:05:00.002-07:002012-06-18T11:05:33.237-07:00Designing DestructionLike the crumbling plaster brick wall, the signs of rot and damage are used to describe the age and history of our set. The Set Designer becomes the Architect of the rot. Their job is to design a believable set. Which walls are rotten or burned. Where the rot or fire etc. came from.<br />
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By illustrating the elevations, a Scenic Painter knows where to place the elements. Where the rot is located in the walls tells the audience about the building the set is in. Often the set being built is just a room. (A room in a bigger building. Or a single space.)<br />
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To ask a Scenic to place the aging elements based on a photo reference is a gamble. Although they are excellent at re-creating the look of the destruction, they often don't know the context of the room they are aging, nor do they all think about where the damage would come from in the building, or what the building exterior is made of. It is such an important step to add the scenic detail in decrepit elevations. Even just by Sharpie. It can so easily go so wrong. Its a really common oversight. <br />
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We don't go to school to learn how to destroy things. Architects and
Draftspersons are trained to design structures that are meant to
withstand the elements. Set Design often calls for decrepit. A Draftsperson coming into film from an Architectural or
Engineering firm has been taught that they could be fired for adding
illustrative elements to a drawing. Then they find they can become key players in designing destruction if they are in any way artistically inclined. They know "rot theory" and are good at it. Seek them out.<br />
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Its a complete reversal of what we have learned in school when we come to the Art Department.Avanarthttp://www.blogger.com/profile/06315163631618841751noreply@blogger.com0tag:blogger.com,1999:blog-6513766815995997650.post-26741321341865220572012-06-17T19:01:00.001-07:002012-06-17T19:01:17.200-07:00The Crumbling PlasterIts a look we love. Exposed brick. Few Scenics can really master the look without creating a cartoon look.<br />
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The biggest problem I have stumbled on has not been the finish, or the technique. Often the scenic work is very well executed. The problem lies in the placement of the rot.<br />
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The plaster crumbles and rots due to moisture problems in the wall. This usually happens at the upper corners or the lower sections in the wall. Sometimes it occurs along a crack in the wall, where the plaster cracked when the building settled. It is rarely 'just in the midle of the wall'. There needs to be a story behind it.<br />
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Another tell tale sign of authentic broken-away plaster is the bricks that are eventually exposed, are often also partly rotten away. They were rotting behind the plaster for years before the plaster crumbled off. The mortar can even be proud, standing out like a protruding web.<br />
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There's great reference on line. Google Images: "brick+ crumbling plaster". Have a look. Its actually pretty easy to tell which images are scenicly done, when you know what to look for.Avanarthttp://www.blogger.com/profile/06315163631618841751noreply@blogger.com0tag:blogger.com,1999:blog-6513766815995997650.post-11176766619181965952012-06-12T08:38:00.003-07:002012-06-12T08:38:56.542-07:00No Money and The Anti-Flat SetWhen the money runs out, the flat building seems to be the first to go. I love a Designer that really thinks out of the box. More than that, I love Producer who thinks out of the box. When there's no more money, creativity oozes from these people. They have great ideas and I love working with them. Designing awesome from nothing is the greatest challenge of all.<br />
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When there's no more money, there's often no more Location budget, and a Studio that can possibly be utilized more.<br />
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A Producer asked me once to design the back of the sets to be set walls. The effect was surprising. There was such an interesting feel to the ad-hoc set, that was fitting for the show. I don't think I could have designed such a set had I tried to think it up on my own. The nooks and crannies that occurred from the jacks, the strange irregular wall form that established the new set were so odd and bizarre: the Set had a fantastic sense of depth.<br />
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Another great idea that came from limited funds was to use a combination of cheaper materials, eg corrugate and fabric panels, and to combine them with lighting techniques. Custom Gobos excite me for this reason. A bland corrugate wall comes alive with wildfire paint or gobo patterns. It can be tricky to design a set based on lighting because of the action creating shadow. Its part of the challenge, and it can look incredible. The colours are fresh. The look is fresh. We're all happy to see something other than flats.<br />
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The sets always turn out awesome. Because they are extremely creative. Of course, it depends on the set you are designing, and the nature of the show. Some sets demand flats, and there's just no other way.<br />
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Thats when the Production Office turns into the set!<br />
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<br />Avanarthttp://www.blogger.com/profile/06315163631618841751noreply@blogger.com0tag:blogger.com,1999:blog-6513766815995997650.post-49683662844237434742012-06-07T06:44:00.001-07:002012-06-07T06:44:25.524-07:00What the Gloss? Its Distracting!One of my biggest pet peeves is a glossy exterior brick wall. It looks so fake. How does it happen? Eggshell paint or a semi-mat, even mat glaze. It has too much sheen for an exterior brick wall. Bricks have no sheen. You can argue that an interior wall has been painted with a glaze, although its a weak argument, as I don't know that I've ever seen that in real life. So why does it happen... alot?<br />
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One of the reasons that scenics love to use a sheen in their wall finishes is the application of aging afterward. The aging treatments are alot easier to apply to a paint surface that has a sheen. It is alot easier to work with.<br />
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Another reason that they like the sheen is because the colour is richer with a sheen. A great example is the difference betwen a flat black and a slight gloss.<br />
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Its a trade-off. How important is the depth of colour in the scenic wall? My eyes are instantly drawn to the light reflecting off the bricks in the background of a film. When looking at an unglazed, flat scenic wall, I need to remind myself that the movie isn't about the wall. <br />
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I'd rather leave it flat. Good scenics can create good depth with colour. I'd rather forgo the rich depth of tone that would be attainable with a coat of gloss or eggshell finishes. Background scenery that distracts is a nuisance, and to me, colour depth is not worth distracting the audience over. <br />
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<br />Avanarthttp://www.blogger.com/profile/06315163631618841751noreply@blogger.com0tag:blogger.com,1999:blog-6513766815995997650.post-53998184745989595082012-06-05T09:35:00.000-07:002012-06-05T09:35:26.556-07:00Art Needs Its Own Union or GuildThere's a reason that most major film unions and guilds have a designated chapter for the Art Department. In Vancouver, the Art Department is somewhat of a disaster, as a result of the lack of independence the Art Department has.<br />
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Let me explain. In Vancouver, the union covers all of the pre-production trades. Hence, the majority of members are in the shop trades. The Art Department therefore has little clout when it comes time for negotiations.<br />
The nature of the industry also affects the nature of the operations. Everyone wants to be in the Art Department. And anyone, knowing the right person, can get hired, even though they are not a member.<br />
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The latest trend in Vancouver is to hire a young Art Director, a keener, and to expect them to perform multiple roles, or give them a lesser rate, once they have taken the position. This works because the Art Department has no clout. The Art Department members are considered replacable on a dime. The person being hired will only be replaced instantly if they protest.<br />
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Hence, the wages have slipped, and, believe it or not, it is not uncommon in Vancouver for the person who is washing buckets, to be earning more than the Art Director.<br />
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That was not a typo. Art Departments need their own unions & guilds. Kudos to the cities that have addressed this.Avanarthttp://www.blogger.com/profile/06315163631618841751noreply@blogger.com2tag:blogger.com,1999:blog-6513766815995997650.post-75986607943990523872012-06-02T17:33:00.001-07:002012-06-02T17:33:25.695-07:00Wash It All or Just The Spots?Sometimes picture vehicles show up at the last minute. In fact, it is not uncommon for a Graphic Artist to have to create graphics for a vehicle that hasn't even been seen, let alone approved. <br />
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At that moment when the scramble is on to apply the graphics to the vehicle in time for the shoot, the question of dirt on the vehicle could arise. Often, a last minute vehicle equals a dirty vehicle.<br />
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Too often the poor vinyl applicator is being asked to hurry up, and get tempted to just wipe off the areas where the graphics will go. If they only clean off the area where the graphics are being applied, it will show on camera, and you will hate it. If you dont clean the area, and try to apply the graphics over the dirt, they may fall off, and its going to be hard to burnish them without making streaks.<br />
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If it happened, the best fix is to wipe or wash the rest of the vehicle in the same manner that the vinyl area was prepped; it will blend it in. A dusting of baking soda/fly ash aging over helps too.<br />
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Sometimes the last minute vehicles are old, and have old paint. If the paint looks like it is chipping or flaking, its almost always best to try to apply the graphics over the dirt. Even waxing an old paintjob isn't enough to prevent the vinyl from lifting the old paint. When the paint gets pulled off with the vinyls, it almost always ends up costing the company somewhat of a vehicle repaint.<br />
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Sometimes an entire vehicle repaint, because of a few peeled flakes of old paint. <br />
<br />Avanarthttp://www.blogger.com/profile/06315163631618841751noreply@blogger.com0tag:blogger.com,1999:blog-6513766815995997650.post-91640036939205645192012-05-28T23:38:00.002-07:002012-05-28T23:38:42.930-07:00Caution: They May Not Be DingbatsA Set Designer I once knew was coming up with some cool galactic architectural details. He had a great idea: found a dingbat font on a free font site, and created a CNC relief profile. It looked really good! <br />
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Half way through the show, we hired a new Art Director. He was Japanese. He recognized the text going arount the cornice: Japanese phonetics! Check it out: Katakana pipe<br />
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Good thing the Designer wrote nice stuff!Avanarthttp://www.blogger.com/profile/06315163631618841751noreply@blogger.com0