GoldDerby: How do you ensure authenticity so that your designs don’t look like sets and props? What film of TV series do you hold up as a gold standard in production design?
These were some of the secrets revealed by four top film production designers when they joined Gold Derby’s special “Meet the Experts” Q&A event with 2022/2023
3 comments:
As someone who is looking into working in the film production design industry, this was a really cool read. back in middle school in early High School I really enjoyed working on some production and honestly at the time I wasn't really concerned about the production quality or value as far as production aspects such as costume, set, excetera, but instead I was more focused on getting the shot I wanted and getting the content that I wanted out. now that I'm actually working on things in the design and production field, I'm so much more conscious of these things. When applying to college, design and production and film and media studies were the two subjects I was most in between, but I think I'm glad that I still have the opportunity to remain present in the film production industry. Hopefully as the years go by I'll be able to work on more film Productions, but as of now I'm just glad the option is open.
I clicked on this article expecting the experts to lead with how research shapes their design, but I was pleasantly surprised to find that the first bit of wisdom imparted was the importance of working as a team. I really liked that Beech was so adamant about the health of the relationship between the set designer and the cinematographer, and that being on the same page is key in how the audience experiences the world. As a stage and production manager, I can often predict how well the design elements will come together by how well the design team communicates with one another. The teams that make concessions to their own designs in order to serve the whole picture are the teams with the most comprehensive, beautiful shows. It takes learned skill to know when to "pull back". I also think having a director who trusts the designers is key. Sometimes, it isn't even the designers that don't work well together; sometimes, it's the director who demands more and more from each department, or has a vision that clashes with the established design. But, ultimately, that advice to communicate effectively and remain on the same page is key.
As someone who’s never been that interested in film or working in that industry I commend filmmaker designers–especially in films based and set in reality or historical events, for achieving sets, costumes, and props that look authentic under the harsh and detailed lens of the camera but especially the lighting designers in tandem with the cameraman who have to achieve a realistic lighting and look on screen. Like lighting windows, controlling shadows, angles, and hiding technologies needed to make the environments look as realistic while also dramatized as possible sounds incredibly difficult. I appreciate the highlighting of teamwork to make those effects happen because it truly does require communication across the departments to make all the elements meld together fluidly and create a sense of unity within a filmed production. Like poor teamwork between departments really destroys some shows that had great potential.
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