The set decorator is the head of the set decoration department in the film and television industry, responsible for selecting, designing, fabricating, and sourcing the " set dressing " elements of each set in a Feature Film , Television , or New Media episode or commercial , in support of the story and characters of the script. The set decorator is responsible for each décor element inside the sets, from practical lighting, technology, art, furniture, drapery, floor coverings, books, collectables, to exterior furnishings such as satellite dishes, Old West water troughs, streetlamps, traffic lights, garden furniture and sculptures.
28-486: Henry Grace (March 20, 1907 – September 16, 1983) was an American set decorator . He won an Oscar and was nominated for twelve more in the category Best Art Direction . As an actor, he had a role as Dwight D. Eisenhower , whom he strongly resembled, in The Longest Day . Grace won an Academy Award for Best Art Direction and was nominated for twelve more: This biographical article related to cinema of
56-609: A Filmmaker , that the background, the camera motion or even the sound effect is considered well-done if the viewer does not notice their appearance. In the United States and British Columbia , production designers are represented by several local unions of the International Alliance of Theatrical Stage Employees (IATSE). Local 800, the Art Directors Guild , represents production designers in
84-634: A Set Decorator includes history of design, art, architecture & interiors, photography and film, as well as geography, anthropology and psychology. The Decorator is knowledgeable about lighting, technical materials, textiles, mechanics of machinery and technology, paint techniques, construction practices, upholstery and drapery, decorating trends, period details, color theory, and is proficient at spatial furniture layouts for film. This knowledge combines with strong research, design judgment, cultural understanding, and observation skills to create interior and exterior environments rich in character and style to bring
112-553: A creative concept behind it, partially described in the script and further developed by the Set Decorator in consultation with the Producer, Director and production designer. Each set breakdown evolves into a series of lists of set dressing elements, all of which are budgeted, designed built and sourced. The production schedule and production budget delineate how these lists are achieved. The visual storytelling vocabulary of
140-502: A sense of the time period, the plot location, and character actions and feelings. Working directly with the director , cinematographer , and producer , production designers have a key creative role in the creation of motion pictures and television. The term production designer was coined by William Cameron Menzies while he was working on the film Gone with the Wind . Production designers are commonly confused with art directors as
168-584: A smooth flow of information to fulfill the visual and technical requirements of the production. The Set Decorator opens every set ensuring that the Director is satisfied, and makes any changes necessary. The Set Decorator works with his or her staff to develop a schedule of fabricating and procuring the set dressing elements. Working with the Leadperson and Location Manager, the Dress/Strike schedule
196-431: A team within compressed schedules and side by side with Art Direction, Construction, Locations, Paint, Set Lighting, Grip, and Special Effects. Set maintenance plays a large part for long-term sets for many films and TV shows. The Set Decorator is responsible for budgeting, hiring and managing his/her staff according to the requirements of each production including but not limited to: Set Decorators are eligible to receive
224-558: Is developed, dictated by the shooting schedule. This defines the labor budget for the Set Decoration department. The Set Decorator schedules and supervises the work of the Assistant Set Decorators, Leadperson, Buyers, Budget Tracker, On-Set Dressers, Property Persons, Drapers and Upholsterers, and all inside and outside manufacturers The Set Decorator selects, acquires, and oversees designs and builds for all
252-995: The Emmy , BAFTA , Academy Award for Best Production Design , the Set Decorators Society of America's Film and Television Awards, and the British Film Designers Guild Production Design Awards along with the Production Designer , as well as recognition by the Art Directors Guild Award. In Canada, Set Decorators are eligible to be nominated, alongside Production Designers, for the Canadian Screen Awards. Set Decorators are represented in North America by
280-570: The IATSE labor union, under jurisdiction of Local 44 (Los Angeles), Local 52 (New York), and various other regional IATSE locals in the US, Canada, and Puerto Rico. In addition to IATSE in Canada, NABET 700 also represents Set Decorators and crew. The SDSA – the Set Decorators Society of America – is the organization solely devoted to Set Decoration. The SDSA promotes the highest standards of excellence in
308-555: The Art Department and Accounting. The Set Decorator maintains communication with fellow Key Department Heads, including the Assistant Director , Director of Photography , Gaffer, Propmaster, Construction Coordinator, Lead Scenic Artist, Location Manager , Costume Designer , Greensman , Special Effects Coordinator, Key Grip , Production Sound Mixer , Visual Effects Producer, and Stunt Coordinator. This ensures
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#1732775701908336-601: The Production Designer, approved by the Director/ Producer and Studio, along with drawings and illustrations from the Art Department, the Set Decorator budgets, designs, develops floor plans, sources, builds, schedules and eventually supervises the installation of the set dressing in each set, including industrial equipment, lighting fixtures, graphics, furniture, artwork, drapery, decorative accents, florals, floor coverings, and exterior décor to support
364-614: The Set Decoration Department staff. Working in partnership with the Production Designer , the Director , and the Producer , the Set Decorator researches, budgets, designs and presents set decorating concepts for each set in the script. Creatively, set dressing elements convey mood, style, time period, location, genre, character, and backstory, and shape the visual imagery of the project. Working with concepts from
392-603: The U.S., with the exception of New York City and its vicinity. Those members are represented by Local 829, the United Scenic Artists . In the rest of Canada, production designers are represented by the Directors Guild of Canada . In the United Kingdom, members of the art department are represented by the non-union British Film Designers Guild . The production design credit must be requested by
420-487: The United States is a stub . You can help Misplaced Pages by expanding it . Set decorator While the Set Decorator provides all of these elements, the Propmaster provides elements that are handled by the actor. For example: a library is decorated with set dressing such as the furniture, books, desk lamp, blotter, framed photos, personal effects, letter trays, letter opener, papers, paper files. The Propmaster provides
448-493: The art director lead a team of individuals to assist with the visual component of the film. Depending on the size of the production the rest of the team can include runners, graphic designers , drafts people, props makers, and set builders. Productions Designers create a framework for the visual aesthetic of a project and work in partnership and collaboration with the Set Decorator & Set Decorating department to execute
476-435: The bale of hay Dorothy leans on and the animals around, as well as the typical wooden fence. In the scene in which Dorothy's dog is taken away, we know that it happens in her aunt and uncle's house, which adds more tension because her beloved friend, Toto is not killed, lost or kidnapped on the street, but is forced to leave by an outsider, Ms. Gulch, who enters Dorothy's private and safe zone (her home). Jane Barnwell states that
504-495: The budget and delivering the sets on time are a key skillsets of the Set Decorator. Producers rely on the accuracy of the Set Decorators budget to ensure that the overall production budget remains within its bounds. The Set Decorator attends concept production meetings, scouts, safety classes, legal clearance briefings, product placement meetings, and ongoing conferences with the Production Designer , Director , Producers,
532-462: The description "own half the county" more reliable in portraying Ms. Gulch, and also supports the reason why Dorothy cannot rebel against Ms. Gulch by making the dog stay. However, this does not mean that the setting or costume should be extremely detailed and cluttered with information. The goal is to not let the viewer notice these elements, which, however, is how production design works. Jon Boorstin states in his book, Making Movies Work Thinking Like
560-405: The desired look. Production design plays an essential role in storytelling, for instance, in the movie Titanic , when the characters Jack and Rose are in the cold water after the ship sank, we know that they are cold because of the setting: it is nighttime and there is ice on their hair. A more specific example is The Wizard of Oz , in which we know the story takes place on a farm because of
588-410: The field worldwide, and preserves the legacy of set decoration in motion pictures and television, through its online magazine SETDECOR, INSIDE THE SET interviews, and social media presence. www.setdecorators.org . Production designer In film and television , production designer is the individual responsible for the overall aesthetic of the story. The production design gives the viewers
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#1732775701908616-416: The place the characters exist in gives information about them and enhances the fluency of the narrative (175). Imagine Dorothy's home was dirty and everyone in her house were dressed untidily, the viewer would have supported the outsider instead, perhaps thinking that the outsider in a way, rescued the dog from an unhealthy environment. Additionally, the characters' clothing, especially that of Ms. Gulch, makes
644-552: The props – the letter the actor is opening and reading, the pen he writes with, and the ink into which he dips his pen. Set Decorators are Key Department Heads, hired by the Producer , but often recommended by the Production Designer for their creative talent to implement the Production Designer’s vision and the visual interpretation of the script and its characters; and for technical skills and expertise in project management including budgeting, hiring, scheduling and organizing
672-399: The roles have similar responsibilities. Production designers decide the visual concept and deal with the many and varied logistics of filmmaking including, schedules, budgets, and staffing. Art directors manage the process of making the visuals, which is done by concept artists , graphic designers , set designers , costume designers , lighting designers , etc. The production designer and
700-611: The script to visual life. The Set Decorator creates a materials budget for the film or episode, and a labor budget based on the production schedule and scope of work. Labor costs are calculated to include overtime, fringes and kit rentals. The budget allows for equipping workshops, expendables, 2nd unit requirements, camera tests, and work performed for the Set Decoration department by other departments and specialty vendors. Budgeting involves projecting costs for prototypes, and educated guesswork. Set Decorators are familiar with pricing structures for each element and labor required to complete
728-625: The set dressing, He or she supervises the Assistant Decorators and Buyers as they source elements, and gives final approval to all choices. Once the set dressing is prepared, the Leadperson supervises the transportation of all elements to the sets. After delivery to the stage or location, the Set Decorator directs the Set Dressing crew in the decoration of the set, following Safety Guidelines, IATSE Union Contracts and industry past practice. The Leadperson and Dressing crew work as
756-429: The story. Whether on Feature Films, Television shows, Commercials, Webisodes, or emerging media formats, this work of developing, selecting, and providing the dressing elements of the set is under the direct supervision of the Set Decorator. The Set Decorator begins each project by breaking down the script. This entails analyzing all scenes of the project, dividing them into sets, and detailing requirements. Each set has
784-418: The work within production schedules. Set Decoration budgets may be revised several times in the course of preproduction due to shifting circumstances. Even after the Producer has approved the Set Decoration budget, the estimate is updated as special requests by the Director, script rewrites, or shifts in schedules bring changes during production. Overseeing creative aspects of Set Decoration while staying within
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