The production designer deals with one of the most
important jobs in a film. He or she is responsible for
planning its entire look, from individual sets to overall
color schemes. Normally one of the first to be involved in
the production, the designer delegates specific tasks to
other members of the crew, who are in turn responsible
for creating designs on a more detailed level or for supervising or executing the work needed to transform the
designs into reality.
Set building is the responsibility of the construction
department. Plans are produced by a draftsperson for the
guidance of the construction manager. The construction
department includes a range of workers, including carpenters, plasterers, painters, sculptors, drapers, and sign
writers, who all work with materials purchased by the
construction buyer. Standby painters and standby carpenters remain after the set has been built to handle
any alterations required during filming.
Once the basic sets are constructed, the art department takes over. Supervisory responsibility is normally
assumed by the art director, although sometimes the roles
of production designer and art director are combined. A
set designer has the duty of planning in detail the sets
suggested by the head of the department. A production
buyer is responsible for purchasing the required
materials.
If large, two-dimensional pictures are used at the rear
of the set to create the illusion of a space that does not
exist, they are the responsibility of the scenic artist.
Sometimes the background paintings are not physically
incorporated into the set but are combined through
optical effects. These images are created by a matte artist;
they were traditionally painted on glass, but techniques
are changing with the growing sophistication of digital
effects.
The set decorator is responsible for transforming a
basic set into the illusion of a complete environment,
with all the details needed to make it look convincing.
He or she is normally assisted by a lead person, who is in
charge of the swing gang, which comprises miscellaneous
personnel handling set dressing and props, who ready the
set for the next day’s filming, often by working overnight.
The set dresser physically places the set dressing items,
such as chairs and tables. A greensperson places and
maintains any necessary foliage. The property master
provides mobile objects, such as books or kitchenware,
which may be handled by actors. These are maintained
by a property assistant. Certain types of props that call
for more detailed knowledge may be supplied or supervised by a specialist such as an armorer, who is responsible for weaponry.
The wardrobe department is headed by the costume
designer, who works with the director and the production designer to ensure the film has the desired ‘‘look.’’
The role of the wardrobe supervisor is to ensure that the
outfits specified by the costume designer are created,
hired, or purchased within the budget. If costumes must
be made, they are created by a seamstress and cutter/
fitter. The wardrobe master or mistress and wardrobe
assistants maintain the costumes during production,
supervising washing and mending as well as ensuring that
the costumes are available when and where they are
required. A dresser may be employed to help the performers get in and out of their outfits.
The hairstylist is responsible for designing and
maintaining hair and wigs. Makeup artists design and
create the facial and body makeup effects required for
the performers (sometimes animal as well as human).
The special makeup effects credit belongs to artists who
create major alterations in appearance. These may include
the simulation of serious injuries or disfigurements, or the
transformation of an actor into a monster. Prosthetic
makeup is a specialized task that generates radical transformations by attaching latex or other materials to an
actor’s skin, using prosthetic appliances created by a foam
technician.