Images

L1

A whole film crew here at the end of a two week commercial shoot. Knackered.

L2

Some of the Spanish art department here at the end of the set build. No one spoke English bar the stylist.

R1

A props stylist is a key role within the art department. He or she will have an overall view of the whole production and select and decide on the look of all the props. An in depth knowledge of all the suppliers is necessary and an ability to create mood boards and budgets. These people often work with assistants.

R2

A props buyer needs a thorough knowledge of all the prop houses and be capable of dynamic research together with their own in depth experience of the industry. A car is essential here together with abilities to standby and assist during the shoot.

R3

To be a master propman takes years of experience. Usually their kit consists of virtually every tool in the book. A kitted out small truck is ideal for this role although some have trailers and wheel them on the stage for the shoot. Usually there is a 'pack shot' on a commercial and it is them who make up the 'perfect packs' or create the everlasting beer head. They unpack and log all the props and assist with the set dressing. On the shoot they remain close to the camera crew taking instructions from the dop or director. Occasionally they will enlist an assistant or another propman of there own choosing to assist with the packing up on the wrap.

R4

The scenic artist is another talented individual. Again years of training go into this unique skill. Usually they work from photographic references and reproduce settings in remarkably quick time on painted scenic canvas. Precise planning is an essential element here, as mistakes must first dry before being rectified. A scenic artist generally trains on the job as an assistant before progressing on to individual jobs. They carry their own specialised kit together with an assortment of paint stainers and a compressor. This work is highly pressurised and often involves long unsociable hours. Steve Mitchel painted this 16x5 metre backing shown here in just three days.

R5

Special effects has many different areas from simple smoke effects to explosions. Special grades within this department ensure safety and whole companies often specialise in just specific areas. These companies sometimes take on trainees who eventually get to go on the shoots but usually only after some years experience will you get to play with any dynamite!

R6

A carpenter (or chippy) is another skilled individual. Just basic carpentry is not sufficient and to enter the film world and experience is essential. Building a film set requires special knowledge as some elements need to be moved quickly and others safe to stand on. It might sound strange but it's often difficult to differentiate between the two. If a floor can be laid prior to building the walls it can save time cutting it in, a door frame needs strapping prior to moving, a wall flat needs fixing flat on the floor before lifting etc. etc.

R7

Painters are again a specialised bunch. As well as having to colour walls an in depth knowledge of papering, graining, marbling and aging down is required. One often has to achieve a perfect surface in record time and mix colours exactly to references. A knowledge of all different paints and finishes is required plus an ability to quantify amounts and mark out. Often a scenic artist will need assistance in laying in backings and preparing other surfaces. A talented painter is a great asset to any set designer.

R8

Riggers are a breed of their own. Some specialise in wire effects and carry special equipment for all hanging effects. Others tackle basic set construction. When scenery reaches a certain size we use scaffolding to support it. It's again a very specialised trade as certain techniques require adhering to. Aluminium tube (as opposed to steel) is hired specifically for the job and a rigger often carries his own stock of equipment including special rollers/bearings etc. for moving sets effortlessly around the stage. Quite often scenery is strapped together on the floor and tubed up behind prior to moving into position. Riggers also hang most ceiling pieces and quite often work with the electricians rigging lights from the gantry.

R9

A stage hand combines his skills to assist all the construction team. They need to be able to drive fork lift trucks and stretch canvases plus keep the stage in a safe working environment. A basic tool kit is required plus a good knowledge of working practices on the build, shoot and strike out.

R10

Similar to special effects modelmakers tend to specialise in different areas, some making accurate architectural models and some making perfect 'half eaten' chocolate bars. They are usually based in there own workshops and bring a team of people to assist on the shoots. They do take on trainees but more often employ specialists in certain areas like sculpting, engineering or electronics.

R11

An assistant art director generally has artist abilities and computer skills. To be able to work alone, precisely, tactfully and quickly is essential here as is working on ones own initiative. Research and graphics is often taken on initially but experience is again a good advantage and a basic knowledge of prop suppliers.

M1

This Chart shows most of the crew required for shooting a tv commercial. The average crew consists of about thirty people including clients. Although the art department appears somewhat bigger than others it depends purely on the size of the set. Sometimes my crew consists of just one assistant only.