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Maria Djurkovic: Production Design Mini Masterclass

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After filming, movie props can be sold at auction, sent to a warehouse owned by the studio, or housed by the production designer. They may go to a museum, another film set, theme restaurants, private collections, or even the trash. The producer and studio generally decide what happens to the assets.

Movie Prop Rentals discusses the "afterlife" of movie props for aspiring collectors, filmmakers, and the curious.

Everyone has those one or two movies that they connect to, that become part of their identity. Collecting film memorabilia is not only a popular hobby in America, but it's a cool way to hang onto the nostalgic feeling of the movies you hold dear. For some, a store-bought toy or replica product is good enough to achieve that goal, but others are in pursuit of the real deal - a rare, screen-used, genuine movie prop. The question is - after filming, where do they go? And how do you get your hands on one?

Auctions and Private Collectors

The most iconic "hero" items are safely guarded by the studios in their own facilities. They are either kept and put on display on their premises or auctioned off to private collectors at top dollar. Prop Store is one such auction house, which authenticated and listed the queen's egg from Aliens for $1,295, Marty McFly's Nikes ( Back II The Future) for $16,195, the Jack Nicholson Joker's suit for $12,955, Gary Oldman's contact lenses ( Braham Stoker's Dracula) for $1,296, Conan the Barbarian's sword for $5,181, Venckman's jumpsuit ( Ghostbusters) for $3,886, Chris Pratt's "Star Lord" helmet ( Guardians of the Galaxy) for $19,437, and Indiana Jones' bull whip ( The Last Crusade) for $32,395.

It's A Wrap is another popular LA prop auctioneer.

Sometimes you can even find authentic pieces on eBay - like Arnold Schwarzenegger's bust from Total Recall, the saw from the Saw movies, poker chips from Ocean's Eleven, an oar from The Titanic, Robin Williams' Hook costume, and Quentin Tarantino's 1970 Death Proof Chevy Nova.

Studio Warehouses

All major film studios like Sony, Warner Brothers, Paramount, Universal, Disney, and more have their own warehouses full of treasure. You'll find a prop warehouse for any item found on-set, costume department for the clothing the actors wear, and transportation department for the vehicles. For instance, Sony displays the Ecto from Ghostbusters, the Talladega Nights race car, and the Breaking Bad RV. Hollywood studios typically offer guided tours of their backlots, prop warehouses, and studios for a price.

Independent Prop Houses

Sometimes studios use independent prop houses to store their props and set dressings. Disney sent all of the Pirates of the Caribbean props - swords, canons, guns, costumes - to one such prop house. After the film become a blockbuster hit, they had to pay to rent everything they sold for the sequels.

Museums

Various museums around the world showcase specific movie props. The Hollywood Museum in Los Angeles holds the largest collection of authentic movie memorabilia with more than 10,000 items, including Hannibal Lecter's jail cell from The Silence of the Lambs, Rocky's boxing gloves, costumes from Planet of the Apes, and Marilyn Monroe's million-dollar honeymoon dress. Other American museums with genuine props include:

Gone With The Wind Museum in Marietta, Georgia

Rancho Obi-Wan Star Wars Museum in Petaluma, California

It's A Wonderful Life Museum in Seneca Falls, New York

The Wizard of Oz Museum in Wamego, Kansas

Overseas, you can see museums dedicated to Mad Max, the Lord of the Rings, and James Bond, all containing real movie props, costumes, vehicles, and collectibles.

Restaurants and Theme Parks

Filmmakers often donate items to restaurant chains or theme-parks. For instance, Planet Hollywood has nearly 55,000 items in its warehouse to spread among its six properties in Orlando, Vegas, New York City, Paris, London, and Malta. Disneyland has found a home for a number of real props - the mine car from Indiana Jones and the Temple of Doom, the desert chase vehicle from Indiana Jones and the Lost Ark, C-3PO and R2D2 from the original Star Wars trilogy, and Captain Nemo's organ from 20,000 Leagues Under the Sea.

Cast & Crew

Sometimes cast and crew are allowed to keep a few beloved items, though this does not happen as often as you'd think. For instance, from the "Harry Potter" movie sets, Daniel Radcliffe kept two pairs of his iconic round glasses; Emma Watson took her wand, a time-turner, and a cloak; Alan Rickman took home his wand, Gringotts coins, and probably a cloak; and Rupert Grint took the number four off the Dursleys' house and Dumbledore's Deluminator. Grint also tried to take the golden Goblet of Fire dragon egg (which was worth a few thousand dollars), but the studio tracked it down. Jason Isaacs tried to take one of the thousands of copies of The Daily Prophet, though he was caught and asked to return it.

Charitable Donations

Wondering what happened to all the amazing period costumes from Boardwalk Empire? Costume rental houses got first dibs on the apparel, but some pieces were donated to Material for the Arts, The Children's Theatre, and the University of Georgia. Filmmaking is a fast-paced world where tremendous amounts of goods are moved at break-neck speed, as productions come and go. When costumes and other items are no longer needed, there are usually opportunities to donate them.

Other Film Sets

Many props find new life in other films. For instance, Uma Thurman's Japanese Kill Bill sword was also used in Sin City. Sam Raimi likes to re-use the same '88 Oldsmobile Delta in all his movies - first Evil Dead, and then Drag Me To Hell, The Quick and The Dead, Spider-Man, Darkman, A Simple Plan, The Gift, and Crimewave. The same police spinner was used in Back To The Future II and Blade Runner. Gwyneth Paltrow's severed head from Se7en was borrowed for Contagion. The body armor for Starship Troopers was re-used in the Firefly TV series and Planet of the Apes movies.

The Trash

Amazingly, some items end up in the trash. When Sean Astin moved out at 18, his mom threw out a map from Goonies, "worth about $100,000," he says. The Emerald City backdrop from Wizard of Oz was destined for the trash, but the cleaning crew salvaged the item and later sold it for $44,000. To make quick room for the filming of Cabaret, thousands of Willy Wonka "Scrumdiddlyumptious" bars were tossed into the trash. The leg lamps from A Christmas Story, stop-animation models from King Kong, and the original Star Wars death star were all thrown out to make room for new gear - though the death star was immediately recognized and snapped up by a savvy antique store owner.

Looking For Movie Props?

Movie Prop Rentals is an independent prop house that assists Hollywood, indie filmmakers, theatres, music video producers, corporate event planners, as well as wedding and party planning agencies. Movie Prop Rentals is run by production designers who worked on films like Last of the Mohicans, Bad Boys, Step Up Revolution, Jeepers Creepers, and Into the Blue. For decades, we have been collecting high-quality film props used on screen. Our clients can choose from carefully curated items out of two warehouses in Atlanta, Georgia, and Miami, Florida. Contact us for details.

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What Happens to Movie Props after Filming?

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After filming, movie props can be sold at auction, sent to a warehouse owned by the studio, or housed by the production designer. They may go to a museum, another film set, theme restaurants, private collections, or even the trash. The producer and studio generally decide what happens to the assets.

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VFX

What is VFX?

https://www.backstage.com/magazine/article/create-digital-effects-film-project-13748/

Why Don’t movies use practical effects:https://www.youtube.com/watch?v=qBF7aV2T3jo

Famous Movies Without Special Effects:https://www.youtube.com/watch?v=D3Cxm_HIiMU&t=21s

Marvel HUlK with and without cgi:https://www.youtube.com/shorts/vNwYdT3cJ-w

Movies With Amazing Visual Effects

https://www.cbr.com/movies-with-amazing-visual-effects/

Career In VFX:

https://www.arena-multimedia.com/in/en/blog/career-in-vfx-how-to-begin

VFX Beginnerhttps://www.storyblocks.com/resources/tutorials/what-is-vfx:

VFX PROJECTS:https://www.ilm.com/vfx/

Top Vfx companies

Starlight Effects Studio
Digital Horizon Creations

Quantum VFX Lab
Aurora Visual Magic
Epic Imagery Dynamics
Neon Lightworks

Mirage Media MakersPrism VFX
SkyHigh Visuals
Infinite Illusions

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If you’re at all interest in stop-motion animation, this video is fascinating. I had never considered that the costuming process was basically the same for animation but done much, much smaller.

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Costume Designer Deborah Cook Makes Tiny Clothes for Movie Stars - Supporting Players

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This his a crazy story about the costume designer from many iconic films. Vera West’s work defined horror cinema for nearly 3 decade, and is still some of the most famous in the entire horror cannon. We wouldn’t have the modern looks of Frankenstein, Dracula, the Bride of Frankenstein, the hunchback of Notre dame, the phantom of the opera, the mummy, or the creature from the black lagoon without her!

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The Classic Horror Film Board-The Weird Mystery of UNIVERSAL Costume Designer VERA WEST

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VERA WEST began her film costuming/wardrobe career in 1929 with THE MAN WHO LAUGHS. She quickly rose to becoming the chief costumer for UNIVERSAL, a p

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Movie Assortment - Set Construction Time Lapse

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The role of disruption in world building | Alex McDowell

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During my time studying at University, one area of the visual effects industry that peaked my interest in particular was Matte Painting but not only for its fine art and digital wizardry, but for its tradition of art dating back 100's of years. I could go on and on about the Renaissance period and the years of notorious artists that have made an impact on the way art is used today, but I can bore you with that another time. I want to dive straight into the brief history of Matte Painting and share my studies in hopes it can influence other new artists to take on a new journey like myself.

So What Is Matte Painting?

In a world of Visual Effects and its ever expanding technological advancements, Matte painting is looked at as one of the oldest techniques in the industry and is undeniably applied more widely than most other techniques. The basic principle "to use one or few paintings to replace a background" may sound simple but the techniques required for this is highly dependent on one's artistic skillset. These phenomenal paintings replace backgrounds and extend buildings that have to be observed as "realism", tricking the audience into thinking the background is part of the original footage.

The early days of Matte painting started as an advanced tool at the time to create settings in a cost effective and efficient manner, helping to portray stories that would be impossible without them for technical, logistical and budgetary reasons.

Historical Techniques of Matte Painting

The Glass Shot and Norman Dawn

The Glass Shot was first used in the 1907 motion picture "Missions of California" by a man named Norman Dawn. The innovation of The Glass Shot for Films was credited to Dawn and this technique had been used for many years in still photography. In fact, this very technique was taught to Dawn whilst he was a still photographer in 1905. The Film "Missions of California" saw a destroyed and dilapidated building rebuilt as Dawn painted the bell towers and roofs on to the plane of glass.

The History of Peter Ellenshaw

Peter Ellenshaw was an English Matte painter born in 1913 and can be regarded as one of the Michelangelo's of Matte painting, his artwork was flawless which captured the attention of animator Walt Disney, and Film Director Robert Stevenson. Ellenshaw taught himself how to paint by copying 'The Old Masters' (Old Masters traditionally refers to great European artists during the period roughly 1300-1830).
He eventually pursued the only artist he knew of at the time, Pioneer Matte artist and Special Effects Technician, Walter Percy Day. He spent the next Seven years Mastering the art beyond what he had already taught himself before venturing on his own journey, leading him to work on such films as:

· Treasure Island (1950)
· 20,000 Leagues Under the Sea (1954)
· Darby O'Gill and the Little People (1959)
· Mary Poppins (1964) - Academy Award for his work
· Bedknobs and Broomsticks (1971)

Although Peter Ellenshaw is well known for his work in these films, one of my favourite pieces that he painted is from Stanley Kubrick's film 'Spartacus' (1960).

The Glass Shot and The Optical Printer (VistaVision)

Whether you are a fan of the latest Star Wars Films or the originals, the phenomenal artistry used on set of the originals was impeccable.
The Original Star Wars Trilogy is one of the most famous trilogies ever written and quite frankly one of my favourites. Artists such as Chris Evans, Mike Pangrazio, Frank Ordaz Harrison Ellenshaw (see below), and Ralph McQuarrie created sets through Matte Paintings on all three Films and while all artists deserve honourable mentions, I believe one of the more "well known" artists is Harrison Ellenshaw.

Harrison Ellenshaw was the son of legendary Matte painter Peter Ellenshaw and being inspired by his father, followed in his footsteps from an early age. He had started as an apprentice at Disney on the Film 'Bedknobs and Broomsticks' (1971) and soon after building a reputation for himself, had been requested to do several exceedingly speculative paintings for a Science Fiction Film called Star Wars. George Lucas, Director of Star Wars made the decision to use VistaVision for the Matte painting plates. Luckily for Ellenshaw, he had previously worked with VistaVision as Disney were the only company in town using this large format. Although this was good news, the old, converted technicolour cameras used were notoriously unsteady. The blue Screen Photography imposed a real problem when compositing with paintings, since there was a highly visible misregistration of the live action plate with the held paintings. Great lengths were made to make these mishaps invisible and hide these 'jiggles'.

Above is an example of the intricate work that went into these matte plates and even though Ellenshaw only worked on a small number of shots, he was very fortunate to be asked to be Matte department head for "Empire Strikes Back". This would be his last film for which he would do Matte paintings exclusively.

A basic Understanding of Techniques

What all Matte Painters tend to have in common both past and present, is the understanding of theory/techniques from what I call "The Maestros" that essentially created them during the Renaissance period. Now not everything needs to be fully understood about art history, but I believe the most important aspects for any Matte Painter are what I briefly explain below and would undoubtedly enhance your work, in and out of a professional environment.

Atmospheric Perspective and Landscape Theory

Atmospheric Perspective refers to how we see the atmosphere affect objects as they fade into the distance. If we take ourselves on to a hilltop and consider the distance, the objects that are further away will start to appear to have a relatively cooler colour temperature to what we see up close. Applying this theory to Matte Painting is vital in creating realism and can be seen in paintings throughout history.

The reason this phenomenon happens is due to both natural and manmade causes. Factors such as pollution, time of day, humidity, fog, mist, storms, rain and dust can all affect how we perceive how the distance looks.

Pollution - Can create a yellowish fog which can rise into the skies several hundred meters high.

Time of day - Can pull colours in such as reds, oranges, yellows, and purples. This is due to the position of the sun and its light shining through our atmosphere.

Humidity, Fog and Mist - This will magnify the already visible atmospheric affect due to water particles suspended in the air that scatter light.

Storms and Rain - Can be less uniform and more random than calm weather, creating reduced visibility in dark patches further away due to the thickness of rainfall.

Wind and Dust - Wind picking up dust will cause distant objects to be tinted with the dust colour. (Tal, 2009)

Chiaroscuro - Light and Dark

Chiaroscuro is used to create the illusion of a three-dimensional volume on a flat surface. Breaking up Chiaroscuro into two words translates to

Chiaro - Bright or clear
Scuro - Dark or obscure

A great example can be seen in the painting Saint Jerome Writing by Michellangelo Merisi De Caravaggio which truly represents the extreme contrast between light and dark.

Linear Perspective

Linear Perspective, like atmospheric perspective, is another must for a matte artist to have in their skillset. "Linear perspective is the observance that parallel lines converge at a singular vanishing point". To achieve such effect, there are three essential components.

· Orthogonal (Also known as parallel lines)
· A vanishing Point
· A horizon lines.

All three of these applied to a matte painting can make it possible to arrange the composition of a work of art in a way like how a human eye perceives the world. Objects that are closer to the viewer will appear to be bigger and objects further away will appear to be smaller. Creating a horizontal line (horizon line) and placing a vanishing point anywhere on it, will help the artist converge their parallel lines (Orthogonal) as they recede and meet at the vanishing point placed.

Parallax

This effect happens in our every day to day lives, for example
When travelling in a vehicle and looking out the window, you can see that the foreground (which is up close) is moving faster compared to what you are seeing in the distance. What would be considered as the midground in a camera shot is slower, whilst the background is almost still.

With Matte Painting being one of the oldest techniques in the VFX industry, an artist would use layered painted glass to provide a parallax effect when the camera started to move, making it feel 3D.

As technology has progressed, Matte Painting has gradually become more digitized and the traditional methods retired. Nowadays, all matte painting are done on a computer, usually using Photoshop, Nuke and a 3D package such as Maya.

Software Used for Matte Painting

Photoshop

Photoshop has revolutionized matte panting by offering a digital solution that speeds up the creation process substantially. Matte painting in photoshop helps achieve artwork by applying different techniques that may differ from one matte painter to another. Basic tools that help create a base for matte painting in photoshop are.

· Selection Tools
· Lasso Tools
· Standard Brushes
· Clone Stamp

Nuke

Nuke is a 2D and 3D compositing software that allows the work created in Photoshop to be broken into layers, enabling artists to project on to cards or 3D geometry through a camera. This common technique is used to give the illusion of depth, creating parallax and a real life feel to the shot and is essentially the first step in a VFX matte painters' workflow to extend a background, replace a sky, or modify any plates to project onto 3D Geometry.

Maya

Autodesk Maya is one of the film industry's leading and most powerful 3D computer graphics applications (despite what you hear about Blender), allowing the user to create expansive worlds, complex characters, and stunning effects. So how does Maya fit into the workflow of a Matte Painter?
There are many departments throughout the VFX pipeline, and although DMP artists don't work necessarily close with other departments, we can "borrow" files that benefit us before proceeding to Nuke by utilising files from layout, modelling lighting to expand the environment while keeping scale and depth correct.

In recent years, matte painting departments for many studios have started to merge more into an "Environment Department". The likes of MPC and ILM now have a "3DDMP Department" which incorporates more 3D into a typical matte painting workflow.

The Future?

As the industry evolves and audiences demand ever-better visuals, new techniques, and advances in old practices are being created. LED walls and virtual productions have proved their place in film, delivering sequences for shows such as The Mandalorian, Westworld, and films like The Batman, and Avengers: Endgame.

Creating a world through UE5 and LED panels opens a new window for Matte Painting, enabling VFX artists to adjust through real-time from the 3D spherical powerhouse in a full three-dimensional world, but how much does it really have to offer to us as Matte Painters and will it effect us in the future? Find out more about where Unreal fits into the VFX pipe, where Oleksiy Golovchenko talks about its perks and downfalls, and how it is approached within the VFX pipeline. This was a huge talking point across the MattePaint community during and after the pandemic, with speculations to whether it would effect the DMP pipeline but I agree as with many others that "it is just a different approach to filmmaking".

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Matte painting was invented around 100 years ago, and while the technique's have changed drastically since then, there are still many fundamentals of matte painting which play a key part in today's pipeline.

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In terms of impressive production design, few films have have as cool of a story as “Alice, Sweet Alice”. A micro budget movie, which the writer, director, producer Alfred Sole financed and shot in a local small town in New Jersey. The film not only creates iconic looks with a small budget, it is an effective period piece. With almost no resources, they make 1975 look like 1961. Very few films of this ilk have attempted to create a period piece, and almost non have succeeded as well as “Alice, Sweet Alice”.

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"Gonna get ya!" Alice, Sweet Alice's villain claims another victim

The recent sad passing of director Alfred Sole had me reflecting on his 1976 cult horror classic ALICE, SWEET ALICE. Often referred to as an American "Giallo" -a genre of stylish, erotic, and violent Italian mystery-thriller or horror films- ALICE, SWEET ALICE is actually a Hitchcockian love letter that is part anti-Catholic, part whodunit proto-slasher, and a film that gives prominence toone of horror's most undeniably creepyvillain attire.

Original Alice, Sweet Alice poster

I first saw ALICE, SWEET ALICE less than a year after it had been originally released under the title, "COMMUNION". Years later, the film was re-titled and re-released a third time, as "HOLY TERROR" (it was even titled THE MASK MURDERS at some point), mainly to capitalize on the immense popularity of teen model & actress Brooke Shields, who played the part of Alice's kid sister, Karen. Sole's debut horror gets the credit for being the film thatseduced meaway from my "animal attack" phase and sent me headlong into slasher territory. The poster was intriguing but the trailer was what sold me. It included a scene from the opening credits of the movie; an ominous silhouette of a young girl standing alone in ahazy atmosphere, clutching a large gold crucifix, her face shrouded by a tiara-topped veil. When the camera pans over to her, she is whispering a slew of hail-marys under her breath, ultimately raising the crucifix, and revealing it to be a sharp, gleaming dagger. This was incredible stuff for a then 11-year-old. I hit my dad up to take me to a screening and he agreed (my eagerness to see the film turned to regret at around the 15-minute mark). I had been expecting a malevolent female shape, cloakedin white tulle & lace and shanking people with a crucifix knife, but what I got was a more frightening executioner; a sinister figure dressed in a yellow Catholic-school-logoed raincoat, attacking their victims with a common wood-handled chef's knife and wearing the most nightmarish face mask that I had ever laid eyes on.
DISSECTING THE LOOK (Think "Nautical meets First Communion") The Yellow Rain Coat
ALICE, SWEET ALICE is far from being the first horror movie to feature a villain rocking yellow rain gear. Similarly- hued rain slickers can also be seen on the celluloid killers of THE BAD SEED, HOME FOR THE HOLIDAYS, CHILD IN THE NIGHT, MILO, and MISCHIEF NIGHT. According to Sole, the inspiration behind the ALICE, SWEET ALICE killer's costume design came from the early '70s psychological horror film, DON'T LOOK NOW, where the appearance of a child's red raincoat is an omen of disaster; a herald of the impendingbloodshedto come.

Don't Look Now (1973)

Argentinian poster for Don't Look Now.
The Mask
ALICE, SWEET ALICE's fictional, school-issued slicker is a classic take on the trademark fisherman yellow raincoat. The school's moniker, St. Michael's, is stamped in black over the coat's glossy left breast. The brightly colored coat is a recurring prop that can be seen in the movie sporadically; worn by various St. Michael's schoolchildren, carelessly slung over a church pew or a parent's arm, or casually lying on the floor. Peppering the film with yellow hooded raincoat sightings could be an attempt to brighten the gloomy setting. The sun-kissed yellow and stark white outfit color combination -with the introduction of some red blood spatter during the final act- gives the film the color shot in the arm it needs against the autumnal and mostly drab palette of the 60's-era Paterson, New Jersey backdrop.

"A certain mask worn in several scenes looks pretty disturbing." - IMDb Parents Guide, under "Frightening & Intense Scenes".
The pièce de résistance of the killer's disguise is their freaky false face mask. This particular style of mask originatedin the '50s, remained popular with kids during the ensuing Halloween seasons, and lasted into the '60s, the era in which the story of ALICE, SWEET ALICE takes place. (There is no doubt that Alice wore her frightful mask year-round, pranking and tormenting those around her.)

Made of semi-transparent plastic material, with an elastic band to hold it in place,the killer's fake visage flaunts an extravagant makeup job; vacant eye sockets are lined with gold; garish silvery, blue-tinted eye shadow covers the brow bone; cheeks are blushing in rosy pink; and two red slashes of lipstick border an unnerving row of white upper teeth, forming a chilling, crimson smile. The result is pure nightmare fuel.
White Communion Dress & Accessories
Beneath the yellow surface, the killer is clad entirely in the standard white garb of the First Holy Communion. Their concealed dress -mostly visible by the hemline- appears to the viewer as knee-length and made of ivory lace. Covering the killer's hands are a pair of white nylon gloves with flared, gauntlet cuffs, that are in contrast to the conventional black gloves usually associated with Giallos. Buffed patent leather Mary Jane block heel shoes in shiny alabaster finalize the eerie, evangelical outfit.

***************GET READY FOR COSTUME SPOILERS***************** ****A big clue that Alice is not the killer is in the way both she and the killer wear their hoods. The killer protects their coif by pulling their hood drawstrings tight, while Alice wears hers in a more loose, carefree manner. Also note that the killer carries a large brown paper shopping bag around, presumably to carry a change of clothes and a butcher knife. Alice is never seen with the shopping bag until the final scene after the killer has been revealed.****
ALICE, SWEET ALICE's killer costumery -designed by Michelle Cohen- isn't as celebrated as Freddy Krueger's fedora-striped-sweater-glove getup, Michael Myers' blue mechanic's jumpsuit and Captain Kirk mask combo, or Candyman's Shearling trench coat and hook hand. Still, even though it may be underappreciated, the ALICE, SWEET ALICE villain's outfit deserves to be recognized as one of the all-time great horror movie costumes.

Alice, Sweet Alice is Costume Designer Michelle Cohen's only film credit.

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Fear Fashion Tribute: ALICE, SWEET ALICE

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The recent sad passing of director Alfred Sole had me reflecting on his 1976 cult horror classic ALICE, SWEET ALICE. Often referred to as an American "Giallo" -a genre of stylish, erotic, and violent...

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How Bleeding Prosthetics Are Created For Movies And TV | Movies Insider

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What happens when a movie set is done being filmed?

From what's noticed, many sets get either full/partially destroyed. However depending on what some sets are like they could be recycled as well, but most of the time they get destroyed

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WHAT HAPPENS TO MOVIE SETS AFTER FILMING?

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9 Movie Props And Effects Made To Look Real | Movies Insider

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How Fake Animals Are Made For Movies And TV | Movies Insider | Insider

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Special Effects Makeup in Film - Central Casting

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Special Effects Makeup in Film - Central Casting

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It's almost Halloween and many of us are figuring out which of our favorite pop culture characters to dress up as. Some costumes may only need a few pieces of wardrobe, but others may require heavy makeup to pull off the perfect look. In the spirit of Halloween, we take a look at how special effects makeup is used to create some of the most popular movie and TV characters.

History of special effects makeup

Makeup effects have been a commonly used tool in film for decades, but when the industry was just beginning in the early 1900s, it was rare for productions to spend time or budget on these kinds of effects. Most filmmakers took their makeup cues from techniques used in the theater, but as film quality improved there became a need for more realistic cosmetic effects. In the mid-1920s, actor Lon Chaney pioneered special effects makeup by creating his own looks for The Hunchback of Notre Dame, Phantom of the Opera, and many other films.

The art of film makeup really began to take off with the popularity of monster movies in the early 1930s. Jack Pierce was one of the leading makeup innovators of this time and collaborated with Central Casting alum Boris Karloff in films like Frankenstein and The Mummy. According to the New York Post, to create the monster's look for Frankenstein, Pierce used cotton and spirit gum to make prosthetics and green makeup that would appear ghostly white on camera. As the film industry advanced, like with the introduction of full color motion pictures, these makeup tricks had to be adapted to maintain the realism of the effects.

Modern film makeup techniques

While special effects makeup is constantly evolving, the most common current practice involves lifecasting. When making facial prosthetics, the first step is to completely cover an actor's head in silicone to make a mold. Once the silicone has dried, plaster strips are placed on top to make a hard cast. Then when the plaster is set, it and the silicone are carefully removed from the actor's head.

This negative cast is then used to create a 3D replica of the actor's face. Makeup artists use the mold as a base to create custom prosthetic pieces that will fit the actor perfectly.

Special effects makeup isn't just used for creating monsters and aliens, it can age an actor or help them match the look of a real person, like Charlize Theron in Bombshell or Gary Oldman in Darkest Hour.

Makeup versus CGI

Practical makeup effects are still common in Hollywood, but with the advancement of performance capture technology and visual effects, some productions opt to go full CGI or use a mixture of both. There are a lot of factors that can determine which method a production uses, like budget, character specifications, time, or director/actor preference.

For example, This is Us uses special effects makeup to turn Mandy Moore into an older version of Rebecca, while Captain America: The Winter Soldier elected to use a mix of performance capture and visual effects to age Hayley Atwell's Peggy Carter.

Background Actors and special effects makeup

Are you a Central Casting Background Actor interested in special effects makeup? While it doesn't happen regularly, there are opportunities for you to work with cosmetic prosthetics, like the Background Actors cast as Titans and Zen-Whoberis in Avengers: Infinity War and Skrulls in Captain Marvel. While some featured background or double roles may require you to go through the lifecasting process, it's common for premade prosthetics to be used on Background Actors. If you're interested in this kind of work, look for posts on our Jobs page that mention lifecasting, prosthetics, or heavy makeup. Remember, these roles often require large portions of your face and body to be covered and are not recommended for people who are claustrophobic.

Want to know more about how the film industry works? Learn about the three stages of film production and the different types of acting roles.

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Special Effects Makeup in Film - Central Casting

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It's almost Halloween and many of us are figuring out which of our favorite pop culture characters to dress up as. Some costumes may only need a few pieces of wardrobe, but others may require heavy makeup to pull off the perfect look.

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Quite possibly the greatest singular show of set design in history is that of Stanley Kubrick’s 1975 film “Barry Lyndon”, a period piece like no other. Spanning over 2 decade and 3 countries, the combination of sets, costumes, hair, make-up and prop work is awe inspiring. 9 time Oscar nominee and 4 time winner Milena Canonero is to thank for these costumes, as well as Ulla-Britt Söderlund, who is more known for her work in Sweden.

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Barry Lyndon Wins Costume Design: 1976 Oscars

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Less comprehensive and a little sloppy, but still has some good information.

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What is Matte Painting in Film?

Matte painting in film explained

Although matte painting has undoubtedly evolved over the history of cinema with advancements in technology, the principle of it still remains. Let's take a look at the matte painting definition to better understand its function in film.

MATTE PAINTING DEFINITION

What is matte painting in film?

Matte painting is a technique in which a painting, photograph, or digital image is used to augment or replace elements in a shot. This method has been used since the early 1900s and has become an integral part of creating impressive visuals.

The process typically involves taking photographs or pre-existing artwork, digitally editing them, and then combining them with other elements such as 3D models, special effects, and props. These painting can be used for wide shots of landscapes and cities, close-ups of interiors or objects, abstract art, animation backgrounds, sky replacements, and more.

In addition to being cost-effective and time-efficient, this technique offers filmmakers the flexibility to create unique visuals that would otherwise be impossible without it.

What is matte painting used for?

Creating wide shots of landscapes and cities

Creating close-ups of interiors or objects

Adding realistic elements to existing sets or locations

Sky replacements and enhancement

Types of Matte Painting

History of matte painting in film

The art of matte painting has been used in filmmaking for over a century. It was developed as a cost-effective alternative to building large sets. As the scope and vision for films outgrew their budgetary limits, alternative techniques like these were essential.

During this time, artists would paint backgrounds onto large sheets of glass using oil paints and brushes. These paintings would then be placed behind actors on camera and silhouetted in order to create stunning environments.

Matte Painting Film History

In the 1950s, matte painters began to use pieces of cardboard cutouts to use for foreground elements such as trees or buildings. This method allowed them to add additional layers of detail and texture without having to build physical sets or models from scratch.

An alternative technology also emerged called keying or chroma key. This is what most people know as green screen or blue screen compositing.

The advent of digital technology has had a tremendous impact on this technique. With the invention of programs such as Adobe Photoshop, Illustrator, and 3D Studio Max, digital painters could now manipulate photographs or pre-existing artwork and combine them with other elements such as 3D models and special effects to create believable worlds for films.

Digital matte painting example

Here's a video breakdown from Corridor Crew on how this technique works with a tutorial on how to do it yourself in After Effects.

Digital matte painting in After Effects

This method is much more efficient than traditional matte painting. It also offers a degree of precision that was not available before with traditional methods. Digital tools allow for minor adjustments and alterations after the initial painting is completed. Additionally, artists are able to save time by using pre-made templates or stock images instead of starting from scratch each time.

Digital matte painting example

One big leap in technology is virtual production. Virtual production, or virtual cinematography, is a new technique that combines the art of matte painting with modern CGI technology to create incredibly realistic and immersive environments for films.

Through this method, filmmakers are able to combine elements such as 3D models, pre-made textures and backgrounds, and computer-generated lighting effects in order to create virtual sets that look believable on camera.

Virtual Production in Film

Matte painting has been a staple of filmmaking since the early days of Hollywood, but it has evolved significantly over the years. Let's take a look at the advantages both in past cinema and in its evolved form today.

What is Matte Painting Used For?

Benefits of Using Matte Painting in Film

There are many benefits and various reasons why filmmakers would opt to use the technique in their production. Let's take a look at the most common reasons to use matte painting in film.

Ability to create a believable environment with limited resources

Matte painting is an incredibly powerful type of VFX that can be used to create a realistic and believable environment with limited resources. A skilled artist can create a believable scene from just a few pieces of artwork and some digital manipulation. It's used in films, TV shows, video games, and even commercials to bring an imaginary world to life on screen.

Digital Matte painting by Dylan Cole for "The Lord of the Rings"

Using simple techniques like adding lighting effects, shifting perspective, blurring edges and blending elements together, painters are able to craft stunning and detailed scenes.

Versatility and scalability of matte paintings to create unique visuals

This technique offers an incredible degree of versatility and scalability, making it a great choice for creating unique visuals with limited resources. It can be used to create anything from large-scale environments and sweeping landscapes to complex characters or even abstract pieces of artwork.

Virtual production is the new matte painting * The Mandalorian

Additionally, matte paintings are infinitely scalable - meaning they can be adapted easily to fit any size screen or environment, from small smartphone displays all the way up to IMAX theaters. With the combination of its unmatched visual fidelity and flexible scalability, matte painting is one of the most powerful tools in any filmmaker's toolbox.

Creates an "illusion" which can be used as a storytelling tool

Matte painting provides a unique storytelling tool - the ability to create an "illusion." By combining various elements from different sources and digitally manipulating them, matte painters are able to craft seemingly real scenes that are custom-designed for the story they're telling.

This allows filmmakers, video game developers, and other creatives to explore any kind of scene without having to worry about budget or practicality. From creating vast worlds full of intricate detail to designing imaginative characters and abstract spaces, matte painting gives creativity the freedom to go beyond the limits of reality.

Digital matte painting example

Overall, matte painting is a powerful creative tool that has the potential to turn any idea into reality. By combining traditional art techniques with digital technology, matte painters have the unique ability to create visually impressive scenes while also telling amazing stories.

Whether you're creating a sweeping landscape or an incredible character design, matte painting offers unlimited possibilities and opportunities for any filmmaker or video game developer. With its versatility and scalability, there is no limit to what can be created with matte painting - making it one of the most valuable tools in any creative's arsenal.

Up Next

What is Virtual Production?

Virtual production, as we mentioned above, is in many ways an evolution of matte painting. In our next article, we look at how virtual production is achieved and why it's a game changer for filmmakers.

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Matte painting is a technique that uses photographs or paintings to augment live-action footage to create believable environments.

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Which scale is right for you?

Consider scale before you choose a model. Some people like to stick to one scale so it's easy to see the relative size of the subjects. It is exciting to see how a Douglas DC-3 is dwarfed by a Boeing 747 and reflect on aviation in the 20th century. Others like to mix it up and build a variety of scales and subjects.

Your choice of scale depends on what you want to build, how you will display it, and how many and what sort of models you want in your collection. If you live in a house with enough space for a dedicated hobby lair, your choices are obviously different from a cozy apartment in midtown Manhattan.

Here are some of the things various scales offer:

Large scales (1/4 scale to 1/25 scale): This is, well, largely the domain of autos, motorcycles, and figures. One of these models can make an impressive desktop display; two or three of them and you'll be looking for a bigger desk. Most car models are in 1/24 or 1/25 scale, and several of them can fit nicely on a bookshelf. But a P-51 Mustang in 1/24 scale? With an 18½" wingspan, you'll soon need more shelves.

Many figure modelers enjoy large scales (1/8 or 1/12) for the opportunities they present to give the figure authentic and accurate details such as bootlaces, equipment webbing, etc.

Midrange (1/32 to 1/48 scale): Traditionally, many military miniature figures have been sculpted in 1/32 scale (also referred to as 54mm). These are often used with 1/35 scale military vehicles, which are close enough to match up. And 1/35 scale is the most popular for armored fighting vehicles (tanks, halftracks, self-propelled guns, etc.)

Recently, 1/32 scale aircraft have been increasing in popularity. Again, this is a great detailing opportunity - but you need a lot of space. A B-17 Flying Fortress in 1/32 scale has a 40" wingspan!

On the other hand, 1/48 scale is popular for WWII aircraft, especially fighters - large enough to build detail in the cockpit, but small enough to collect quite a few before ordering that next bookcase.

Small scales (1/72 to 1/200 scale): A lot of aircraft modelers like 1/72 scale for the variety that can be practically collected - some bombers and jumbo jets can get a bit unwieldy, but fighter planes fit in the palm of your hand. If you're familiar with HO scale railroads (1/87 scale), you know just how small vehicles can be. Adding a lot of detail may require magnifying glasses. In fact, many armor modelers enjoy the challenge of building in 1/76 scale, where assembling tank treads and road wheels requires a jeweler's touch.

Compared to WWII warbirds, modern jetliners are massive enough to rate 1/144 scale. This is the most popular scale for airliners, although some are made in 1/200 scale as well.

Ships, not boats (1/200 to 1/700 scale): A rule of thumb: The difference between a boat and a ship is that a boat can be put aboard a ship. However, a ship cannot be placed on a boat. Thus, while submarines and PT boats may appear in 1/72 and even 1/35 scale, most ships are in smaller scales. Even in 1/200 scale a battleship will take the lion's share of most kitchen tables, as will a 1/350 scale aircraft carrier. But 1/350 scale is the most popular ship scale, yielding shelf-friendly destroyers and cruisers. And, like 1/76 scale armor, 1/700 scale ships offer the challenge of micromodeling. In that scale, unassembled antiaircraft guns look like iron filings.

So, which scale is right for you? The answer is easy: The one you want. In addition to display/storage space, consider what you desire in your hobby. Will you spend weeks, months, perhaps even years on a single model? Or do you want something that will go together more quickly and easily? Do as you like - it's your hobby. Enjoy!

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A scale model is a three-dimensional representation of a physical object. The model scale is most often expressed as a simple fraction: 1/24 scale means the model is 1/24 the size of the full-size subject. In other words, in 1/24 scale you would need 24 Chevy models parked bumper to bumper to equal the length of one Chevrolet.

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The work of planning film set construction gets underway months before shooting and years before the expected release date. The first step begins with mining the script for details about the setting. The production designer works with the director to determine a look and feel for the film based on the script and their artistic vision. Location managers scout interiors and exteriors that may serve as shooting locations.

The art director oversees the conceptual design of the sets, which can be built from the ground up on a studio backlot or developed in a CGI environment based on the art department's renderings and the producer's stated budget.

Learn about the steps in planning your film and where to go for last-mile assistance.

It all begins with research

Research may come down to a production designer or be outsourced to a full-time team who digs up archival photos, architectural renderings, artistic sketches, CAD renderings, and 3D models to help convey the director's vision. Conceptual artists and cinematographers often help with envisioning color palettes, lighting, and composition of the scenes well before the set is constructed. They'll need to draw up specific blueprints to bring it to life.

The next step is running big ideas past reality

Producers must then work with production designers to temper the creative department's ideas with the reality of time, staff, and budget constraints. For example, monetary considerations may dictate whether a film is shot primarily inside a log cabin or whether shots may include entire villages filmed from an aerial perspective. Once budget allocations are divvied up, the manual labor of set construction can begin.

Now we put boots on the ground

With the budget in mind, the construction manager hires carpenters, plasterers, painters, riggers, model makers, scenic artists, and stagehands to build the set. Once the basic underlying structures are set, the art department overlays the rudimentary shapes with texture, color, and rich detail to create the film's world. Then a set dresser, decorator, or designer adds furniture, flooring, wallpaper, appliances, and paintings to the backgrounds. Finally, prop masters bring in all the objects that add realism to the set or are directly handled by the actors.

Need Resources for Your Film Set Construction?

Planning film set construction is a big job with many moving parts

No one person is responsible for planning film set design-but rather, it's a group effort that comes together magically thanks to the team's collective knowledge, expertise, and resourcefulness.

Tap professional resources to make your next film construction project a success

For more than two decades, has played a vital role in bringing films, commercials, music videos, trade show displays, TV shows, and theatrical productions to life.

From providing prop master services on The Last of the Mohicans to designing the set of a Justin Bieber music video, the talents of Jerry Blohm and Graylan Franklin are a driving force that brings dreams to life.

Shop our prop warehouse

Shop our prop warehouse, tap our design expertise, or get our help constructing, setting up, or tearing down a full build. No job is too big or too small for our crew. We're based in Miami but will travel-so don't hesitate to reach out for a free, no-obligation quote.

Susan - I almost wonder if we could convert this into an "About" page for the site. I found it so strange that MoviePropRentals.net has no "About" page.

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The work of planning film set construction gets underway months before shooting and years before the expected release date. The first step begins with mining the script for details about the setting.

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How Fight Scene Props Are Made For Movies & TV | Movies Insider | Insider

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Architectural Finishes and Installations for Film/Television Sets

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Architectural Finishes and Installations for Film/Television Sets

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When we are called to carry out work as a film, theatre, or television set production company for your project, we will collaborate closely with you to give life to the vision you have set out in your creative brief. No matter what you need matched to your storyboard or script, our professional set construction services will assist in amazing your audience and drawing them into the action just as you have hoped.

Whether you require scenic construction services that take you back to a bygone era, or a futuristic landscape for a movie set that should be completely out of this world, we can help.

Your production will be rewarded with the precise pieces, sets, and scenery you have set out in your specifications, applied and installed through a fast, cost-effective theatre and film set construction company.

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Cost-Effective Set Construction | Film, TV & Theatre

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We are fully prepared to provide precise, professional set construction services for film, TV, and theatre companies in the UK. Learn more today.

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Important Information To Know About Breakaway Props

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Important Information To Know About Breakaway Props

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If you are new to using breakaways, here’s a few things to consider when making your prop purchase of this type: Order Early and Order Extra - Ordering early will give us the chance to get your props made prior to your deadline, and also allow us to ship using ground shipping, the method preferred for all breakaways to

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Best Production Design Books for Film and Television

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The best production design books for Film & TV are listed here. If you're interested in production design and the art department, these books will help.

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An Explanation About Balsa Wood / Breakaway Wooden Props

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An Explanation About Balsa Wood / Breakaway Wooden Props

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Break this! Balsa Wood Breakaway Movie Props Explained! NewRuleFX.com

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When you watch a film, you might not think about the intricate details of the set. However, the set is a crucial element that sets the stage for the story and immerses the audience in the film's world. There are many tasks an art production assistant must accomplish, but set construction may be the most physically taxing job. Set construction is a significant aspect of film production, and it involves designing and building a physical space to create the desired look and feel of a scene. In this blog post, we'll dive into the art of set construction for film and explore how it contributes to the success of a movie.

The Importance of Set Construction in Film

A film's set can transport the audience to a different time, place, or reality. Set construction is essential because it creates the atmosphere and ambiance that the film's story requires. For instance, if the story is set in a medieval castle, the set should reflect the medieval era's architecture, furniture, and decor. The set also needs to be functional and safe for the actors to perform their scenes.

Creating a Set Design

Before the set construction process begins, the production team needs to develop a set design. The set design is a detailed plan that outlines the dimensions, materials, and aesthetics of the set. The design team works closely with the film's director, cinematographer, and production designer to ensure that the set's look and feel align with the overall vision of the movie.

Building the Set

Once the set design is approved, the construction team can begin building the set. The construction team typically includes carpenters, painters, and other craftsmen who work together to construct the set's framework, walls, floors, and other details. The team also installs the lighting and electrical systems and creates any necessary special effects.

Set Dressing

After the set is constructed, the set dressers come in to add the final touches. Set dressing involves adding props, furniture, and decorations to create the desired look and feel of the scene. For example, if the scene is set in a living room, the set dresser would add items like sofas, coffee tables, lamps, and other decorative items to create a cozy and inviting space.

Set construction is a significant undertaking that requires a lot of time, effort, and resources. However, the end result is a visually stunning and immersive environment that brings the film's story to life. A well-constructed set can also save time and money by providing a controlled environment for filming, which eliminates the need for location scouting.

Conclusion

Set construction is an essential aspect of film production that creates the atmosphere and ambiance that the film's story requires. The set construction process involves designing and building a physical space, dressing it with props and furniture, and creating the final look and feel of the scene. A well-constructed set can transport the audience to a different time, place, or reality and contribute significantly to the success of a movie.

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The Art PA: Set Construction for Film Production - Shoots.video

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When you watch a film, you might not think about the intricate details of the set. However, the set is a crucial element that sets the stage for the story and immerses the audience in the film's world. There are many tasks an art production assistant must accomplish, but set construction may be the most ...

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building and lighting cinematic miniatures 

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building and lighting cinematic miniatures 

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This channel is all about creating dioramas of abandoned places and sharing the process and techniques I have learned along the way. Over ten years ago I started urban exploring at an abandoned mental asylum near where I grew up. This drove me to make a short film about the asylum and take a ton of photos over the years. Now I am using the photos I took and more to create miniature dioramas and photograph/film them with cinematic lighting and camera movement to make it feel like we are really there. If you enjoy diorama making, urban exploring, or just think abandoned places are fascinating to look at, I hope you enjoy seeing these dioramas come to life with every little detail that I add. Thanks for watching! Website to purchase my 3D models:
https://www.abandonedminiatures.com Enquiries: AbandonedMiniatures@gmail.com As an Amazon Associate I earn from qualifying purchases linked in the description of my videos.

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A very comprehensive look at the history of matte paintings, including behind the scenes looks at their construction, compositions, and some surprising shots that utilized them, like gargoyles, or staircases that would seemingly be available to photograph.

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a guide to designing and building miniatures

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a guide to designing and building miniatures

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Balsa models are miniature replicas of real-life objects made entirely out of balsa wood. They are popular among hobbyists who love to create and collect miniatures. There are various types of balsa models available, including airplanes, ships, and cars. Balsa wood was first introduced to model making in the early 1900s. During World War II, balsa models became popular due to the availability of materials. Over the years, balsa models have evolved to include more detailed designs, intricate engines, and improved functionality. Designing and building balsa models requires planning and precision. Building balsa models requires a steady hand, sharp knives, and other specialty tools. Beginners can start with simpler designs and practice their techniques before moving on to more complex designs. Balsa models are delicate and require special care when displaying and preserving. Avoid direct sunlight, and handle with care.tfoot

Balsa models: A brief history and evolution

Balsa wood was first introduced to model making in the early 1900s. During World War II, balsa models became popular due to the availability of materials. Over the years, balsa models have evolved to include more detailed designs, intricate engines, and improved functionality.

Today, the use of balsa wood in model making remains popular among enthusiasts and hobbyists. Notable brands such as SIG Manufacturing, Guillow's, and Estes Rockets continue to produce balsa models of airplanes, cars, boats, and rockets.

Balsa models are often used in competitive events such as model airplane contests and model rocket launches. The designs can range from simple gliders to complex scale models with functioning engines. Some enthusiasts even build their own custom balsa models, experimenting with different shapes, sizes, and materials.

Despite the advancements in technology, balsa models remain a popular hobby due to their affordability, versatility, and the satisfaction of building something from scratch. Whether you're a seasoned model maker or a beginner looking to start a new hobby, balsa models offer endless opportunities for creativity and fun.

What kind of competitive events are balsa models often used in?

Balsa models are often used in competitive events such as model airplane competitions and science fairs.

Balsa models: Tips for beginners and essential skills & tools

Designing and building balsa models requires planning and precision. A minimalist approach will enable you to make fewer mistakes and more significant strides. Building models from balsa wood requires a steady hand and sharp knives. Beginners can start with simpler designs and practice their techniques before moving on to more complex designs. Sandpaper and measuring tools can help achieve the desired effect.

The process of designing balsa models involves sketching out a plan of what you want to build. This could be anything from a small plane or boat to a larger-scale model. Once you have your plan, you can get started on gathering the necessary materials and tools. Some of the most important tools for building balsa models include sharp knives, sandpaper, measuring tools, saws, and clamps.

To get started, it's essential to have a good quality razor-sharp knife like the X-ACTO Swivel Knife which will help to whittle down the balsa wood with ease. Sandpaper helps to smooth down rough edges and refine details within the balsa wood model. Measuring tools like a ruler or caliper will help to ensure accurate dimensions. Useful for cutting straight edges or intricate lines, a saw can also come in handy. Finally, clamps will keep pieces of your balsa model together while the glue dries.

For those starting out with building balsa models, it's important to keep a few tips in mind. Firstly, always measure twice, cut once. Secondly, take your time and work slowly to prevent mistakes. Lastly, do not rush the gluing process as it can make or break the final product. The right glue depends on the model being built, and it's always essential to use clamps to hold the pieces together while the glue dries.

In conclusion, building balsa models requires patience, attention to detail, and a steady hand. Investing in the right tools, like those from Pitsco Education, can help ease the process and provide more professional results. With practice, anyone can create beautiful and intricate balsa wood models.

What are some important tools and tips for beginners for building balsa models?

Some important tools and tips for beginners for building balsa models include: using a sharp hobby knife, sandpaper, a cutting mat, wood glue, clamps, and taking the time to properly understand the plans and instructions. Patience and attention to detail are also crucial.

Expert Tips for Displaying, Preserving, and Avoiding Mistakes with Balsa Models

Balsa models are delicate and require special care when displaying and preserving. Here are some tips for handling balsa models:

Avoid direct sunlight and handle with care.

Displaying balsa models in a custom-made display case can protect them from moisture, insects, and dust.

Keep the protective coating on balsa models well-maintained to avoid cracking and fading.

To preserve balsa models:

Keep balsa models in a controlled environment.

Use a dehumidifier to prevent moisture buildup.

Store balsa models in acid-free boxes or wrapping paper.

Common mistakes to avoid when handling balsa models:

Touching the models without gloves.

Cleaning with water-based products that can warp or damage the wood.

Not sealing finished models with clear sealant.

There are various online guides on how to preserve and handle balsa models, such as the " Balsa Wood Models Preservation Guide" on hobbylark.com.

What are some common mistakes to avoid when handling balsa models?

Some common mistakes to avoid when handling balsa models include applying too much pressure when sanding, using too little glue or the wrong type of glue, not allowing enough time for the glue to dry, and not properly securing small parts during assembly.

The future outlook for balsa models involves the integration of technology and new manufacturing techniques. Laser cutting and 3D printing are key areas of advancement in the industry and can help create more intricate and detailed models with a higher degree of accuracy. Additionally, advances in computer-assisted design (CAD) software are making it easier than ever for hobbyists to create custom designs.

Although technology is playing a larger role in traditional model making, many people still enjoy the art and craft of carving and shaping balsa wood with their hands. Balsa model kits, which include pre-cut pieces of balsa wood and instructions, remain popular among beginners.

Regardless of the level of technology involved in its creation, traditional balsa models hold a beloved place in the hearts of hobbyists and collectors alike. The intricate designs, detailed engines, and intricate details make balsa models a timeless and unique form of art.

In conclusion,

balsa models are a fascinating and rewarding hobby that has been enjoyed for generations. Whether you're a seasoned model builder or just starting, there are many different types of balsa models to choose from. With proper care and handling, balsa models can remain in great condition for many years to come, making them a valuable addition to any collection. The future of balsa models is exciting, as new advancements in technology and manufacturing will continue to improve the art and craft of model making.

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The Art of Balsa Models: A Guide to Designing, Building, and Preserving Miniatures

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Balsa wood was first introduced to model making in the early 1900s. During World War II, balsa models became popular due to the availability of materials.

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CLICK on the links below to find the materials you need for this lesson.

Some items might be harder to find, but a little internet scouring usually finds you everything you'll need.
Mouldlife USA Mouldlife Europe Burman Industries Naimie's Beauty Center Reynolds Advanced Materials Smooth-On Inc. GreatArt UK
FOR YOUR WORK STATION

Compressed Airline with Gun

Large Garbage Can

Latex Gloves

Lazy Susan

Oven

CLAYS/PLASTERS

Klean Clay - Modeling Clay

Plaster Bandages

CLEAR COATS/GLOSSES/MATTING AGENTS

Krylon Crystal Clear Spray Paint

EPOXYS/GLUES

Bondo

Bondo Catalyst

Insta-Cure - Super Glue

Super Glue Accelerator

PAINT/BRISTLE BRUSHES

Chip Brushes

PAINTS

Paint

Acrylic Paint Washes (Paint, Water, Alcohol)

Black Acrylic Paint

Blue Acrylic Paint

Light Brown Acrylic Paint

Metallic Gold Acrylic Paint

Metallic Spray Paints

Oil Rubbed Bronze

Antique Brass

Gold

White Acrylic Paint

Primers/Adhesion Promoters

Grey Spray Primer

RELEASES

Liquid Wax - Challenge 90

Petroleum Jelly

Finish Kare Gel Coat Release Paste Wax

SKIN PAINTS/POWDERS

Gold Powder

TOOLS

Bits and Indexes

Large and Small Dremel Bits

Cutting Tools

Box Cutter Blade

Clay Cutting Wire

Scissors

Mold Making Tools

Mold Spreader Tool

Power Tools

Dremel

Hairdryer

Screwdrivers

Flat Head Screwdriver

SUPPLIES

2010 Rigid Foam - 10 lb Foam

Black Marker

Clear Plastic Cups

Duct Tape

Large Paper Mixing Buckets

Paper Towels

Sandpaper

Small Wooden Spreaders (paint stir sticks cut into thirds and sanded at 45 degrees)

Spray Bottles

Tub of Water

Watercolor pencil

Wooden Paint Stirrers

HEALTH/SAFETY PRECAUTIONS

When working with toxic and/or dangerous materials or tools:

ALWAYS read labels for appropriate use guidelines

ALWAYS wear a high-grade respirator

ALWAYS work in a well-ventilated area

ALWAYS protect your skin

ALWAYS wear eye protection

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Prop Making: How to Make Creature Props on a Budget

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How to make special effects creature props and model making from sculpture to mold, cast and paint with Stan Winston School Creature FX artist Timothy Martin

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I stumbled on this retrospective from Alex Funke on his 30 years doing miniature photography for Hollywood films.

"Let's consider the central issue in using miniatures. It is that the miniature scene must never draw attention to itself. It has to be absolutely of a piece with the photography of the real. And to do this, it must resonate with the audiences' perception of what 'the real' looks like.

"The worst remark that a miniature builder or cameraman can hear is: '... wow, that was a nice miniature shot ...' Oh, the horror! That is failure! That means that the viewer was pulled out of the story by the miniature effect, instead of being drawn into it.

"Utterly damning! Because as soon as the shot is perceived for what it is rather than what it represents, then the audience has been jerked right out of the story and is lost forever.

"What we must do: even though the scene has nothing to compare it to, nothing the viewer has ever seen before, he has to believe that it is consistent with his perception of the world he knows. In fact, our watchword is 'do your work, and then erase your tracks.'"

Read the Whole Article

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Appreciating and Creating Movie Miniatures

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We were commissioned by a local company to make a foam prop tire and here is a video breakdown of how we did it!

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Fun Video About How Breakable Props Are Made

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Fun Video About How Breakable Props Are Made

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How Breakable Props Are Made For Movies And TV Shows | Movies Insider

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Horror Movie Makeup Ideas, Effects, and How To Make Your Own Special Effects Makeup

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Horror Movie Makeup Ideas, Effects, and How To Make Your Own Special Effects Makeup

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I start watching a lot of movies, but I don't finish all of them. Sometimes I turn them off because I get bored, or begin to hate the story, but more often than not the movies I turn off are the ones who cannot sustain the reality of their story.

Makeup and special effects, especially practical ones, can make or break the audience's experience. If it's cheesy, it can take away from your world-building or just get someone to change the channel. But it's expensive to look super real as well.

That's the fine line you have to walk, getting this stuff within your budget but also not breaking the bank when money can be spent elsewhere.

So the question is, how can you have professional-quality horror makeup and special effects at a price point that allows you room to actually make a movie?

Well, we did a ton of research and tried to bring together the best of the tips, tricks, and makeup tutorials we could find on the internet.

Let's get started.

Table of Contents

Horror Movie Makeup Ideas, Tricks, and Tips

The purpose of this article is to aggregate information. I'm not an effects artist, but I scoured many other articles and tried to bring the best information forward. I wanted to make sure we had professional advice and ideas that could help shape your work and ensure you got the respect and rapt attention your movie or TV show or short deserved.

First, let's speak generally about...

Horror Movie Makeup

Audiences today are savvier than they have ever been before. You need to convince them of what's happening onscreen with strong visuals. There are lots of professional makeup artists like Stan Winston out there doing amazing jobs teaching people how to do certain kinds of makeup.

I want to make sure we take a complete novice's entryway here. I had to learn within this post, and I think it can help people interested in doing this themselves too. I want to go over some general recipes and applications to begin to learn how to make your own special effects makeup.

Now let's get messy.
Credit: Universal Pictures
When Did Special Effects Makeup First Start?

There have been all kinds of makeup work since the dawn of cinema, but in the mid-1920s, actor Lon Chaney pioneered special effects makeup by creating his own looks for The Hunchback of Notre Dame, The Phantom of the Opera, and many other films.

He showed what it was like to actually transform a person into someone else. Hollywood and audiences loved what they saw and quickly followed his trend.

The actual art of film makeup began to take off with the popularity of Universal's monster movies in the early 1930s. These monsters felt like they could jump off the screen and attack you at a moment's notice.

But they needed people applying makeup to achieve this success.

Jack Pierce was one of the leading innovators of this time. According to the New York Post, to create the monster's look for Frankenstein, Pierce used cotton and spirit gum to make prosthetics and green makeup that would appear ghostly white on camera.

As cinema advanced, so did makeup. Color film led to more colorful techniques and tricks being employed. Eventually, there was such a demand that schools had to be founded to teach those interested in the art form.

Special Effects Schools

There are lots of special effects and makeup schools in the United States and across the world. Places like MUD (Make-up Designory) and the E.I. School of Professional Makeup bring in students and get them Hollywood-ready.

You'll take special effects makeup classes and learn a curriculum that will change with Hollywood's needs.

You can check out the Hollywood Reporter's list of the best special effects schools if you think that's an area you want to pursue.

Special Effects Makeup Artist's Salary

According to Theatrical and performance special effects makeup artists Backstage, " earn an average salary of $64,250."

Alternatively, QC Makeup Academy states that "the special effects makeup artist averages $75,000/year," which, as they point out, changes depending on "a number of variables," including the scale of a production.

The earnings of a special effects makeup artist will vary based on the budget and location of the project, how many days/hours they put in, and your overall experience in the field.

This is a lucrative career that could allow you to open your own business and make a lot more as well.

Just ask Stan Winston.

Let's start with how to make your own special effects makeup for cheap. Easy special effects makeup is still hard if you don't have the recipes and techniques.
Credit: Warner Bros.
Five Special Effects Makeup Ideas for Beginners

Cheap special effects makeup is not an easy task. I rounded up the videos and recipes below, but I think the typical adage of "practice makes perfect" reigns true here.

So get to work on your friends and family. Hopefully, after some practice, you can be camera-ready.

1. How to Make Cuts and Wounds

It makes sense that in a slasher or any sort of horror movie people would be getting cut open. Those cuts need to look real and to be emotionally charged. When it comes to faking bloody gashes and open wounds, you're only going to need a few items...
To buy:

Cotton pads

White school glue

Fake blood (keep scrolling for that recipe)

Eyeshadow or paint (optional)

The above video shows how just a little glue and pads can be a great substitute for liquid latex. Also, I bought most of this stuff for under ten bucks, which is great for your budget. To speed up drying, use a blow dryer!

Use the glue to make elevated parts of your skin, then the holes or centers of the gashes can be filled in with the blood. Makeup does the rest for the blends. Color with red lip liner, eyeshadows, face paints, or even blush. You can match your skin tones at any drugstore.

The title is hyperlinked to a longer post I did with recipes for the best blood. But this is the one I found to be the most professional.

The best blood recipe has not only to look real but be easy to use and recreate on-set if you run out of the sloppy stuff. It also has to be easy enough to use on your Halloween costume as well. These ingredients are all available on Amazon, and an FX person worth their weight and pay will carry most of this stuff in their toolkit.

Thanks to some awesome research by our intrepid writer, V Renee, we dug up VFX master Dick Smith's (The Exorcist, Scanners, and Poltergeist III) ingredients.
Fake Blood Ingredients: Steps to Make Fake Blood:
Mix the methylparaben with some of the corn syrup in a large bowl. Then pour in the red and yellow food coloring. Finally, mix in the water. You can adjust the color by adding more coloring.

This will come in handy as we figure out what color your movie requires. Here's the catch with this blood recipe you can't eat it!

The ingredients are toxic, so make sure to keep it away from your actor's eyes and mouth.

3. How to Make Scars That Look Real

What does a scar say about the character and how can you use them to build your story? Scars are really useful for characters. They can tell a backstory, or show that they've seen some serious shit. Here are some items you'll need to make your scars look real.
To buy:
This one seems pretty easyand cheap! Basically, you paint the eyelash glue into the shape of the scar you want and use concealer and the foundation to cover it up, like you would an actual scar. Hit it with the pink and red eyeshadow if you want it to look more dastardly.

Either way, you'll have something that looks real for items you can buy at CVS.

4. How to Create a Burn with Gelatin and Glue

Burns cover some of our most famous horror villains, from Freddy Kreuger to Two Face. You might not have the CGI capabilities to replace someone's head, so instead, buy some of this stuff and get to work.
To buy:
One thing I learned from this video is that the gelatin people use for effects can be bought in almost any grocery store. It's the same one used for baking and cooking. You just make and mix the gelatin, then brush it onto the affected body part. As you see in the video, you glob it on, let it dry, and then paint and contour for effect.

Again, the painting is easier said than done. So keep at it.

5. Create an Exposed Bone

One of the grossest injuries is when you rip the skin so far back it exposes the bone. You can use this for someone who's stepped in a bear trap, or just someone whose flesh has been ripped clean off. To do this all you need is stuff you can get at the grocery store or pharmacy.
To buy:

Liquid latex (or white glue/eyelash glue as a substitute)

Tissue paper

Face paint and/or eyeshadows

Liquid foundation and fake blood (we got that covered!)

This one takes a lot of skill. You use the basic strategy for making a wound, spreading the liquid latex or white glue where you want to show an exposed bone. After making your outline, you let the glue dry. Then use the foundation or face paint to cover it.

You then cut out the area you want the bone to benow your skin should have an elevated look.

You then roll the tissue paper into bone shapes. Use the glue to form them as well. You lay them where your bone should be, color in with liquid blood and paint to create the muscle and viscera, and dry.

Again, that's the basics. The true artistry comes in the painting after, but you have to admit the end results look great.

Wrapping Up the Techniques for Beginners

All the ingredients above can be inside a special effects makeup kit for beginners.

We can't all be a professional horror makeup artist like Stan Winston. But if you want to be, maybe attend his school.

A Professional Makeup Artist's Special Effects Makeup Kit

We went over the basics of DIY horror makeup. Now let's look at the way the pros do it. Turns out, they have expansive kits they use to pack in the products they need to create movie magic. So what's in their kits?

Here's a list of some special effects makeup kit essentials.
A Makeup Kit Checklist
You might also need cream makeup palettes, types of bloods, setting powder, tooth paints, hair white, fake hair, setting spray, SFX makeup brushes, types of sponges, cotton swabs, a powder puff, Liquid latex, gelatin, spirit gum, rigid collodion for making scars, pre-made prosthetic wounds, types of wax, prosthetic sealer, types of makeup remover, and brush cleaner.

​This is not a total list. There are things like Q-tips, pads, brushes, blenders, and all sorts of other materials. You can buy those kits on Amazon or all over the internet. Just Google them and see what you need.

More Halloween Special Effects Makeup

Now that we have some general stuff, I want to look into some c ool special effects makeup that can be used for monsters and other horrific entities.

Zombie Special Effects Makeup

I don't know about you, but from George Romero to The Walking Dead, I love the zombie subgenre of horror. There's so much to say about society and to scare with these kinds of movies and TV shows.

To nail these kinds of characters, you're going to need supplies for the basic zombie look.
To buy:

White face paint

Eyeliner

Eye Shadow

Fake blood or gray/black lipstick (or make your own)

To buy if you're willing to spend more:

Zombie/Halloween face paint (or other high-quality face paint)

Liquid latex

Fake scabs and/or other prosthetics

The basic gist here is to wash your face and get it ready for makeup. Color yourself in a dead color, like a ghastly blue or black. Blend it into your neck and other exposed skin. You should also darken around your eyes, so they have a sunken look.

Then all you have to do is apply the fake wounds and blood as necessary. Show us where that zombie bit ya!

Ready to howl at the moon? This one is harder than all the other makeup applications we've covered. There are so many different ways to do it. You can buy fake fur and prosthetics to make it look more real, or just wear a wolf mask. You can also paint your face to resemble a half-man half-wolf character.

I would recommend checking out a wolf tutorial for the makeup.

A lot of that is just drawing, which I can't really teach since I am not good at it.

So look at this video online for an expert to help you along with this mission.

Vampire Special Effects Makeup

There are so many different kinds of vampires out there. From the ones who shimmer like Edward Cullen to the ones who are actually little old ladies disguised as children like in Interview with a Vampire. Once you know the kind of vampire you want to create, you can fine-tune this tutorial as needed.

Again, makeup should match the tone and story you're trying to tell.

So what will you need?
To buy:

White face paint

Eyeliner

Eyeshadow

Fake blood (or make your own)

General beauty makeup

One thing people forget about vampires is that aside from looking cold, they also need to look human. So you want to have a real beauty kit around to make sure you still look human-like. Even if you are dead on the inside.

Some vampires will have face prosthetics, and all of them will need fake teeth, but here are some general tips to creating the face you want.

Start with a pale foundation all over your face, neck, and all exposed body parts. Blend with your skin so you look cold. If you want more definition, start with a grey or black color and put white over it to come off contoured.

You then want to apply eyeliner and shadow. For women, you can go with the Morticia Addam look, and for men, you can go anywhere from Richard on Lost to Tom Cruise in Interview.

Red eyeshadow can look like blood. Black and purple can be more Transylvanian.

Also, don't forget the lips. Will you go seductive and dark red or virtually colorless?

Contact lenses can also help in your pursuit of terror, but you can't make those at home.

Summing up Horror Movie Makeup Ideas, Tricks, and Tips

Whether you're using tofu as a substitute for brains or spreading fake blood by the gallon, creating your own VFX is one of the most fun things you can do as a filmmaker. We know that horror is a reliable genre where a lot of people make a big splash as directors.

Your budget can be tens of millions or tens of dollars, but the proper VFX can help the audience get into the story and buy into the world you want.

Whether it's shooting in black and white and using chocolate syrup as the blood, or painting your vampires to look extra white, or using clever editing techniques to sell your Wolfman transformation, you can do the work yourself with a little practice.

I know I didn't cover everything, and there are people way more experienced than I am who read this site every day.

Let's use the comments section to post links to help one another and brainstorm ideas of how we can help the NFS community kick some ass with their practical effects.

I can't wait to see the gruesome and gory things you come up with.

Scare on!

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Horror Movie Makeup Ideas, Effects, and How To Make Your Own Special Effects Makeup

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Horror movie makeup can make or break your audience's approval. We're going to show you how to make special effects makeup work.

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I have attached an additional link below this post. In terms of sensible fashion on film, no filmmaker’s oeuvre oozes more style than legendary Italian director Federico Fellini. From the early 1950s all the way up to the late 80s Fellini defined what was cool and hip all throughout Europe. He did everything from neorealist films to epics about the Roman Empire while never loosing his distinctive touch. Many can be thanked for the importance of costumes in Fellini’s filmography, but most importantly was Piero Gerhardi, who served as costume and set designer for a majority of Fellini’s career.

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Iconic director Federico Fellini’s 1965 film, Giulietta Degli Spiriti, expresses the grandeur of its story through an expert couture style. Check it out!

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The Prop Builder's Molding & Casting Handbook .

This is the first book to contain, in one comprehensive volume, every molding and casting procedure of use to the theater props builder (no matter what his or her level or proficiency). The author demonstrates the techniques involved in using more than thirty different materials ranging from papier-mache to breakaway glass.

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Written by Marc ClancyUpdated 25th Dec, 2022

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How bleeding prosthetics are created for movies and TV shows

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How bleeding prosthetics are created for movies and TV shows

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Greg Pikulski: Three, two, one.

Narrator: Creating this hit took an air pressurizer, a gnarly prosthetic, and a special blood formula. Making actors project, gush, and burst out blood on camera isn't just about gore. These bloody scenes require careful research and artistic flair.

To find out how they do it, we went to Brett Schmidt and Greg Pikulski, the special effects makeup artists at SPFX Studio. They've created graphic injuries for mob dramas like "The Irishman," medical shows like "New Amsterdam," and action movies like "Sicario: Day of the Soldado."

It all starts with the actual prosthetics. The hardest part of creating wounds is building the look of depth.

Brett Schmidt: Prosthetic makeup is an additive process. So you can only add; you can't take away.

Narrator: But when you look at a wound, you're supposed to be looking into the body. The prosthetic needs to be thick enough to create that effect.

Brett: But it also has to work into the rest of the person's body.

And that's why a lot of times for effects that have lacerations or even bullet holes, you'll actually have a prosthetic that is an entire torso.

Narrator: Just to create the effect of this small bullet wound in "Sicario: Day of the Soldado," Brett and Greg had to sculpt a prosthetic that covered most of the actor's shoulder.

For this laceration prosthetic from "New Amsterdam," they were able to build up a thickness that subtly ramps up toward the laceration. Because this scene required a lot of blood, the prosthetic also had to be thick enough to hide a medium-sized vinyl tube.

For smaller wounds, Brett and Greg might use one of these tiny tubes. These can be hidden in actors' hair or even a pair of glasses, like they did in this scene from "Sicario: Day of the Soldado." To hide the larger tubes, however, they had to sculpt a special channel in the prosthetic.

Greg: You don't want to put a tube in that creates a bulge or anything like that. That'll give away the effect.

Narrator: On set, they hid the rest of the tube underneath and behind the actress. How the blood comes out of the tube depends on what you use to power it. In this scene, a piece of shrapnel has hit a patient's artery.

To create the kind of spray that results from an artery rupture, the blood has to be released at a high pressure out of a centralized location, like you see in this test run with water. They get that effect using this little device.

Brett: This is a tiny little garden sprayer that's usually used for spraying various chemicals on your flowers or whatnot.

Narrator: After they prime the line with some preexisting blood, they let out the blood in a pulsing motion to emulate real arterial bleeding, which coincides with a person's heartbeat. The color and type of fake blood is also key.

Arterial blood is fresher and more oxygenated than the blood in your veins, so this scene calls for a more vibrant light red.

Greg: A lot of times what we look for in the color of blood is that orangey-yellowy hue.

Narrator: For an older or partly dried wound, they'd use this brownish-red gel, which has a thicker texture to emulate scabbing. But for fresh injuries like this one, the most convincing fake typically contains compounds called opacifiers, which make it opaque so it looks better on screen.

Greg: Because anybody who's ever seen a really cheesy horror movie will see that clear, like, fruit-punch-colored-looking blood that is dripping off the end of a machete or something, which looks like absolute trash.

Narrator: While some wounds have a more focused source of blood, in other injuries you'd want to see the entire length of the wound bleeding, like a throat slit or a slash to the abdomen.

Greg: So, basically on this one, we're going to try to get a nice curtain of blood, instead of just one centralized location. I'm just cutting little slits in the tube.

Narrator: This will create the more horizontal flow you see here in the test run they're doing with water. The prosthetic can then be glued onto the actor's body and blended in. To get a slow, continuous curtain of blood seeping out of an abdomen slash, they went with a simple 60-milliliter syringe.

Brett: Put the tube on the end of this, fill it up with blood, and you can just let it bleed slowly.

Narrator: The team also had to adjust the type of fake blood for this injury, opting for one with ingredients called surfactants, which prevent it from beading over a rubber surface, like the prosthetic.

Greg: Real blood doesn't do that. It smears. It leaves trails without any beading.

Narrator: What about when you don't want a continuous flow of blood, just one dramatic burst? These air hits are something you might see in a samurai film or a Quentin Tarantino fight scene.

For this effect, Brett and Greg went with what they call a pressure popper.

Brett: This flat piece goes up against the wardrobe, and then the tubing runs down the wardrobe, down the leg, down whatever it is.

Narrator: This air chamber releases all the air through a quick-release valve, which, if they set the pressure high enough ...

Brett: It'll just vaporize the blood.

Narrator: It took a couple of test runs to get the effect as dramatic as we wanted. Brett: All right, so we'll do more pressure. Greg: Maybe 40?

Brett: Yeah. Three, two, one.

Narrator: The key was using a lot of blood. For the full effect, though, you'd need to see this in slo-mo. These decisions are affected by the style of the edit too. If they know a hit will only be shown with a quick reveal, like in a fast-cutting action sequence, Greg and Brett will lean towards going bigger with the effect.

Greg: If you do something more on the subtle side, especially when it's atomized or coming out in a stream, unless it's backlit, a lot of the times you won't see it. The blood will get lost.

Narrator: Equally dramatic is the classic gunshot to the head. But that effect calls for a more concentrated blood hit and an attention to texture. To mimic the effect of a bullet, they attach the pressurizer to a blood cannon, a system powered by air that doesn't need to be attached to a prosthetic.

Blood cannons allow for more control over where the blood goes. Perfect when you want to land on the wall in a specific spot behind an actor.

And since we wanted a thicker hit of blood against the wall, they added copious amounts of one of their favorite ingredients, UltraSlime, a product made from a mystery recipe that gives everything the stringy consistency of mucus.

Greg: If you've ever seen "Ghostbusters" or any '80s movie ever, it's the stuff that makes everything look disgusting. It's so stringy that you actually have to cut it with scissors.

Narrator: Introducing these new textures took some trial and error, though.

Greg: One, two, three.

Narrator: Too much slime, and we didn't get enough of a splatter.

Greg: Looks like somebody just coughed up a lung.

Narrator: So they revised the formula and added pieces of banana to emulate brain bits.

Greg: Three, two, one.

Brett: I think a banana bit hit my head.

Greg: I think a banana got under my eye!

Narrator: To make this last one extra dramatic, Greg used a trick from "Saving Private Ryan."

Brett: If you watch it slowly, a lot of the actors who get shot, usually in a scene where there's a lot getting shot, as they get shot, they spit blood out, 'cause it's just another element.

Narrator: It might be over the top, but sometimes, that's the point.

Greg: Anything from horror to medical, and anything in between. When you're making a movie, you have that creative freedom to kind of push things and have fun with it.

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How bleeding prosthetics are created for movies and TV shows

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Find out how Hollywood special effects makeup artists use realistic bleeding prosthetics to make actors gush and spurt blood in movie and TV scenes.

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Also known as:
What does a Set-builder do?
As the name suggests, a Set-builder makes a 'set', an artificial environment or scene constructed from wood, metal, paper and/or whatever else is required to achieve the finished environment. Sets can be built in studios or out on location. Often, the set-builder will design and specify the materials needed for the set, based on the brief from the production company or photographer who's managing/producing the shoot.

Any environment might need to be created from scratch: A tube station, a bedroom, a field of wheat, a glimpse through the doorway of a spaceship or a tunnel through a mountain. Set-building allows full control of everything - the physical space, colour, texture, movement of air, lighting, angle of shot and sense of time in that place.

Set-building and design is, or can be, the practical realisation of someone else's idea. Sometimes the work is simple - finding the perfect cup, or piece of cloth for a background, a stone for a floor, or a colour for a wall. Sometimes it is much more complex - a complete recreation of reality, a room with the accumulation of years of possessions and patina that reflect the character of the occupant and the historical period, perhaps.

Set-building is always a creative collaboration.

Because of this, it can also allow for the rise for the unexpected - it can be a space where risks can be taken that would not be possible in a real environment.

The set is everything the camera looks at, apart from the human figure. Sometimes a set-builder will be required to adapt or transform an existing space, heightening certain qualities, erasing others, adding or taking away objects, furniture, walls and atmospheres.

Often, the brief from the client will involve a fairly typical domestic room with a style to promote. These rooms are built principally from 'flats', which are sheets of thin plywood mounted on a frame of softwood. These are screwed together, side by side, to form walls. The nominal flat is 8ft x 4ft but odd sizes are needed to form oddities like doorways, windows and pitched ceilings. Once the walls are built and the seams filed until flat, the finish goes on. This is more often than not wallpaper or lining paper painted with emulsion. A whole range of finishes can be given using common materials and imagination. Time saving is the name of the game, which is where being inventive comes in.

Frequently, tongue and groove panelling is specified in bathrooms. If this is to be painted the se-builder can save a lot of time by routing narrow channels into a sheet of thin MDF to give the impression of the gap left between the timbers. Where a bathroom requires a tiled wall for instance, the ceramic tiles are stuck to the flat with 'hot melt' glue.
What's a Set-builder good at?
(You don't have to be good at all these things...)

Art: Having an eye for composition and framing (not necessarily the 'hanging on the wall' type, although you may need to do that too!) and understanding form, colour, texture and light and shade.

Understanding people: Set-building, like any creative collaboration, at some point, will always be about the relationships you build, so being able to empathise and get along with people, whether they're your co-workers, your team or your clients or customers, is important, as is your ability to stand up for your own views.

Technical knowledge, ingenuity and skills: Set-building relies on a mix of traditional skills, ingenuity and new technology so having a good grasp of the manual skills of carpentry, plumbing, decorating and problem-solving as well as understanding the photographer's tools (cameras, lenses, lighting equipment and computer hardware/software) will allow you to understand and interpret what is needed. You need to be inventive and find ways of achieving the 'look' of a multi-million pound loft apartment for a few thousand. This aspect is probably the most important.

Collaboration: A bit like understanding, but being able to work well with others where you all contribute something is very important in set-building.

Organisation and budgeting: You'll need to be disciplined and able to prioritise tasks. You'll need to be able to interpret a client's budget and stick to it as well as being able to motivate yourself and work on your own from time-to-time.

What are the tools of the trade?
Depending on the size of the business you run or are part of, you may have a whole range of tools, such as saws, hammers, levels, power tools, pliers, glue-guns - in fact the whole gamut of a keen 'DIY-er'! Too many to list, but remember they will be used regularly, so buying cheap tools is not the way forward.

You'll work in other people's work-spaces most likely, so you'll need to be mobile and able to fetch the necessary materials as and when required. Many set-builders have large vans because of this. You may also need to be able to produce 'flats' off site somewhere, so having access to your own workshop space can be very useful, particularly if you have several projects/'builds' on the go at one time and need space for things to dry or set.

If you remember that you're often being asked to build something from nothing, you'll quickly see that you need access to more tools and materials than if you were doing a bit of DIY at home. Good contacts in the building trade (for materials and extra expertise) will be useful and a mobile phone is a given these days.
Who does a Set-builder work with?
You'll work with a range of other creative people, often most closely with a photographer or a production manager/producer and often with a team comprising, amongst others, your own assistant(s) or staff, an art-director, make-up artist, stylist, and a lighting technician and perhaps a set-designer too, depending on the size of the job in hand. Every aspect of the environment you're being asked to create needs to be considered, so having people around you with an eye for detail is vital.
How do I become a Set-builder?
There are many different routes into the industry - but if you wish to be properly 'hands-on', you will need the traditional manual skills of carpentry/building over and above what might suffice for DIY at home. Often people who can fit kitchens and bathrooms can cross over into set-building, as those skills are directly translatable. If you are more interested in set-design itself, then an appreciation and understanding of theatre production is a useful background.
A common route into set-building is from being a photographer's assistant, with an interest and the skills in being able to construct and create sets from scratch.

Most Set-builders work for themselves - i.e., they are freelance or self-employed. However, there are a few permanent jobs in larger, commercial outfits run by production companies. Sometimes these jobs will require some qualifications, but not always - check and do your research before you decide which route you'll take. There may also be jobs as assistants to established set-builders that can give you a good way in to the business.

At school or college:

Learning traditional carpentry/building skills is a great foundation as well as having an appreciation of art, composition, lighting, design and trends, which can help with many of the creative aspects of set-building. A few places offer set-design or set-building courses at the equivalent of FE level and it's worth considering traditional skills-based courses like carpentry, wood-work or construction. You can look for courses titled 'scenic construction' or 'scenic art' (RADA do some of these), which will give you useful foundations into set-building.

At University:

There are several places that incorporate set-building at degree course level, either on its own or mixed with film-making or another creative discipline. If you want to go to University, bear in mind that it is worth studying relevant A-levels or Highers and that these courses can be popular.

The advantage of studying either set-building or scenic construction is that many of those skills are directly translatable into domestic contract work, like kitchen-fitting, so you have a broad range of opportunity to fall back on.

Remember too that study at HE level is not just about skills and qualification, it's as much about the experience of doing that with a whole bunch of others and making life-long friends and memories.

Straight to Industry:

You do not need any formal qualifications to be a set-builder, of course, and although study can teach you many things, sometimes experience can teach you as much and if you have the opportunity to assist an established photographer for a couple of years, that could be a good way of developing your career as a set-builder.

Jobs come up in all sorts of places - National and regional press carry job adverts for larger companies and sometimes set-build or set-construction jobs pop up there. Linked-In (and to a certain extent Twitter) can be good, so keep your eyes open and get friends and family to help look too. Word-of-mouth is probably the most effective means of getting yourself in the right place at the right time, but that means you need to be able to interact, socialise and build your own networks if you want access to a great many of these opportunities.

Build a Portfolio:

Although not a requirement, a portfolio can be really useful to show prospective clients what you can do and is the visual expression of you as a creative set-builder - it will have your best creative work in and give the people you show it to, an insight in to what makes you tick and how you approach things. You'll need the photographer's permission to include copies of the final photographs in your portfolio, but don't miss out on the chance to add to it. A portfolio is ever-changing and can be a simple, professional book of some sort or a digital, online presence like a website or properly curated Instagram feed.

Be aware:

It's important to have an excitement for what you do as it's quite a competitive field, and you're always only as good as your last job, like so many other creative endeavours.

Join photography groups on social media platforms, interact with others - there's loads of free opportunities out there for mixing with like-minded people. Look at others' work that inspires you for ideas (but don't copy!) and stay curious.
Further resources UCAS - Set designer role Scenic construction degree at the University of London Society of British Theatre Designers courses

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Also known as: What does a Set-builder do? As the name suggests, a Set-builder makes a 'set', an artificial environment or scene constructed from wood, metal, paper and/or whatever else is required to achieve the finished environment. Sets can be built in studios or out on location.

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Prop Making & Special Effects | Polytek Development Corp.

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Prop Making & Special Effects: Produce realistic props and special effects for film, television, theater and commercial displays with Polytek® mold making and casting materials

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Tutorials for Molding and Casting

Taking a prop that you've made and making a copy can be scary-but don't worry, it can be pretty simple! Start with a small prop and make a one-part mold. Follow along in our tutorial videos in the playlist below to learn the full process of silicone molding and casting plastic resin copies.

For our molds, we tend to use Smooth-On products, since they are reliable and have a great variety of materials. Another company with mold products is TAP Plastics, who also has the great benefit of carrying plastic sheets for other cosplay needs. For finding silicone and resin suppliers in your area, go to your local pottery supply store. They sometimes carry molding supplies, or can at least point you in the right direction.

We recommend starting small with trial size kits of silicone and resin. The materials below link to the smaller kits sold on Amazon. These links help support Punished Props-thank you for using them! If you're looking for larger size material containers, go straight to the company's website.

We are a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for us to earn fees by linking to Amazon.com and affiliated sites.
Molding & Casting 101 Playlist - Everything you need to know!
Builds with Molding and Casting

Our prop and costume builds listed below include our molding and casting techniques. Most of our molds are one-part or two-part molds. Our most complicated build to date is the District 9 Rifle, which involved our first matrix mold. We later improved the matrix molding process for the Bleach Hollow Mask.

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How to Make a Mold - Prop & Costume Tutorials

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Everything you need to know to easily make silicone molds and cast copies of your creations in various resins. Perfect for your prop or costume projects.

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Learn the art of how to make a mold with Hollywood FX Professionals. Our comprehensive mold making courses will instruct you in methods for how to make molds of multiple varieties, using a broad array of techniques, including block molding, 2-part molding, fiberglass mold making, matrix molds, stone molds, epoxy mold making, and more. By studying our mold making instructional videos, you'll become familiar with many different tools and materials, encompassing spatulas (large and small), various release agents, clay cutting boards, clays (oil clay, Van Aken's Klean Klay Alternative aka Protolina, White clay), different types of gypsum cements & plasters (Hydrocal, Ultracal, Pottery Plaster), and flexible mold making materials like silicone and alginate. Throughout your mold making adventure, you'll improve your ability to successfully mold sculptures, props and more, including capturing surface detail, avoiding undercuts, and achieving excellent replication with minimal loss of detail. Learning how to make a mold will prepare you for many creative challenges in the film and television industries, as well as for cosplay projects, live attractions, and haunts. For unlimited access to our entire online course library, including the mold making courses below, Subscribe Now & START MAKING MOLDS!

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Learn How To Make a Mold with Hollywood's Leading Mold Makers

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Explore our in-depth mold making courses by Award-winning professional Fx Artists, & you'll learn how to make molds of all kinds for the film and television industries, cosplay projects, live attractions & haunts.

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Set Construction
Planning is a critical component of set construction. Set designs are planned out in order to have a clear idea of the overall scope of the production; including structural requirements, special effects, props, lighting, furniture, decorative materials, paints, costumes, etc.
Planning also helps supervisors identify equipment and tool requirements, use of chemicals, personal protection requirements, and employee training needs. This, in turn, helps identify and implement applicable safety policies and procedures throughout the production process.

This section contains a brief overview of commonly identified set construction operations, exposures, and safe practices. In addition, the Performing Arts Code of Safe Practices Matrix identifies the applicable Performing Arts Codes of Safe Practices you are required to read for set construction operations.
Fall Protection
Set construction involves exposure to fall hazards from a variety of processes and procedures. Fall hazards are present when working on ladders, around the paint frame, on the catwalks, outside of the catwalks, in elevated storage areas of the shops, and on unprotected elevated work platforms such as the open edge of the stage.

Fall protection systems must be provided to protect cast and crew from fall hazards where the fall will be from an elevation of 7.5 feet or more. There may also be special situations or conditions where fall protection is warranted or recommended at heights below 7.5 feet. Refer to the Codes of Safe Practice that address fall hazards associated with aerial work platforms, catwalks, unprotected elevated work (controlled access) surfaces, fixed and portable ladders, paint frames, rooftops, scaffolds, and tension grids. Be sure to review each of these codes along with the Code of Safe Practice on fall protection trigger heights.

The temporary nature of set construction presents unique challenges. When it is impractical to use conventional fall protection systems or the fall protection system presents a greater hazard, special steps must be taken to protect cast and crew from falls. The special steps start with the creation of a Fall Protection Plan that is developed by a qualified person1 and developed specifically for the site where the set construction is being performed. The plan must:

1. Be kept up-to-date

2. Be kept on site

3. Be implemented under the supervision of a person competent in fall hazards and prevention

4. Specify the steps to be taken to reduce or eliminate fall hazards for workers who cannot be protected using conventional fall protection systems

5. Identify each location where conventional fall protection methods cannot be used

6. Include a safety monitoring system

7. Name the protection methods to be used for each job title

8. Specify the fall incident investigation process

back to top Rigging
Rigging is the use of hardware to lift, lower, and hold performance equipment on or above the stage. A variety of rigging hardware may be used for various tasks, and understanding the load capacity for each piece of equipment is critical. Employees must receive training prior to operating any rigging equipment. General safety guidelines for the use and maintenance of rigging equipment include:

1. Inspect rigging equipment before use, after any alterations, and at regular intervals.

2. Make sure the counterweights are secured with a lock plate to keep the counterweights in place.

3. Report and remove any damaged or defective ropes from service.

4. Never shorten chains and ropes by knotting.

5. Never exceed the safe load capacity of the system.

6. Follow safe procedures when loading, unloading, or operating rigging systems.

7. Warn people on the stage and grid before moving any rigged scenery or other object.

8. Maintain control of moving pieces at all times.

9. Never access the catwalks until trained and authorized to do so.

10. Secure rigging equipment when it is not in use.

back to top Paint Frame
The paint frame poses a unique fall hazard. The floor opening through which the paint frame moves is large enough for a person's leg to enter and in some cases could allow a body to pass through. It is easy to forget the danger of the floor opening as the canvas comes to life.

Ensure the guardrails are kept in place at all times.

Never step over or stand over the floor opening.

back to top Power and Hand Tools
Employees must be trained on the proper use of power and hand tools, including applicable safety features, guards, and the required personal protective equipment. While each tool has specific guidelines, the following are general safety guidelines for all tools:

1. Follow all manufacturers' instructions on the use and care of the tools.

2. Inspect tools before use to check for any defects such as frayed wires or damaged hand tools. Remove defective tools from service and report findings to your supervisor.

3. Never carry or hoist a power tool by its power cord.

4. Unplug power tools before loading them, changing blades or bits, making adjustments, or cleaning them

5. Never use power tools on wet surfaces or in wet weather.

6. Never alter or remove any machine or blade guards.

back to top Lockout/Tagout/Blockout
Lockout/tagout/blockout (LOTO) is a method of preventing equipment from being set in motion and endangering workers. Failure to properly isolate and de-energize energy sources can be fatal. Compliance with the University's LOTO policy is mandatory for your protection and the protection of others. Although the application of LOTO is often limited to electrical energy, you should understand that other power sources, including mechanical, hydraulic, pneumatic, chemical, and thermal energies, require similar procedures and care to ensure your safety. Other energy is often stored energy, such as in electrical batteries, capacitors, and springs. Even gravity presents a form of energy. See the Code of Safe Practice regarding lockout/ tagout/blockout for additional information.
Ladders
Inspect portable ladders at frequent regular intervals, and maintain them in good condition, free from oil, grease, or other slippery materials. Remove defective ladders from service and report the defect to your supervisor. Place ladders on stable bases. Never use boxes, chairs, or other unstable surfaces in place of a ladder. For more information on ladder safety read the Codes of Safe Practice on fixed and portable ladders.
Personal Protective Equipment (PPE)
PPE includes all types of equipment used to increase safety while performing potentially hazardous tasks. PPE may include eye and face protection, head protection, foot protection, hand protection, respiratory protection, and the use of other equipment to help protect you against injury or illness. Your supervisor will identify required PPE for designated tasks and work areas and will communicate proper use procedures to you. Training will also be provided as needed. As a PPE user, you must understand and comply with the PPE use requirements provided to you during training and by your supervisor and remember to ask questions if the direction is unclear. Consult with the EH&S Department and refer to the UC PPE Policy for more information.
Lifting and Material Handling
Back pain and injuries related to lifting and material handling are some of the most frequent types of injuries. Stage pieces are often awkward, heavy, or oddly shape, which makes them difficult to lift properly. Ask yourself these questions before lifting your load: Is it too large or heavy for one person to lift?

1. Do you need a mechanical aid or partner?

2. Are there any tripping hazards on your route?

3. Will you be able to get through doorways or corridors as you are carrying the object?

Remember to wear supportive non-slip closed-toe shoes to help avoid a fall while carrying your load. In some cases, protective work boots with steel toe reinforcement and other safety features may be required. Discuss proper footwear with your supervisor or Campus EH&S Office. Follow these safe lifting techniques:

1. Stand close to the load - Carrying an object as close to your body as possible will reduce the strain on your back and help maintain balance.

2. Lift with your legs - Using your leg muscles helps keep your back better aligned, which will reduce the load on your lower back.

3. Grip the load securely - Get a good handle on the load before you lift to avoid slipping. If the load starts to fall, let it go.

4. Lowering the load - Make sure you keep the load close to you, and use your legs while lowering the load to the floor.

Chemical Hazards
The key to safe chemical use is to understand the physical and health hazards of the materials you use, implement safe handling precautions, and recognize emergency/first aid procedures. Each chemical container has a manufacturer's label with the chemical name(s), hazard warnings, and the manufacturer's name and address. Labels must not be removed. If secondary containers are used, those containers must also be labeled with the information. Each product will have a Safety Data Sheet (SDS) that contains the following:

1. Physical properties

2. Flammability and fire-fighting information

3. Health hazards

4. Emergency and first aid procedures

5. Stability and special storage considerations

6. Spill, leak, and disposal procedures

7. Personal protection information

Your supervisor will identify which products will be used for the set construction. All employees will receive training on the location and content of the SDS; the required PPE; and the proper use, storage, and disposal of each product.

There are many types of paints, inks, pigments, and dyes used in the performing arts. While each product will have specific manufacturer's instructions, the following safety guidelines apply to all products: Read the product labels and the SDS to help you identify the potential hazards of the product you are using.

1. Know the ventilation requirements of the products you are using.

2. Avoid ingestion of materials by not eating or drinking in your work area, and wash your hands before eating and drinking.

3. Keep containers closed except when you are using them.

4. Control ignition sources in areas where flammable liquids are used.

5. Never puncture aerosol cans or expose them to high heat.

6. Dispose of each product as directed by the manufacturer and in accordance with your Campus Hazardous Waste Management Program. Contact the EH&S Department if you have questions.

7. Know and understand the chemical spill procedures for each of the products you are handling.

For more information, consult your Campus Hazard Communication Program and the Code of Safe Practices regarding hazard communication.

The use of chemicals often results in the generation of hazardous waste. Dispose of waste as directed by the product manufacturer and in accordance with the Campus Hazardous Waste Management Program. You can contact the EH&S Department for more information and guidance regarding hazardous waste management. They will provide guidance regarding:

Proper storage of the waste until it is collected

Proper labeling of the waste containers

Special handling requirements based on the hazard characteristics of the waste

Confined Space Hazards
Recognizing confined spaces and the hazards they present is critical when you are working in facilities and areas where they are found. Untrained, ill-equipped workers who try to work in or rescue people from confined spaces often become victims of serious injury or death. Only authorized personnel trained in accordance with the Campus Confined Space Entry Program may enter confined spaces. A confined space is defined as:

An area large enough for a person to enter and perform assigned work, and

Has limited or restricted means of entry or exit, and

Is not designed for continuous human occupancy.

Examples of potential confined spaces found in the performing arts include, but are not limited to:

Orchestra pit lift area (area under the orchestra pit)

Elevator pits

House cove (attic) lighting positions

Plumbing runs

Boilers

Depending on the construction of the paint frame system, the floor level area below the main shop floor (where the paint frame is typically accessed) may also fall under the definition of a confined space. In some cases, a fixed ladder is used to access this lower area. If that were the case, the types of tasks performed and materials used in the lower level of the paint frame would be limited. See your EH&S Department for further information and restrictions regarding your performing arts facilities.

Protect yourself and others

1. Consult with the EH&S Department and refer to the campus-specific Confined Space Entry Program, procedures, and training requirements.

2. Never violate the posted "ACCESS RESTRICTED TO AUTHORIZED PERSONNEL" and "ENTRY BY PERMIT ONLY" signs if you are not authorized to enter.

3. Know how to identify a confined space.

4. Never enter an area that could be a confined space. Contact your supervisor or instructor if you are in doubt.

5. NEVER enter a confined space to try to rescue another worker unless properly trained and equipped to do so.

Contact your Campus EH&S Department for assistance in identifying confined spaces in your facilities. For more information, consult your Campus Confined Space Entry Program, and read the Code of Safe Practice regarding confined space entry.
Housekeeping
Work areas can become congested while set building and rehearsals take place. Clutter can contribute to slip and fall injuries or to being struck by objects and can be a significant fire hazard. Remember to clean up after each work session. Place trash in proper receptacles. Avoid accumulating scrap lumber and materials. Store tools in the proper areas when not in use.
Storage of Materials
The proper storage of materials is extremely important to the safety of employees, students, performers, and audience. Storage procedures should comply with the following guidelines:

1. Store flammable and combustible materials in the designated flammable storage cabinets.

2. Store materials at least 18 inches below all sprinkler heads, and at least 36 inches horizontally from the sprinkler heads.

3. Store materials at least 24 inches below the ceiling where sprinkler heads are not present.

4. Never obstruct exits.

5. Never obstruct access to firefighting equipment, such as extinguishers, hose stations, or alarm pull stations.

6. Maintain a clear unobstructed space of at least 36 inches in all directions from electrical service equipment.

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Planning is a critical component of set construction. Set designs are planned out in order to have a clear idea of the overall scope of the production; including structural requirements, special effects, props, lighting, furniture, decorative materials, paints, costumes, etc. Planning also helps supervisors identify equipment and tool requirements, use of chemicals, personal protection requirements, and employee training needs.

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STL Prop and Costume Houses and Rental Options 

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STL Prop and Costume Houses and Rental Options 

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STL Prop and Costume Houses and Rental Options

The one that I mentioned previously was for the repertory theatre. However, I am not finding much current information on obtaining rentals. The most recent post was from 2019 - https://www.facebook.com/repstl/posts/the-costumes-and-props-that-appear-on-the-reps-stages-are-second-to-none-but-did/10157837178809752/. It also leads to a broken link. It would be worth it for you to reach out to them on Facebook inquiring about prop rentals. The actual theatre is located on websters campus.

https://www.repstl.org/

The Repertory Theatre of St. Louis | Repertory Theatre of St. Louis

The Rep is the St. Louis region’s most honored live professional theatre company. Come see a show!

www.repstl.org

1 https://www.thedarkness.com/movie-film-location-equipment-prop-rental-st-louis-missouri

Movie Film Location and Prop Rental St Louis Missouri

www.scarefest.com

www.thedarkness.com

2 https://www.johnniebrocks.com/costume-rentals

Costume Rentals www.johnniebrocks.com

3 https://stagesstlouis.org/rentals/

4 http://bluecoyotedesignstudio.com/the-lodge

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Write Like A Winner | Write Your Best Work With Grammarly (youtube.com)

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Designs on Film: The History of Production Design in the Cinema

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When it comes to a film and television art department kit, everyone's kit will look different.

Are you new to the business and confused as to what you need? Even if you're not new, many of us are always looking to upgrade our kits to do our jobs more efficiently.

While every art department kit is indeed different- there are many basic staples that are needed in order to do your job effectively that you should acquire before you step into your first position in the art department, set dec, props, construction, scenic, special effects, or costume department.

Below are some art department kit suggestions. An astrix (*) below connotes: 1) Items not always required. 2) Items that production will often buy but they're really good to have on hand from the get go so you don't always have to run out to get a supply you may only need once or twice per show. 3) Items that make your job easier but production would find fiscally irresponsible if you were to expense them.

What should I have in my art department kit?

Art Department Kit Requirements

Set Dec Kit Requirements

Props Kit Requirements

Construction Kit Requirements

Scenic Paint Kit Requirements

Safety Respirator
Dust Mask
Safety Glasses
Scrapers
Olfa Knife
Rollers
Trowl
2" - 6" Plaster Knives
A couple of each: Brushes 4", 3", 2", 1"

Special Effects Kit Requirements

Costume Kit Requirements

If you feel there is something we missed in our art department kit list and want us to add something, let us know!

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Art Department Kit Requirements: What Should I Have in My Kit?

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Are you confused as to what you should have in your art department kit? Whether it be an art department office kit, set dec kit, props kit, construction kit, scenic kit, spfx kit, or costume kit, we've got you covered.

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A Comprehensive Breakdown of the Entire Production Design Process for Film and TV - Kiev Kelvin

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Discover the entire production design process for movies and shows, from early concepting to final set strike. Learn research, collaboration, construction, dressing, and wrap best practices.

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What is Production Design in Film and Story?

First, let's define production design

Simply put, production design is the art of creating the visual environment where the story takes place. But let's take a more detailed look at the production design definition to understand its importance more fully.

PRODUCTION DESIGN DEFINITION

What is a production design?

Production design refers to the process of creating the visual environment in which a film or a television show unfolds. It is often used interchangeably with the term 'art direction.' Still, while art direction is mainly responsible for making the visual elements match the director's vision, production design goes much further, having a more elaborate approach to set design, costume design, props, and overall look and feel of a film or TV show.

Key elements of film production design:

What is Production Design in Film Used For?

Differentiating Production Design

As we alluded to above, there can be some confusion between production design and a few other similar departments. Let's dive into the key differences.

Production design vs set design

Set designers work primarily with sets (surprise, surprise). Their job is to work with the director and the production designer to create believable sets which are appropriate for the film.

Set designers will get deep in the weeds of the set, looking into what needs to be planned, obtained, and built for a given environment.

Production designer on set

Production designers, meanwhile, are more high-level. While a production designer will work closely with a set designer to nail down the look of a set, the production designer is responsible for thinking about how this set will fit into the overall aesthetic of the film.

Production designer vs art director

An art director is a production designer's best friend. The crucial difference between the roles is logistics. A production designer may have hundreds of lofty ideas for the look of a film; it's the art director's job to make it happen.

Building a set

Think of the art director as the production designer's translator. The art director hears what a production designer wants, and then puts together the team and materials to create it - this may be anything from overseeing set construction to budgeting prop creation.

What is Production Design in Film Used For?

Importance of Production Design

The importance of production design in filmmaking lies in how it can add depth and texture to a movie, breathing life into the story and transporting the audience to a different time or world. Having consistent production design can ensure that the audience remains invested in the film, as it subconsciously strengthens the suspension of disbelief.

In this video analysis, we break down production design in the show The Boys and how production design elements like wardrobe, props, and set design create a world that is grounded in ours, but one uniquely its own.

How Production Design is a Superpower * Subscribe on YouTube

Good production design also adds another layer to the storytelling, how the characters interact with the environment and the objects around them serve to communicate character motivations and emotions without spelling it out for the audience.

Here's a sample mood board a production designer may come up with for a dystopian neo-noir:

Production Design Examples

Note that the production design is concerned with setting, color, costume, and more. At its core, production design serves to provide the narrative with visual information that is as important as dialogue or characterization.

Production Design Meaning in Film History

History of Production Design

The history of production design can be traced back to the early days of cinema, but production design began to take on a more apparent and essential role in the 'Golden Age' of Hollywood in the 1920s and 1930s.

Evolution from Stage to Screen

Initially, the art direction for films was heavily influenced by the conventions of stage production design, set pieces were designed to be seen from a specific angle and only existed on camera for the duration of the shots for which they were designed.

There were no practical considerations about how the set would operate in the real world or how the characters would interact with the environment.

Red River, Montgomery Clift and John Wayne on the studio set together (1948)

With an increase in more advanced filmmaking methods and a desire for a more immersive experience, film productions started to demand more elaborate and realistic sets. Stagecraft evolved into filmmaking, with designers adapting the art of set design for the silver screen.

Advancements in Technology and its Impact on Production Design

As technology advanced in the field of special effects and computer-generated imagery (CGI), production design underwent another revolution. With the development of new materials and modern methods of constructing sets and props, we started seeing more ambitious designs that could match the film's narrative ambitions.

Marvel CGI Set and Production Design

In 1993, production design was given an Academy Award for the best achievement in art direction for the first time, and the following year's Oscars split the categories into Academy Awards for Production Design and Scenography to recognize every integral facet's contribution to what we now know as Production Design.

Characteristics of Film Production Design

Elements of Production Design

In production design, the production designer is the head of the art department on a film set, responsible for creating the visual identity of the movie. They work closely with the director and cinematographer to translate the script into a visual world through the use of sets, props, costumes, and other elements.

Let's explore some of the most important elements a production designer must think about and how they work together to create the immersive worlds we see on screen.

Set Design: Creating the Physical Environment

One of the most crucial elements of production design is set design: designing and constructing the physical environment for the film or TV show. The designer must create an environment that is convincing and believable, supporting the story and the emotional tone of the film.

The set must establish the location and the era, adding to the mood and feel of the narrative. This video analyzes how production design was an important aspect to establishing the character arcs of the two main characters in Noah Baumbach's Marriage Story.

Space & Separation: MARRIAGE STORY Production Designer Jade Healy

Props: Selecting and Placing Relevant Objects

Props are all the objects that surround the characters in the film. They are objects that are so integral to the story that they need to be included for completeness. A production designer must choose the right props, considering the story, the time, and the character's profile.

The placement of the prop and how the actor interacts with it can say a lot about a character, their personality, and even reveal their backstory or motivations.

Costumes: Dressing Actors Appropriately

Part of a production designer's job is to ensure that the costumes for the characters are authentic and consistent with the narrative's world. Costumes can say a lot about a character, where they come from, their social status, their personality, and their profession.

Below you can see Mark Bridges' meticulously researched design work through sketches featured on his personal website for There Will Be Blood, one of Paul Thomas Anderson's best films.

Mont Sainte-Victoire (c.1895) by Paul Cezanne

Special and Visual Effects: Enhancing the Visuals

Special and visual effects are often used to enhance the story and reinforce the production design. They are created with the help of technology and computer-generated imagery, adding detail and realism that would otherwise be impossible to achieve.

For films like Christopher Nolan's , VFX is a major part of production design and story. We recreated a scene from the film below showing the various VFX elements used to create the scene.

Production design is an essential aspect of filmmaking that goes beyond creating a visually appealing set. It influences the mood, tone and atmosphere of the film, and helps to tell the story in a compelling way.

A skilled production designer collaborates with the director, cinematographer, costume designer, and other key members of the crew to create a cohesive and immersive world that draws the audience in. By understanding the importance of production design, filmmakers can elevate their craft and create unforgettable experiences that captivate audiences for years to come.

Up Next

What Does a Production Designer Do?

All of the elements of production design we talked about in this article are directly linked to the role of the production designer. For a deeper dive into the role of the production designer and their importance in filmmaking, check out our next article.

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Production Design in Film - How to Tell Stories Visually

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Production design refers to the process of creating the visual environment in which a film or a television show unfolds.

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A production design website for professionals, students, and film fans. Art Departmental is a highly influential art department resource center celebrating the art and craft of production design.

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World-class resources on art and cultural objects for learners from around the globe