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Imogen Barrett, 40660214

On-Set Production, LMD09166 25-6

Critical Reflection

For ‘Taking Things’, I had to create a space that resembled an office Christmas party. After discussions with the director, it was clear they wanted a low-budget office, complete with cheesy Christmas jumpers and handmade décor. This concept is illustrated in my blog through the location recce and reference pictures. I believe I was successful in achieving this vision. For example, I selected a Christmas jumper that represented the character's flirtatious side; it featured the phrase "Merry Kissmass" on the front. To improve the costume, I could have included party hats or Christmas hats to emphasize the festive atmosphere.

For the set design, I focused on small details to enhance realism. I created a drinks table complete with alcohol, a punch bowl, and food, adding bits of tinsel and even spilt drinks for effect. I also made it look like the mince pies had bite marks. Additionally, I crafted handmade decorations inspired by the reference pictures shown on my blog. I used Christmas lights and other holiday décor to reinforce the theme. I also placed crushed paper cups all around the set to give the impression of the party being busy and mid-way through.

However, I could have contributed more to the decision-making during the location scouting, as the space forced the characters to be shown only on one side of the room, standing in a corner. This limited perspective was not very engaging for the audience, although it did give us more room to improve the set design on the day of filming.

I believe my contribution to "In Session" was successful in creating a cluttered and neglected office environment. Through careful set dressing, prop design, and costume design, I achieved this effect. I researched similar spaces and documented reference pictures in my blog, along with meeting notes and mood boards. I used old office supplies, like a desk fan and stationery, and sourced psychology and anger management books to reflect the character's frustrations. During set dressing, I managed my time well and focused on details, ensuring books and flyers were strategically placed. I positioned the psychologist's handbook prominently for close-up shots and enhanced the cluttered atmosphere with flyers on the walls, mirroring some of my reference images.

In prop design, I modified the handbook’s cover after production meetings, ensuring it conveyed a low-budget, used look. To improve readability, I would make the text larger and bolder. For costume design, I effectively showcased the characters’ statuses; Bridget wore sophisticated office attire with delicate jewellery and light makeup, while Callum was dressed in worn, neutral clothing without makeup. The blocking of the scenes shown in my blog contributed to the success of this project because I was able to understand the characters better and reflect that in their costumes and the set. Overall, this project was a success due to clear communication between the director and me; however, to improve, we could have had more discussions about the location. I also could have spent more time perfecting the important props used.

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While working on the production design, these blocking videos of the scene were extremely helpful for knowing the way the scene would be filmed. It was also helpful for knowing how big of a space we would need and how we could reflect the conflict between them in the set dressing and costume.

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Просмотрите 47 идей на доске «In Session Production Design» и на тему «синие брюки мужчины» в 2025 г. | пожилые пары позирование, стиль жениха, хасл и т. д.

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синие брюки мужчины, пожилые пары позирование и многое другое — найдите все, что вам нужно, в Pinterest!

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This shows the development of the script.

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Messages to show how we improved on costume and prop design.

I ensured that the character of Callum was dressed in neutral tones, such as brown, and seige green. I wanted the character to look poorer to the charactre of Bridget, so I instructed the actress to wear office clothes that were old looking and worn. This contrasted with the character of Bridget’s costume, as I designed her costume to be smart and sophisticated, reflecting her higher status of power. I also chose some gold jewellery for her to wear, showing her success.

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Planning and meetings of ‘In Session ’ project

I planned all of the books we would use ahead of time to be time efficient. I took out books from the library which were based on psychology. I found lots of books which had quite patronising titles or motivational quotes, to communicate how frustrated the character is to be in the office.

We were originally planning to use the room pictured above, but it was too small for all of the furniture we wanted to include. We decided on the other room to ensure enough space for the lighting equipment and set design.

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My role- Production Designer

-behind the scenes pictures of the set.

-costume planning for the actresses.

-designing of the handbook

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Stills from ‘taking things’ and link to files( recce checklist, shot list, call sheet, risk assessment)

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Stills from ‘taking things’ and link to files( recce checklist, shot list, call sheet, risk assessment)

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https://drive.google.com/drive/folders/12rf-W1baQkZIfTL6OHBRPdMDRe65zkYU

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Taking Things collage, recce pictures and some thoughts ..

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Taking Things collage, recce pictures and some thoughts ..

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My role: Production design

The goal was to make this look like an office Christmas party.

For this project, I had regular meetings with the other production designers to ensure that we had all of the decor and equipment we would need. I made a vision board and divided our responsibilities.

From looking at the vision board, there were lots of homemade decorations, so I made lots of paper chains to make the party look low-budget. I used tinsel, fairy lights and other Christmas decor in the areas the camera man said would be in shot. I put tinsel on the microwaves and hats on the shelves to make the scene more cheesy and office party style. The paper chains worked to frame the characters head.

I made a drinks table by putting a Christmas table cloth down with bottles, empty cups, mince pies and a punch bowl. I sprinkled bits of tinsel on the table and crumpled some cups to make it look like it had been in use, ensuring more realism. I made the punch bowl by pouring squash into a bowl with orange slices and a ladle. I made posters ahead of time with cheesy quotes on and ‘team building trip photos’ to make the space more convincing as an office.

I found a Christmas jumper which reflected the flirtatious character well as it said ‘Merry Kissmass’.

The watch was an important prop so we spent time deciding on the correct one for the character. It had to be quite unique in its style, so we chose one which was less smart and more retro in its appearance. I also ensured the colour of the watch clashed with the colour palette of decor and costume.

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Exercise 2: still frames.

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My role: Production Designer

For this project, I collaborated with the team to transform room CRL 1/100 into a nightclub-looking space.

I undertook research by watching DIY videos and reading up on production design and set dressing, as shown in the post below. I also made a mood board to work as inspiration, which helped in finding all of the details which identify with a nightclub. For example, I spotted in a picture there were lots of wires draped from the ceiling and speakers, and lots of different textures. I saw in another picture there were lots of reflective surfaces and decor such as foil fringe, which reflected the rough club look we were going for as it shows it is cheap.

To do this, I got lots of scrap cardboard and painted some of it black to use as spare blackout card.

I spray-painted cardboard pieces and used acrylic pens and markers to write on them, giving them the appearance of a club toilet's walls. I drew inspiration from the graffiti I saw on the streets and in club toilets.

I made props of empty glasses with lipstick on the rims, and used tape to act as the grout on the wall. We attached these walls to C-stands. This ensured the camera team could move them as they desired to get the right angles to make the set look convincing.

To create the door, I put lino on pieces of cardboard, decorated them and attached the cardboard onto a wooden board. The board was then attached to a C-stand using a string. Again, this ensured the door could move. The only problem with this construction was that the actress could not hit against the walls, or they would move. I put lino on the floor covered in mess to cover up the carpet.

To create the nightclub itself, I put black cloth on C-stands to make a long, narrow corridor. I set up big speakers at the end of the corridor, along with a desk and a laptop, all covered in wires and cables to resemble a DJ booth. I also placed the cables and wires on the C-stands to add more texture to the background. The darkness created by the black cloth worked to my advantage because it made the space look bigger than it was. The darkness also created an ominous feeling which contributed to the narrative my group was aiming for, as this reflected the dangers the protagonist was in. However, next time I would arrange the C-stands to be wider apart, and use more extras to fill in the space to make it look more convincing.

I put confetti and empty glasses/ cans around. I put a spray-painted sheet on the back stands to look like the DJ's logo.

Overall, this project was successful and resembled a nightclub. However, next time, I would make sure to get wood to cover the floor to put the linoleum on top of, to ensure it looks hard when the actor steps on it.

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For this exercise, I worked as the production designer and the Gaffer.

We wanted the mood of the shots to be warm and cosy. To do this, we constructed a communal pub corner.

As a production designer, I ensured the props were scattered randomly to resemble a cluttered pub table. I ensured any branded labels were hidden, and the labels designed by the prop/art department were on show. I placed things at different heights and distances from the camera to add depth to the scene.

As the Gaffer, I had to black out the windows as there was a lot of light leakage ruining the shots. This ensured it looked like a cosy pub at night, with only the orange glow from the candles. I used the black flag to block out some more light that was too harsh, and the light reflector to bounce some of the candlelight back onto the subjects on the table.

To improve, I would ensure we had an LED light to produce some warm lighting on the scene and ensure it was not too dark.

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We were told to film an 8-shot, two-minute film in black and white as an exercise. The 8 shots had to contribute to a sense of home and place.

My role- Cinematographer Assistant/ Lighting assistant.

Overall, I believe I was successful in portraying a sense of home and place because I made sure to light the space to make it feel closed-in and dark, to reflect the loneliness of the character in his home. I used the amaran light to light up items such as the record player, making the shot slightly brighter to reflect how the character associates warmth and memories with the item.

I assisted on the shots to ensure that they were framed well and reflected the loneliness of the character. For example, there is a medium close-up of the character which shows his facial expressions well, with the photos of his implied wife in the background.

I used lots of wide-shots to show the space and create negative space, reflecting the character's loneliness.

When the character is thinking of his wife and dances with her, we used a handheld camera to create a contrast with the other shots.

There were quite a lot of distracting spots in the frame due to the small space we were working in. I think if we used a more open space, we could have achieved better, brighter lighting which would have looked more homely instead of being too dismal and ominous.

To improve this project further, I would minimise the distracting hot spots in the frame, make the space brighter, and use more mid-shots to contrast with the wide shots of the space. This would show the effect of the space on the character.

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The Basics of Blocking:

Blocking is defined as 'the practice of directing actors where to move in a given scene or shot'. It is essential to incorporate this into on-set discussions with the director.

It is more interesting for the audience if the characters on screen move during conversations. Clarity is essential because the audience must be able to understand and see what is happening. Avoid actors' movements or placement that hide important details on screen or another actor's action. You should understand what is happening in silhouette, or apply this theory.

The audience should understand the characters' positions within a scene.

Blocking is related to the '180 degree rule.'

When two characters are conversing, you draw an imaginary straight line between their eyeliner. All of the shots for the scene should be on only one side of that line.

If you cross the line, it violates the established geography of the scene.

Each element of blocking aids in forming the composition that will be framed when completing the shot.

Blocking should be motivated by something. Why is the actor moving? This is up to the director and actor to decide.

Business- defined as what an actor is doing, such as removing glasses.

'Business can motivate movement and help you refine your blocking.'- Jay Holben.