Art Direction for Film and Video

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Art Direction for Film and Video SECOND EDITION Robert L. Olson Focal Press Taylor & Francis Croup NEW YORK AND LONDON

First published 1999 by Focal Press 70 Blanchard Road, Suite 402, Burlington, MA 01803 Simultaneously published in the UK by Focal Press 2 Park Square, Milton Park, Abingdon, Oxfordshire 0X14 4RN Focal Press is an imprint o f the Taylor & Francis Group, an informa business 1999 Taylor and Francis No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Library of Congress Cataloging-in-Publication Data Olson, Robert L., 1925- Art direction for film and video / Robert L. Olson. 2nd ed. p. cm. Includes index. ISBN-13: 978-0-240-80338-8 ISBN-10: 0-240-80338-8 (alk. paper) 1. Motion pictures Art direction. 2. Motion pictures Setting and scenery. 3. Television Stage-setting and scenery. I. Title. PN1995.9. A74048 1998 791.43 025 dc21 98-25752 CIP British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library.

To Gabor Kalman, a friend indeed

CONTENTS Preface xi Acknowledgments xiii Introduction xv PART I THE ROLE AND RESPONSIBILITIES OF THE PRODUCTION DESIGNER Chapter 1 WHAT IS A PRODUCTION DESIGNER? 3 The Production Designer s Place Design Beginnings What Does a Production Designer Do? Pictures Begin to Move Work in the Movies? Never! Television Changes the Film Business The Visual Future Chapter 2 WHAT DOES AN ART DIRECTOR NEED TO KNOW? 11 An Art Director Should Be Visually Aware Drafting: That Dreaded Word Materials Lighting Helpful Personal Qualities Wish You d Stayed on the Farm? Chapter 3 THE PRODUCTION ENVIRONMENT 17 Lines and Dots Different Perceptions How Does the Video Picture Get from Here to There? Bold Is Best The Production Stage The All-seeing Eye (Almost) Chapter 4 SCENIC BUILDING BLOCKS 23 Types of Flats and Materials Platforms Materially Speaking Backings

viii Art Direction for Film and Video Chapter 5 PRODUCTION DESIGNERS USE SPECIAL EFFECTS 29 In-camera Effects Miniatures Through the Looking Glass Matte Painting Laboratory Effects Rear Projection Modern Effects The Digital Present and Future Chapter 6 LIGHTING EQUIPMENT 37 Two Types of Lighting Instruments Light Controls Chapter 7 TECHNIQUES FOR EFFECTIVE LIGHTING 43 Film and Video Lights for the Actors Different Lighting Methods Location Lighting PART II OUTLINE OF A JOB Chapter 8 MEET THE PRODUCER AND THE DIRECTOR 51 The Producer The Director The Production Designer Asks Some Questions Chapter 9 HERE S THE SCRIPT 57 Analyze the Script Research the Characters and Settings Chapter 10 USING RESEARCH MATERIALS 61 Designing from Materials Nonspecific Research Chapter 11 MAKE SOME SKETCHES 67 Materials Patty s Living Room Get Cost Estimates The Tour Bus Is Leaving Chapter 12 TOOLS FOR CONSTRUCTION DRAWINGS 75 Your Drawing Board Drafting Paper Pencils Erasers Your T-square Architect s Scale Triangles Your Work Area Computer-aided Drafting

Contents ix Chapter 13 THE CONSTRUCTION DRAWINGS 81 Types of Construction Drawings The Next Step Chapter 14 FINISHING THE CONSTRUCTION DRAWINGS 87 Transfer the Drawings Look at the Details Off to the Blueprinter Chapter 15 MODEL MAKING 95 Different Types of Models Our White Set Making the Model Showing the Model Chapter 16 SUPERVISING CONSTRUCTION AND SETUP Getting Bids Construction and Setup Supervision Set Decoration The Prop Master Keeping Records The Critique 99 PART III TYPICAL SETS AND OPPORTUNITIES Chapter 17 A PRODUCTION DESIGNER ON LOCATION Patty s Town Moves Off to Location Back to the City Again Chapter 18 STAGING A TALK SHOW The Production Meeting The Great Chair Search and the Proper Height Different Approaches Be Imaginative! Chapter 19 STAGING A NEWS BROADCAST Background on the News The Art Director s Role Make It Look Like a Newsroom! Harold Gets Busy What s the Decision? 105 111 117 Chapter 20 DESIGNING A COMMERCIAL 125 Storyboards Commercial Production Personnel and Procedures Here s the Script The Basic Set Designing Other Environments

x Art Direction for Film and Video Chapter 21 HOW TO GET STARTED AND WHERE TO LOOK Get Your Foot in the Door Getting Your Act Together Where to Look How to Look From the Author Index 133 139 141

PREFACE This book details the thinking and basic drawing techniques art directors and production designers need and follows the progress of typical projects from script analysis to setup on stage and location. Even though other helpful books are available that communicate techniques, this book, based on the work experience of a film and video art director, relates technique to everyday work experiences every art director encounters. WHO CAN BENEFIT FROM THIS BOOK? Film students can make their projects more professional looking by knowing how to realistically ask for help with location and set projects. Producers, directors, and writers can see how an efficient art director can work with them more effectively. Designers such as graphic artists, advertising art directors, layout artists, and painters and sculptors, can learn how to adapt their skills to film and video projects. Anyone considering a career in video and film art direction can see what the profession is really like. The second edition includes a lot of new material that will enhance the reader s perception of realistic work experiences and technological advances now available to production designers and art directors. A new chapter Production Designers Use Special Effects illustrates how designers utilize digital editing, improved miniatures, and stage and laboratory techniques. Statements from special effects experts and production designers describe concepts and processes they use to accomplish the compelling film effects audiences marvel at today. Also, chapters detailing the process of design script analysis, sketching, construction drawing set decoration, and stage and location work, feature quotes from working designers and craftspeople who share their experiences in solving production problems.

xii Art Direction for Film and Video In this book, readers can learn enough basic skills to function as beginning art directors, which are the preamble to using advanced techniques in future careers in the film and video industries. ABOUT THE AUTHOR The author has worked as an art director and set designer at the major motion picture and television facilities in Los Angeles, as well as freelancing for many corporate, entertainment, and cable television producers. Along with professional work, the author created and taught a continuing art direction curriculum for the UCLA Extension program, including several one-day design seminars featuring top Hollywood production designers. Other seminars include a week-long course for the Televisa Mexico design staff in Mexico City, a Stanford University Summer Workshop, and courses at The Art Center College of Design, in Pasadena, California.

ACKNOWLEDGMENTS The author wishes to thank the editors and staff at Focal Press for their valuable assistance in preparing this second edition, and the many talented, creative people in the film and television industry who have contributed their expertise.

INTRODUCTION This book is for anyone who wants to learn about production design and art direction, whether they are students, producers, directors, writers, or designers from other fields who want to work in film and video. Easy-to-understand practical terms encourage the reader to apply imagination to everyday design problems. Due to the wide-ranging nature of this book, I have divided the information into three parts: The Role and Responsibilities of the Production Designer/ Outline of a Job, and Typical Sets and Opportunities. Part I illustrates where production designers came from, what a production designer is and does, and basic materials and tools used by designers. Various examples show different projects and solutions. Part II tracks a dramatic series pilot from script to wrap-up. By following the detailed illustrated instructions, a beginner can learn to analyze the script; research the characters environments; work effectively with the producer and director; produce sketches and construction drawings; make a model; and supervise the construction, setup, and decoration of the set. Part III details several typical design challenges met in professional work situations: a series pilot shot on location, a talk show, a new broadcasting environment, and a film commercial. The last chapter tells the beginner how to prepare a portfolio and resume and how to look for work in the film and broadcasting industries.