UNIT 14 PRODUCTION DESIGN Structure 14.0 Introduction 14.1 Learning Outcomes 14.2 What is Production Design? 14.3 Research 14.3.1 Photographs 14.3.2 Paintings 14.3.3 Magazines 14.3.4 Literature 14.3.5 Video 14.3.6 Oral History 14.4 Production Design: The Process 14.4.1 Concept Drawing 14.4.2 Storyboard 14.4.3 Set Model 14.4.4 Drafting 14.4.5 Staging Plan 14.4.6 Location Scouting 14.4.7 Organizing Props 14.4.8 Final Checks 14.5 Budgeting and Schedule 14.6 Production Design: The People 14.6.1 Art Director 14.6.2 Set Designer 14.6.3 Set Decorator 14.6.4 Property Master 14.6.5 Location Scout 14.6.6 Costume Designer 14.6.7 Hair and Makeup 14.6.8 Construction Crew 14.7 Let Us Sum Up 14.8 Further Readings 14.9 Check Your Progress: Possible Answers 14.0 INTRODUCTION Cinema and television often take precedence over their textual and aural counterparts because they allow their audience to immerse into a world of moving images. When audience watch these moving images, they are

MJM-027_NEW SETTING_5th Proof.indd 227 05-05-2021 12:30:54 Audiovisual Production - II fascinated by the craft of a make-believe world that is created in front of their eyes. The production design team is responsible for creating this look in a film or television production. Sometimes the production design paints an opulent, larger-than life canvas on the screen and at other times it is grounded in offering realism. In both cases, however, the task of production design is to provide a visual context to a narrative and its characters. Working in close association with the film director and the director of photography, the production designer gives wings to the director’s imagination. To be precise, the production design team creates the mise-en-scène or the environment within which the characters dwell and the narrative is taken forward. In this unit, you will learn about the role and responsibilities of production design in enhancing the visual appeal of a film or television production. 14.1 LEARNING OUTCOMES After going through this unit, you will be able to: ●● define production design; ●● understand the research involved in production design; ●● explain the process and function of production design in film/TV production; and ●● describe the role and functions of various personnel involved in production design. 14.2 WHAT IS PRODUCTION DESIGN? As an audience, you may have watched numerous films or TV programmes which are set in grand palaces, middle-class households, claustrophobic slums or luxurious penthouses but actually shot in studios. In fact, not just indoor studios but even outdoor locations are transformed into remote villages, local paan shops, amusement parks or shopping complexes. Since we are so immersed in the film narrative and characters while watching a film, we do not realize the importance of these locations that bring authenticity to it. Have you ever wondered what goes into making the four walls of a studio into a film set or a street in suburban Mumbai to look like a lane in Banaras? The film location that we see for a few minutes on the screen is constructed by putting in many hours of research, creativity and work force. Besides the location, the costumes that the characters wear, their hair and make-up is also well-researched and finalized at the pre-production stage, much prior to the shoot. All these elements constitute the production design of a film and help the audiences to relate with the narrative and its characters. In other words, production design enhances the visual look of a production and creates a relationship between the story, its characters and their environment. At times, a film or television show may be set in the past, for example, a film about the Mughal era, a television show on religious texts like the Ramayana or the Mahabharata or a film about the freedom struggle. Such productions that are set in a specific time-frame of the past are called period dramas. In period dramas, production design finds even more significance as it brings alive a bygone era and acts as a visual vehicle that transports the audiences back in time. A production designer working on period dramas has a tough task to replicate that era visually on screen. Thus, minute details 228

MJM-027_NEW SETTING_5th Proof.indd 228 05-05-2021 12:30:54 like the clothes the characters wear, the houses they live in, the cutlery Production Design they use, the vehicles they drive in and the technology they use have to be researched in-depth. The production designer looks at each of these details and includes them in the film. Hence, production design may be defined as the visual craft that translates a script into physical and geographical environments in which the characters reside and the story is developed. The task of production design is to create a color palette and a pictorial scheme that provides a visual aid to the storyline. A production designer interprets and visualizes a world penned down by the writer into images that depict the architecture, décor, tone and texture of the space along with hair, make-up and costumes of the characters. Production designers use models, sketches, illustrations, photographs and detailed storyboards as blueprints for mounting the sets. A team of other personnel like the art director, set decorator, location scout, property master, carpenter, painter, costume designer etc. is headed by the production designer. You will get to know more about their responsibilities in the following paragraphs. A production designer works in tandem with the film director and the director of photography. When the screenwriter writes the script, s/he puts in every specific detail in order to bring to life the environment where the story takes place. The production designer’s task is to read and breakdown the screenplay. While doing so, some of the key questions he should enquire about are: ●● Where does the narrative take place- interior or exterior location? ●● What time of the year/day the story is set in? ●● Where do the characters live? ●● What is their socio-economic background? ●● What is their emotional and psychological makeup? ●● Are there any visual metaphors that can be used in the narrative? A detailed list of each location with required props, décor, costumes etc. is prepared by the production designer for the approval of the film director. The production designer’s notes will include minute details like the number of rooms in the location, how will these rooms look like, the paintings hanging on the walls, the furniture placed in each of these rooms, rugs or carpets on the floor, positioning of other décor items like flower vases, wall clocks, plants, family photographs, props used by characters and their placement, clothes that the characters will wear, which side will the sun rays be falling from to correlate with the time of the day mentioned in the script etc. A film director narrates the film cinematically through his point-of-view and is the final decision-maker in most creative aspects. The director of photography is responsible for camera movements, composition and light. The production designer along with the director and the director of photography discusses the script in detail and decides on the visual appeal of the film. Anything should not be a part of the pictorial scheme only for the sake of beautification unless it also complements the script. It should have a logic and serve the story and its characters. However, the creative decisions are not limited only to the creative team but are also made keeping in mind the budgetary constraints. Research plays an important role in production design. In the following section, you will learn about the role of research involved in production design. 229

MJM-027_NEW SETTING_5th Proof.indd 229 05-05-2021 12:30:54 Audiovisual Production - II Check Your Progress 1 Note: Use the space given below for your answers. Compare you answers with those given at the end of the unit. 1. What is the role of production design in a film or television production? ...... 14.3 RESEARCH In the previous section, you have learnt that the production design team has a significant contribution in deciding the visual presentation of a film or television programme. The triumvirate of director, director of photography and production designer work in close association on the look of the film. This includes set construction, set décor, props, costume, make-up, hair etc. The process of production design begins with extensive research. Hence, the production designer’s task begins in the early stages of film or television programme production. Let us now look at the research which the production designer conducts and the material and references s/he gathers during the process. Research is an exciting stage for the production designer but also one that is full of challenges. It is a phase of discovery and seeking possibilities. The more time a production designer spends in research, the easier the task gets at the pre-production stage. The production designer refers to a varied range of documents while researching. To begin with, a production designer creates a design file mentioning various shooting locations. For example – Beach side, Garden Area, Library, Living Room, Open Restaurant etc. Being specific is of prime concern at this stage. These locations need to be further specified in detail. For example – what social status does the living room exhibit? Should it be a large room for a family or a smaller one for a bachelor? Should it have windows? What kind of furniture should be placed? Does the room reflect the emotional and mental state of the resident? 14.3.1 Photographs Photographs are a vital source of reference for a production designer. The production designer refers to two categories of photographs – original and archival. Archival photographs help in determining physical space, texture, colour etc. and are available in museums, libraries, magazines, internet etc. Original photographs are clicked by the art department while documenting locations. The location scout clicks the location pictures from various angles and different shot sizes. The still frames help the production designer to understand how the space can be utilized and how it will appear in video format. 230

MJM-027_NEW SETTING_5th Proof.indd 230 05-05-2021 12:30:54 14.3.2 Paintings Production Design Paintings are a primary source of research if the film narrative takes place in pre-photography era, especially historical films. Since photographs of the bygone era may not be available for references, paintings provide historical information and offer unique ways of interpretation. Works of great painters can be valuable for reference while developing the production design of a film. 14.3.3 Magazines Production designers take inspiration from magazines for image references. Different genres of magazines available in the market cover various contemporary issues ranging from lifestyle, fashion, sports, politics, architecture etc. Areas of home design and interior decoration are well covered in magazines and are a good source of references for set decoration. Magazines are also good sources to refer for colour, texture, space etc. 14.3.4 Literature Written words, whether fiction or non-fiction are also a great source of reference for the production designers as they provide enough fodder for the designer’s visual imagination. Literary works of Premchand, Amrita Preetam, Charles Dickens or Leo Tolstoy are classic examples of how words can draw crisp images of a specific period. Reading increases the visual imagination of the production designers and gives them insights into the contemporary world. 14.3.5 Video Video has also proven to be a very important tool for the production designers. As an extension to photography, video recording enables the designers to record architectural styles, landscapes, cities, towns etc. of actual locations. Since the inception of camcorders and home movies in the 1980s, production designers have extensively used video as a source of research. 14.3.6 Oral History Oftentimes, films are made on subjects that may have no visual evidences in the form of video, photographs or paintings. On such occasions, testimony of people can be of great value in visualizing the events and the mise-en-scene. Oral histories of people who may have witnessed the event or anecdotes passed on from one generation to the other serve as valuable research inputs for the production designers to recreate similar spaces. Check Your Progress 2 Note: Use the space given below for your answers. Compare you answers with those given at the end of the unit. 1. Enlist five different sources through which the production designer gathers reference material during the research process...... 231

MJM-027_NEW SETTING_5th Proof.indd 231 05-05-2021 12:30:54 14.4 PRODUCTION DESIGN: THE PROCESS Let us now look at the step-by-step procedure that is followed by the production designer while designing a set for a film or television production. Since production design is majorly a pre-production process, hence, most of the task related to it is completed before the production begins. This is the time when the production designer involves himself into understanding the script and developing concepts, ideas and blueprints for the final design. There are several planning stages involved in the design process. The next section identifies some key stages involved in production design. 14.4.1 Concept Drawings The production designer has to visualize the director’s ideas and visually manifest these ideas on paper. The first stage of the design process is to physically draw the designs on paper. These designs that visualize the concept on paper are called concept drawings. First impressions of how the set will look like are drawn on paper with pencils or markers in concept drawings. These drawings are then shown to the director for his approval. At times the director may not approve all the drawings and may give his/her feedback. The production designer then has to alter the idea and produce a new drawing until everything is approved. 14.4.2 Storyboards A storyboard pre-visualizes a film and gives a detailed description of scene through illustrations of individual shots. Storyboards are designed by storyboard artists who visualize the director’s imagination. It shows the relationship between the characters and their environment. The storyboard illustrates how the design will appear in the frame. Accordingly, the design team understands its task in terms of what needs to be created and where. After the concept drawings and design directions are agreed upon by the director, a set plan is made to construct a model. 14.4.3 Set Model A model of the original set is prepared well in advance to analyze its look and feasibility in all technical aspects. A three-dimensional structure of the set with the help of cardboard and other materials is mounted as a model by a member from the art department. The model displays the architecture and space that the design team intends to utilize in three-dimensions. The model is painted exactly how the set will look like. This model is also helpful to get financial sanctions from the producer. The model also helps the director and director of photography to plan shots, camera positions, blocking and lighting.

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Image Source: https://www.flickr.com/photos/karen_roe/7537427512 (CC BY 2.0) Image 1: Set Model 14.4.4 Drafting Drafting is a critical process and requires special skills. It is not freehand drawing or a piece of art but an exact graphical representation of a set mentioning all the dimensions. It uses precise measurements with the help of a ruler, compass and other drawing tools. Its purpose is to draw objects that will be constructed with proper scaling. The size of the object is scaled against the space available on paper and drawn as per the paper to object ratio. White or light green paper is often used in drafting. Drafting gives an exact sense of space to the designer. Nowadays, designers also use design software like AutoCAD for drafting purposes. 14.4.5 Staging Plan A staging plan visualizes how the set will be laid out on a sound stage. It should include the following details: ●● dimensions of the stage on which the set is mounted; ●● positioning of the set walls, stairways etc.; ●● drawn and labelled furniture, rug and décor; ●● signs of backdrops or cycloramas, if to be used. In short, the staging plan indicates all doors, windows, furniture, props, stairways etc. This plan helps the director of photography to choose various camera angles and lighting positions. If the set is being built in a studio, the studio plan should be made available by the owner clearly indicating the entrances and exits of the studio, location of dressing rooms, restrooms, electrical outlets, water outlets, emergency exit, blue or green chroma screens etc. 14.4.6 Location Scouting After consultation with the production designer and the director, the location scout starts searching for suitable locations mentioned in the script. S/he must have a copy of the storyboard and production design sketches in order to see 233

MJM-027_NEW SETTING_5th Proof.indd 233 05-05-2021 12:30:55 Audiovisual Production - II if a location fits the bill. The location scout should carry a camera with him and document the location through photos and videos. Photographs should be clicked from all possible angles including close-up and wide angle shots of doors, windows, corridors etc. These photographs are then brought to the director, producer, director of photography and the production designer. The director assesses the pictures for creative purposes and examines the storytelling potential of the space. The director of photography observes all camera angles he can get, light sources and space where camera and light equipment can be put. The production designer examines the photo for architecture and other stylistic elements. The producer looks at the economic aspects and budgetary constraints. Thereafter, the team visits the location to seek permission and finalize the deal. If the location scout is not able to find an appropriate location, alternate plans are explored. For instance, the director and production designer may decide to mount a set in the studio or elsewhere if no suitable location is found. 14.4.7 Organizing Props The property/prop master after consultation with the director and the production designer makes a list of all the props required for the shoot and makes arrangement for their availability. Based on his discussion, s/ he designates the properties into different categories. Few of them are as follows: ●● Personal Props – directly used by the actors like watch, rings, spectacles, wallets etc. ●● Hand props – used by actors like mobile phone, cigar, etc. ●● Practical props – fully functional appliances that need to be used on camera. 14.4.8 Final Checks The production designer goes through the storyboard one last time to ensure that the camera movements, composition, lights etc. can be put to the best use in the set and the desired results can be achieved. A final checklist may be concerned with the following issues: ●● Is any material used in the set creating reflections? ●● Are the colours too dark or too light? Are they camera friendly? ●● Are any of the electrical wires or camera cables obstructing the shot composition? ●● Are all the objects/ furniture placed in their respective position? ●● Is the overall impact of the set pleasing to the camera? ●● Is the set stable and safe for the production crew? ●● Is the height and illumination of the lights appropriately set? The production designer along with the art department confirms the timely construction of the set along with the delivery of props, décor elements etc. Before the shoot begins, the director and the director of photography must do a camera test to check light, colour, texture etc. Additionally, the production designer must also have proper backup plans in place like the construction of a cover set. A cover set is generally a backup set built in an interior space to allow shoot in an indoor location if the weather conditions do not allow outdoor shoot. 234

MJM-027_NEW SETTING_5th Proof.indd 234 05-05-2021 12:30:55 A major task of the production designer is complete before the shoot begins. Production Design During the shooting schedule, the art director has to be present at the set to instruct the art department and maintain the set until the shoot is over. Activity 1 Take any scene from any film or television serial, and make a list of properties used in it. Check Your Progress 3 Note: Use the space given below for your answers. Compare you answers with those given at the end of the unit. 1. Referring to the pre-production stage, explain the following terms: a. Concept Drawing ...... b. Set Model ...... c. Drafting ...... d. Location Scouting ...... 14.5 BUDGETING AND SCHEDULE While the creative processes are vital for the look of the film, financial concerns are also a major factor in creative choices. The art department is allocated a certain budget from the total film budget for production design purposes. The production designer takes inputs from the art director, construction coordinator and set decorator to compute the design cost involved in each scene. If the production design costs supersede the allocated budget, the art department has to cut down on some creative elements. Below are the broad heads under which the budget for production design is allocated. ●● Salaries of all the personnel involved like the production designer, art director, set decorator, construction coordinator, painter, costume designer etc. ●● Purchase of materials like wooden platforms, window-door cutouts, nails, cardboards etc. 235

MJM-027_NEW SETTING_5th Proof.indd 235 05-05-2021 12:30:55 Audiovisual Production - II ●● Rental cost of lighting equipment used as décor like lamps etc. ●● Purchase/ rental cost of décor elements like carpets, rugs, furniture etc. ●● Purchase/ rental cost of property items ●● Purchase/ rental cost of costumes ●● Purchase cost of makeup accessories ●● Purchase cost of wigs and other hair accessories ●● Location fee and rentals ●● Travel costs ●● Living costs ●● Stage rentals ●● Miscellaneous Furthermore, the production designer should plan a realistic budget. The budget should be on the higher end rather than the lower to avoid last minute sanctions that could hinder the shoot. The art department should utilize all available resources so that the budget price can be brought down. A price comparison of all vendors and services should be maintained so that the most reasonable can be brought to service. The production design need not be lavish and extravagant only for visual pleasure but it must support the characters and the story that is being produced. The production designer also has to work in coordination with the production manager who is responsible for preparing the shooting schedule. The shooting schedule helps the production designer to know which scene is to be shot on a particular day so that the art department can get the location ready in advance. A close communication between the production designer and production manager can help to speed up the process. We shall discuss the responsibilities of production manager in Unit- 16. Hence, besides creative and production aspects, budgeting and scheduling are also key areas that should be given importance by the production design team. 14.6 PRODUCTION DESIGN: THE PEOPLE In the previous section, we learnt about the various stages involved in production design. We will now learn about various personnel involved in production design and the responsibilities they shoulder. In any film or television production, the production designer heads the art department - a team of creative personnel who work as per the directions given by him. The team consists of the art director, set designer, set decorator, property master, carpenter, painter, location scout, to name a few. Costume, hair and make-up departments are a separate crew but work under the supervision of the production designer. Since the production designer is responsible for the overall visual appeal or the look of the production, the characters’ hair, make-up and costume also form an important part of his duty. All of them combine to constitute the design team. The following section will discuss the duties of the above-mentioned personnel at greater length.

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MJM-027_NEW SETTING_5th Proof.indd 236 05-05-2021 12:30:55 14.6.1 Art Director Production Design The art director supervises the production design crew during the shoot and works under the production designer. While the production designer may visit the set on and off, the art director becomes his/her one-point contact during the production stage. The art director is mainly responsible for the logistics of bringing in material to and from the set and dealing with the respective vendors. The production designer’s duty is to conceive the idea and prepare a blueprint whereas the art director executes the idea by overseeing set construction, properties, graphics and the overall budgeting. 14.6.2 Set Designer The set designer is also an important figure as s/he designs and supervises the construction of the set based on inputs provided by the production designer. There may be one set designer for all sets or different designers may be called for different sets depending on their expertise. In small-budget productions, the art director may design the set as well. The set designer works with the director and the cinematographer to plan how the set will be utilized and captured. 14.6.3 Set Decorator After a basic set has been mounted, it requires decoration. The set decorator is responsible for the décor that includes positioning the furniture, adding other elements like carpets, rugs, flowers, lights, curtains etc. The décor of the set must be in sync with the mood and style of the film and should reflect the time period in which the plot is set. Set decorator is often assisted by a lead man who locates all the elements required to decorate the set. The set dresser works under the supervision of the set decorator and has the duty of setting up the décor on set. 14.6.4 Property Master Along with the set decorator and production designer, the property master identifies all props to be used during production. Properties like crockery, spectacles, books, candles, flowers etc. are to be arranged by the property master well in advance. Most of these props are available easily while some may be found in antique shops or private collections. Oftentimes, multiple copies of the same prop maybe required as backup in case one gets damaged. The continuity of these props from one shot to another also needs to be maintained. For instance, if fresh flowers are used in first day’s shoot, the second day a new stock of fresh flowers should be replaced. Before a scene begins to be shot, the property master arranges all the props required for that scene. 14.6.5 Location Scout The task of a location scout has been mentioned in the previous section in greater detail. To briefly summarize, a location scout goes to various locations and brings back photographic or recorded evidence of the location to get approval from the director, the director of photography and the production designer. 14.6.6 Costume Designer The costume designer’s responsibility is to design the costumes worn by the actors. S/he should have an in-depth knowledge about the story and character description. The production designer briefs the costume designer about 237

MJM-027_NEW SETTING_5th Proof.indd 237 05-05-2021 12:30:55 Audiovisual Production - II the colour palette and the overall look of the film. The costume designer conceives and designs the costumes as per the demand of the script. The actors’ physical built and body type is also taken into consideration while designing the costumes. The costume designer has to consider several factors like what period is the film set in? What is the social status of the character? What profession is s/he into? What are the personality traits of the character? Based on the above parameters the costumes are designed for each character. 14.6.7 Hair and Makeup The hair and makeup team look after the physical appearance of the characters. Most actors have their own hair and makeup team and this team is given directions by the production designer and director on the look of the characters. The hair stylists conduct a detailed research to decide the hairstyle of the characters. Costume, hair and makeup make a huge difference in the actors’ physical appearance and personality; hence it is always a good idea to discuss the look of the characters with the actors in the initial meetings. Many a time, the actors are not willing to wear a certain costume or allow a certain makeup or hairstyle on them. In such cases, if the look is extremely important to the film’s script then the casting director should cast another actor who is more flexible. Hair stylist generally carry hair extensions and wigs with them in case they require it. Makeup artists should have a basic knowledge that the makeup they are doing is for the camera and not for the human eye. Accordingly, they should do the make-up of the actors. Since makeup requires a lot of time, the makeup artist should be on the set a few hours before the shoot begins so that the actors are ready on time. Additionally, makeup also requires touch-up so the makeup artist should be present until the end of the shoot. The continuity of makeup must also be maintained from one day to the next. For prosthetic makeup or special effects makeup, qualified makeup artists should be hired. Like the costume designer, the makeup artist must also have basic information related to the period in which the film is set, the region the characters belong to, the character details and the costumes they will wear in each scene. The hair and makeup team should have the shooting schedule with them so that they can dress up the actors as per the scene that is to be shot on a specific day. Since hair and makeup are visual elements, they impact the look of the characters and must be given utmost importance. 14.6.8 Construction Crew The construction coordinator builds the set as per the drawings and drafts provided by the art department and supervises the construction crew. The construction crew consists of mainly the carpenters and painters. Production sets are unlike normal buildings and are mostly constructed keeping in mind the space that will be taken by the camera and the crew. Since most of the sets are constructed out of wood, skilled carpenters hold an important place. Generally, these sets are constructed with two or three-sided walls leaving one or more sides open so that the camera can be positioned with ease and the crew has enough space to move around. At times, the sets also have removable walls for different camera angles. There should be enough space 238

MJM-027_NEW SETTING_5th Proof.indd 238 05-05-2021 12:30:55 for placing a dolly or a crane in case a shot requires it. The material used Production Design also differs in quality. Everything on a set may not be operational and could be there only as a visual element. Moreover, sets are built on stage floors and do not have a foundation like a building. In building a set, the safety of the crew has to be of prime importance. Check Your Progress 4 Note: Use the space given below for your answers. Compare you answers with those given at the end of the unit. 1. Discuss the responsibilities of each of the production crew members enlisted below: a. Set decorator ...... b. Costume Designer ...... c. Property Master ...... 14.7 LET US SUM UP In this unit we learnt about the role of production design and the responsibilities of a production designer in a film or television production. Production design, as we have discussed, is a visual vehicle that transports the audiences into the settings of the narrative. It creates the mise-en-scene within which the story takes place and the characters interact with each other. We have learnt that the role of a production designer is to replicate the storyboard onto a set by constructing the set in a suitable location and providing appropriate set design, decoration, props etc. By supervising the costume, hair and make-up departments, the production designer also ensures that the actors are in their characters wearing proper costumes, hair, make-up etc. Most of these creative decisions are not made by the production designer alone but in consultation with the director and the director of photography. We also learnt the various stages of production design that include concept drawing, breaking down the storyboard into scenes and shots, constructing a model of the set, drafting, stage plan, location scouting and organizing the required props. Budgeting and scheduling are also important parts of production design as all the requirements have to be fulfilled within the allocated budget. The production designer must work in close coordination with the production manager and know the shooting schedule in advance to 239

MJM-027_NEW SETTING_5th Proof.indd 239 05-05-2021 12:30:55 Audiovisual Production - II prepare the location, costumes, hair and make-up etc. as per the schedule. We discussed the important roles assigned to various personnel like the art director, set designer, set decorator, property master, costume designer, hair and make-up team etc. Each of them works together as a team and completes their assigned responsibilities. Hence, it is clear that production design is not a single man’s job but requires team work and skillful labour. In conclusion, it can be summed up that production design is a visual craft that constructs the environment of a film or television production. Like a painter paints colours on a canvas to bring alive his imagination, the production designer translates the script and the director’s imagination onto a visual canvas. 14.8 FURTHER READINGS Ackland-Snow, T., & Laybourn, W. (2017). The Art of Illusion: Production Design for Film and Television. The Crowood Press. LoBrutto, V. (2002). The filmmaker’s guide to production design. Simon and Schuster. 14.9 CHECK YOUR PROGRESS: POSSIBLE ANSWERS Check Your Progress 1 1. Like a painter paints colours on a canvas to bring alive his imagination, the production designer translates the script and the director’s imagination onto a visual canvas. The film location that we see for a few minutes on the screen is constructed by putting in many hours of research, creativity and work force. Besides the location, the costumes that characters wear, their hair and make-up is also well-researched and finalized at the pre-production stage, much prior to the shoot. All these elements constitute the production design of a film or television programme and help the audiences to relate with the narrative and its characters. Check Your Progress 2 1. Five different sources through which the production designer gathers reference material during the research process are following : Photographs, Paintings, Literature, Videos and Oral History. Check Your Progress 3 1a. Concept Drawing: Production designer has to visualize the director’s ideas and visually manifest these ideas on paper. The first stage of the design process is to physically draw the designs on paper. These designs that visualize the concept on paper are called concept drawings. First impressions of how the set will look like are drawn on paper with pencils or markers in concept drawings. b. Set Model: A model of the original set is prepared well in advance to analyze its look and feasibility in all technical aspects. A three- dimensional structure of the set with the help of cardboard and other materials is mounted as a model by a member from the art department. The model displays the architecture and space that the design team intends to utilize in three-dimensions. The model is painted exactly how the set will look like. 240

MJM-027_NEW SETTING_5th Proof.indd 240 05-05-2021 12:30:55 c. Drafting: Drafting is a critical process and requires special skills. Production Design It is not freehand drawing or a piece of art but an exact graphical representation of a set mentioning all the dimensions. It uses precise measurements with the help of a ruler, compass and other drawing tools. Its purpose is to draw objects that will be constructed with proper scaling. The size of the object is scaled against the space available on paper and drawn as per the paper to object ratio. d. Location Scouting: After consultation with the production designer and the director, the location scout starts searching for suitable locations mentioned in the script. S/he must have a copy of the storyboard and production design sketches in order to see if a location fits the bill. The location scout should carry a camera with him and document the location through photos and videos. Check Your Progress 4 a. Set decorator : After a basic set has been mounted, it requires decoration. The set decorator is responsible for the décor that includes positioning the furniture, adding other elements like carpets, rugs, flowers, lights, curtains etc. b. Costume Designer: The costume designer’s responsibility is to design the costumes worn by the actors. S/he should have an in-depth knowledge about the story and character description. c. Property Master: Along with the set decorator and production designer, the property master identifies all props to be used during production. Properties like crockery, spectacles, books, candles, flowers etc. are to be arranged by the property master well in advance.

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