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Production Design > Midterm > Flashcards

Midterm Flashcards

1
Q

Keeping clarences in check is the responsibility of the

A

Art Department Coordinator

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2
Q

acts as the administrator of the crew; he or she is under the supervision of the art director. The coordinator assists this person in the business matters of the department, as well as the smooth operation of pre-production, principal photography, and wrap-up.​

A

art department coordinator

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3
Q

In the 1920’s and 30’s the kept tight control over all aspects of production

A

major Hollywood studios

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4
Q

preferred to shoot on there own studio backlots.​

​

A

the studio

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5
Q

The first sets were often designed by

A

the master carpenter

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6
Q

later, these people were put in charge of designing the sets.​

A

art directors

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7
Q

were bleak times, however, for Art Directors and other industry craft artists who were not being given proper credit for the important creative contributions they made to the art of filmmaking. ​

A

the 1930s

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8
Q

That attitude dramatically changed in 1939 with

A

gone with the wind

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9
Q

producer _____ __ ________ agreed to give the new credit of Production Designer to ______ ____ ________ for his brilliant work on the classic film.

A

David O. Selznick; William Cameron Menzies

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10
Q

(the dean of U.S. film art direction at the time) produced scene-by-scene storyboards and illustrations for GWTW that revolutionized the film industry. ​

A

Menzies

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11
Q

Art Directors​
While the craft of production design and art direction dates back 100 years to the very beginning of filmmaking, it wasn’t until 1924 that 63 of the top men and women pursuing that craft formed the ____ _______

A

Cinemagundi Club.​

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12
Q

(named after New York’s club for artists, the Salmagundi Club), a casual organization that met mainly for socializing at a Hollywood restaurant.​

A

Cinemagundi Club.​

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13
Q

The Art Directors Guild.​
Through the years the Cinemagundi Club developed into a forum for Production Designers and Art Directors to exchange views and to discuss problems. In 1937, the Club transformed itself into the . Television was added to its name 30 years later and in January of 2000, it became the ​

A

Society of Motion Picture Art Directors; Art Directors Guild.

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14
Q

After the Second World War, many below the line industry labor organizations, including the Art Directors Guild, signed on with the powerful for overall union representation. The Guild became more active, grew in membership, and expanded opportunities as television developed..

A

International Alliance of Theatrical and Stage Employees (IATSE)

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15
Q

Art Director’s breakdown sheet

A 
Set Title​
INT (Interior) or EXT (Exterior)​
Day or Night​
Scene Numbers of the action in each set​
Page count of all Scenes in each set​
Estimated Cost to Build or Create​
Each Set or Location is Given a Set Number
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16
Q

Back-up sheet

A

Handy supplement to the construction budget​
​
Synopsizes the work anticipated for each set/location​
​
Contains: Set Number, Location, set title, anticipated work, estimated cost​
​

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17
Q

Greatest single factor in making a budget estimate is

A

experience

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18
Q

Budgeting things to note

A 
Among the first significant expenses  are PRE-PRODUCTION costs of set construction​
Cost of Labor​
Cost of Materials​
Cost of rentals​
Cost of Locations
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19
Q

Three phases of Art Dept Budget​

A

Preliminary Budget​
Locked Budget​
Working Budget

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20
Q

other stuff

A

Final Construction Estimate is an ESTIMATE​
Every Day they become firmer and firmer​
However Locations are yet to be

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21
Q

Critical to the film’s Ambiance​
Some points might be missing from a location​
Contingency allowance for unexpected work a location needs for Director’s vision​

A

location selection

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22
Q

looking at it from a budget standpoint​

A

production manager

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23
Q

looking from a scheduling standpoint​

A

1st AD

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24
Q

should preview each location with the Art Director before showing it to the Director​
Issues with small quarters, power supply, ambient noise, distance to production vehicles (delays)​

A

location manager

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25
Q

Are ALWAYS unprepared for the circus of a FILM CREW​
Prepare them in Pre-Production​
EVERY Location is accompanied by a location contract​
Do NOT assume location owners understand how you want the space- some will clean it up if you are not clear that you want it for the grunge/color it already is​

A

location owners

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26
Q

Matching actual locations with sets requires a keen eye and COMMUNICATION with other departments​
Every Detail demands an exact match- depending on how close camera will be​
Location moves COST the company TIME- prepare for how to use the time between moves efficiently

A

troubleshooting

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27
Q

set dresser’s crew consisting of lead man, dresser, and driver

A

swing gang

28
Q

a wall in front of a set (removable wall)

A

wild wall

29
Q

layer of wear and tear

A

patina

30
Q

Who/what is the best single source of research for a film?

A

technical advisor/expert

31
Q

What is another term for storyboards?

A

continuity sketches

32
Q

The most important phase of the design process?

A

research

33
Q

You should include design elements that establish…

A

time and place

34
Q

For cost accounting purposes, each set or location is given a

A

set number

35
Q

The Art Director’s _________ should provide hardware for doors, sign plaques and hanging signs

A

constuction crew

36
Q

What should the art department provide in case of inclement weather?

A

cover set

37
Q

Creative Triumvirate

A

Cinematographer, Production Designer, Director

38
Q

Plan view is also known as

A

Plan view is also known as

Director’s plan or floor plan

39
Q

The plan view is used by the director to

A

block actors

40
Q

Are touched or manipulated by actors

A

props

41
Q

Is not touched or manipulated by actors

A

set dressing

42
Q

Known for special effects

A

George Melines

43
Q

Known for drawings of intolerance

A

Walter Hall

44
Q

Movie known for it’s miniatures that would use space to look specially correct

A

ben Hurr

45
Q

Who is in charge of the swing gang

A

lead man

46
Q

The single most important phase of the design process

A

Understanding the personality of the lead characters in the script (researching the main character)

47
Q

Who does the legal research

A

producer’s staff

48
Q

What is legal research entail

A

What is legal research entail

Clearing of character names, places, publications, etc.

49
Q

The main domains of the DP

A

light/shadow

50
Q

The concept of ________ is equally effective as contrast

A

The concept of ________ is equally effective as contrast

Placement

51
Q

The great pitfall for any backing scheme is a misplaced

A

horizon

52
Q

Dick Smith

Makeup for The Exorcist

A

Dick Smith

53
Q

Production Designer for Dr. Strangelove

A

Ken Adam

54
Q

Set title, INT or EXT, Day or Night, Scene number, Page count, estimated cost

A

Art Director’s Breakdown sheet

55
Q

Shows size and exact position of each set on every stage with backlot layouts and scheduling charts, organized studio filming an set construction

A

Stage Condition Plans

56
Q

Manages set designers, supervise set construction.

A

Ast. Art Directors

57
Q

Difference between the estimated cost for a day of shooting and the real cost of the previous day’s shoot

A

hot cost

58
Q

3 types of special effects

A

Foreground miniature, Cobwebs, Pneumatic squibs in the ground for bullets

59
Q

Who does the construction Coordinator report to?`

A

art director

60
Q

Foreman is also a

A

draftsman

61
Q

paints backdrops

A

painter

62
Q

Miniatures must be shot at

A

high speed

63
Q

make models

A

model makers

64
Q

Usually have backgrounds in fine arts. Accurate at depicting a set in correct perspective as the camera would see it

A

set illustrators

65
Q

Chief draftsmen or drafting room art director

A

In charge of the drafting room

66
Q

Draftsmen who drew blueprints- working drawings with measurement so that the craftsmen could construct the sets

A

Set Designers

67
Q

Familiar with every film in production at a studio. Gives opinion on the visual opportunities each script offered and who might be best assigned to each

A

supervising art directors

Production Design (2 decks)

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