Art director

Art Directors act as project managers for the biggest department on any film - the Art Department. They facilitate the Production Designer's creative vision for all the locations and sets that eventually give the film its unique visual identity. Art Directors are responsible for the Art Department budget and schedule of work, and help the Production Designer to maximise the money allocated to the department. Art Directors are usually requested by the Production Designer, and are responsible for the Assistant Art Director, the Draughtsman (as many as 20 Draughtsmen may be employed on big budget films), the Art Department Assistant(s) and all Construction personnel. As Art Directors must find practical solutions to creative problems while simultaneously monitoring the budget, this is highly skilled work. Many Art Directors work on television drama and commercials, as well as on films. The hours are long and the job can involve long periods working away from home. Art Directors work on a freelance basis. What is the job? On big budget films, Art Directors start work up to 4 to 5 months before shooting begins (on low budget films 8 weeks may be sufficient). When the Final Schedule is delivered (detailing the precise order of scenes in which the film will be shot), Art Directors begin the work of overseeing the preparation of the first sets required. Art Directors analyse the script to identify all props or special items that may require longer lead times. Simultaneously, a team of Draughtsmen draw up numerous plans for sets and locations for use by Art Directors when working with the Construction Managers and their team. This is an extremely busy, pressured time for every member of the Art Department; as well as coping with this pressure, Art Directors must also tightly control the budget (which is prepared and monitored on a spreadsheet). On big productions, weekly meetings with the Accountant are key to this process. A major part of Art Directors’ work is troubleshooting - they must find cost-effective solutions which also provide practical answers to construction and decorating problems. During pre-production, they are also responsible for commissioning all Special Effects (such as explosions or car crash sequences), hiring all vehicles (from cars to horse-drawn carriages) and organising the casting of all animals (chosen by the Director). As the shooting date approaches, Art Directors liaise closely with the Location Manager to negotiate when locations can be prepared and dressed. During filming, Art Directors continue to oversee the construction, dressing and striking (dismantling) of the remaining sets. After the film wraps (shooting is completed), Art Directors must ensure that all sets are struck and locations cleared, and that all outstanding Art Department bills are paid. Typical career routes Art Directors must learn their skills on the job, which involves starting out as an Art Department Assistant and progressing through the grades, e.g., to Junior Draughtsman, then to Draughtsman or Assistant Art Director. Although this progression can take a number of years, it is a crucial process during which they acquire the knowledge and experience that enables them to become competent trouble-shooters. Art Directors may also have worked in theatre, where they learn the art of set design and construction as well as how to conceptualise ideas and create a sense of drama through visual spectacle. Students who have studied film and theatre design may also gain experience working on short films before progressing to junior roles on feature films. Essential knowledge and skills Art Directors should have a good all round knowledge of interior design and architecture as well as a practical understanding of building and construction. They also need a good knowledge of computer budgeting software, e.g., Excel. A full clean driving license is also required. Key Skills include:

 a good eye for decoration and detail;

 ability to conceptualise ideas;

 ability to think visually;

 methodical approach to work;

 ability to lead a team;

 ability to see the broader picture and to co-ordinate effectively;

 diplomacy and sensitivity when working with artists and crew;

 knowledge of the requirements of the relevant Health and Safety legislation and procedures. Training and qualifications Art Directors are likely to be graduates of Art, Architecture, Theatre, Interior or 3D Design courses. Some individuals may also undertake higher level courses in Film and/or Theatre Production Design. After training, it is equally important to acquire on the job experience of how Art Departments work.

Supervising Art Director

Supervising Art Directors have a primarily organisational role on big budget films which require a number of sets and involve large Art Departments. They manage the budget and schedule, enabling Production Designers to translate their vision into reality. The sheer complexity of the work and the speed inherent in film production means that it is unrealistic for Production Designers to depend on one Art Director to realise their vision. Big sci-fi epics or action films require teams of Art Directors and Supervising Art Directors to ensure that the work and the department run smoothly. Most Supervising Art Directors are requested by the Production Designer or Producer and usually work, on a freelance basis, exclusively on feature films. The hours are long and the job can involve long periods working away from home. What is the job? During preproduction, Supervising Art Directors work closely with the Production Designer and the Construction Manager to estimate the costs of the three main areas of Art Department spend: Set Construction, Set Decoration, and Art Department labour. Supervising Art Directors consult with the Producer and Production Manager and offer practical guidance to the Production Designer, ensuring that budgets are not exceeded. Supervising Art Directors also carefully analyse the shooting schedule (also known as the Final Schedule and usually determined by Actors’ availability), calculating the precise dates when sets must be ready and in place, or dismantled and new sets built. This requires careful planning, precise attention to detail, and constant monitoring so that the shoot runs smoothly. Supervising Art Directors delegate the work created by the Production Designer, making sure that accurate technical drawings and models are produced, sets constructed, and all props and set decoration organised. They are in constant communication with each of the Art Directors (who are responsible for the production of individual sets). During the shoot, they oversee the entire Art Department, ensuring that there are no hidden costs or overspending, and that all sets and locations are prepared and ready for filming. After the film has wrapped (is completed), Supervising Art Directors ensure that the records of the entire department, including all research materials, drawings and models, etc., are properly filed and stored. As Supervising Art Directors have considerable knowledge of the Art Department and about how each set has been constructed, they may also work as Standby Art Directors during filming. Typical career routes Supervising Art Directors should have extensive experience of working within the Art Department and must have acquired their reputation as reliable, highly capable Art Directors on a number of films. They usually progress from working as Art Department Runners or Assistants, to Junior Draughtsmen, to Draughtsmen or Assistant Art Directors, and eventually to Art Directors. Because this role is only required on big budget films, most Supervising Art Directors also work as Art Directors. Essential knowledge and skills Supervising Art Directors should have an expert knowledge of Interior Design and Architecture as well as a practical understanding of building and construction. Excellent knowledge of computer budgeting software, e.g., Excel, is vital. A full clean driving license is required.

Key Skills include:

 excellent communication skills;

 highly organised, methodical approach to work;

 ability to conceptualise ideas;

 good free-hand and technical drawing skills;

 ability to trouble shoot;

 ability to work well under pressure;

 ability to lead a team whilst also taking direction;

 ability to see the broader picture and to co-ordinate effectively;

 knowledge of the requirements of the relevant Health and Safety legislation and procedures. Training and qualifications Supervising Art Directors are usually graduates of Art, Architecture, Theatre, Interior or 3D Design courses. Some individuals may also undertake higher level courses in Film and/or Theatre Production Design. After training, it is equally important to acquire on the job experience of how Art Departments work.

Storyboard Artist

Storyboard Artists translate screenplays, or sequences from screenplays, into a series of illustrations in comic book form. These illustrations have two functions: to help Directors clarify exactly what they want to achieve, and to illustrate to all other Heads of Department exactly what is required, e.g., prosthetics for Make-up, Computer Generated Images (CGI) for Visual Effects, props for the Art Department, etc. In many ways comic books are the art form that most closely resembles cinema - they both tell stories in a primarily visual form, involving discrete, framed images linked sequentially to convey information. Although comic book images are static, it is often useful to employ the comic book form to develop complex sequences in films that require careful planning, and that can not or should not be left to on-set improvisation. Helping the Director to conceptualise these sequences is the specialist task of Storyboard Artists. They work on a freelance basis. What is the job? Storyboards are mainly required on films containing large amounts of action and/or CGI, where complex chase, fight or battle scenes need to be visualised and carefully planned. It is now becoming commonplace for many big budget feature films to be storyboarded before shooting begins. Although it may be argued that this stifles the creative process of directing a film, it is a sensible way of avoiding overshooting and spiralling budgets. Depending on individual Directors and their requirements, Storyboard Artists usually start work early in the production process. After reading the screenplay, they meet with the Director to discuss the mood and atmosphere of any scenes to be storyboarded. During this process Storyboard Artists must analyse the Director’s requirements, and visualise the scene from the camera’s point of view, working out the characters’ positions, who or what else is in the frame, and from what angles they are seen, and imagining their feelings. After Storyboard Artists have delivered the first few illustrations, Directors usually allow them to suggest their own ideas for the following scenes, although some Directors are more prescriptive about what they want, using storyboards as a reminder rather than as a template. On big budget films, two or three Storyboard Artists may be employed full time, usually in Art Department offices at film studios, where they are able to examine any models of the sets and photographs of various locations, and refer questions to the Production Designer. Although most Storyboard Artists still prefer to use pencil and paper rather than draw onto a computer screen, as they have more control over the movement and flow of a pencil line, they use computer software packages such as Photoshop to collate and change work easily. Because of advances in computer games and in animation techniques, many storyboard software packages are available, e.g., Storyboard Lite, Frameforge 3D Studio and Storyboard Artists & Storyboard Quick. Typical career routes There is no typical career route to becoming a Storyboard Artist. Individuals may have worked as Graphic Artists, Illustrators or Graphic Novelists; or they may have been employed in Design studios or in Animation and made the transition to film storyboarding by chance, or by making contacts with Storyboard Artists and Production Designers. Essential knowledge and skills Basic technical knowledge of film cameras and lenses is invaluable for Storyboard Artists. A thorough knowledge of the Director’s role in the film making process helps Storyboard Artists to think in a similar way. A thorough working knowledge of image manipulation packages, e.g., Photoshop, is also required. Key Skills include:

 excellent drawing skills;

 ability to think cinematically;

 excellent communication skills;

 ability to visualise perspective and 3-dimensional space;

 ability to visually interpret other people’s ideas;

 ability to draw and work quickly when required;

 knowledge of the requirements of the relevant Health and Safety legislation and procedures. Training and qualifications Most Storyboard Artists are graduates of Fine Art, Graphics or Illustration courses. A small number of courses (mostly specialising in Animation) teach storyboarding skills. Some short courses are also available. For those trying to find work in this area, it is vital to have as much drawing experience as possible and a strong portfolio of work. 

What do Costume Designers do?

Costume Designers start working on films at the beginning of pre-production. They are in charge of designing, creating, acquiring and hiring all costumes for Actors and extras. This must be achieved within strict budgets, and to tight schedules. Costume Designers’ work is integral to defining the overall “look” of films, and their role requires a great deal of expertise. Their creative work ranges from designing original costumes, to overseeing the purchase and adaptation of ready-made outfits. As Heads of the Costume Department, Costume Designers are responsible for staffing, and for managing a team of skilled personnel. Costume Designers also supervise practical issues, such as departmental budgets and schedules, the organisation of running wardrobes, and costume continuity. Responsibilities During pre-production Costume Designers break down scripts scene by scene, in order to work out how many characters are involved, and what costumes are required. They then begin the more complex task of developing costume plots for each character. These plots ensure that colours and styles do not mimic each other in the same scene, and highlight the characters’ emotional journeys by varying the intensity and depth of colours. Costume Designers must carry out research into the costume styles, designs and construction methods which are appropriate for the productions' time period, using a number of resources including libraries, museums and the Internet. They may also discuss costume and character ideas with performers. They deliver initial ideas to Directors about the overall costume vision, character plots and original costume designs, using sketches and fabric samples. They also discuss colour palettes with the Director of Photography and the Production Designer. Throughout the production process Costume Designers ensure that accurate financial records are kept, and that weekly expenditure reports are produced. They prepare overall production schedules, as well as directing the day-to-day breakdowns of responsibilities. Costume Designers select and hire appropriate suppliers and Costume Makers, negotiating terms with them, and communicating design requirements. They make sure that fittings for Actors and extras are arranged. They supervise fabric research and purchase, and ensure that garments are completed to deadlines. Depending on the numbers of costumes to be created, and the scale of budgets, Costume Designers may decide to create a dedicated Costume Workshop. They should be on set whenever a new costume is worn for the first time, to make sure that performers are comfortable, to explain special features, and to oversee any alterations. Once filming is completed, Costume Designers are responsible for the return of hired outfits, and the sale or disposal of any remaining costumes. Skills Costume Designers must be highly organised, with good presentation skills and the confidence to manage and motivate their teams effectively. They should be able to work under pressure, to external and departmental deadlines, and must have stamina and be adaptable to changes. They need to be able to listen to the ideas and concerns of others, while at the same time trusting their own opinions and instincts. They work closely with Actors in a physical sense, and must therefore be tactful and able to put people at their ease. Costume Designers need good descriptive abilities, and they must be able break down scripts in terms of costume plots, and have knowledge of story structure and character arcs. They must understand the research process, and know how to source information. They need creative flair, a strong sense of colour and design and the ability to draw. They should be confident in their knowledge of period costume, jewellery, corsetry, hosiery, millinery, footwear, costume accessories, etc. They must be experts on fabric qualities, clothing cuts, fits and techniques, pattern making and sewing. Creatively, they should know how to dress to particular faces or physiques to create characters. Overall Costume Designers need a wide-ranging cultural knowledge base, not only in terms of fashion, but also art and literature, film, and textiles. Costume Designers should be familiar with the requirements of all relevant Health and Safety legislation and procedures. Good IT skills (Mac and PC) are very useful.

A short history of animation.

Animation is a graphic representation of drawings to show movement within those drawings.  A series of drawings are linked together and usually photographed by a camera.  The drawings have been slightly changed between individualized frames so when they are played back in rapid succession (24 frames per second) there appears to be seamless movement within the drawings. Pioneers of animation include Winsor McCay of the United States and Emile Cohl and Georges Melies of France.  Some consider McCay’s Sinking of the Lusitania from 1918 as the first animated feature film.      Early animations, which started appearing before 1910, consisted of simple drawings photographed one at a time.  It was extremely labor intensive as there were literally hundreds of drawings per minute of film.  The development of celluloid around 1913 quickly made animation easier to manage.  Instead of numerous drawings, the animator now could make a complex background and/or foreground and sandwich moving characters in between several other pieces of celluloid, which is transparent except for where drawings are painted on it.  This made it unnecessary to repeatedly draw the background as it remained static and only the characters moved.  It also created an illusion of depth, especially if foreground elements were placed in the frames. Walt Disney took animation to a new level.  He was the first animator to add sound to his movie cartoons with the premiere of Steamboat Willie in 1928.  In 1937, he produced the first full length animated feature film, Snow White and the Seven Dwarfs.      With the introduction of computers, animation took on a whole new meaning.  Many feature films of today had animation incorporated into them for special effects.  A film like Star Wars by George Lucas would rely heavily on computer animation for many of its special effects.  Toy Story, produced by Walt Disney Productions and Pixar Animation Studios, became the first full length feature film animated entirely on computers when it was released in 1995.      With the advent of personal computers, it has now become possible for the average person to create animations.