Sets had to be built to accommodate the filming crew and performers. Of course, this feat couldn’t be accomplished aboard a real ship. Take, for example, the sinking of the cruise liner in James Cameron’s 1997 megahit “Titanic.” As the ship is sinking, the actors are found running and swimming through decks and hallways of water. Image courtesy of: The Ultimate Guide to the Dark KnightĪnother example of a production designer’s ability to bring audiences into the world they are watching is with interior scenes. Unlike the three Christopher Nolan Batman films, which were shot on location in Chicago and New York, Burton and Furst’s Batman film captured the dark tone and mood of the popular comic book’s crime-ridden city through large sets and a fabricated morbid ambiance. One great example of how cost-effective constructing scenes can be is Tim Burton’s 1989 hit movie “Batman.” Production designer Anton Furst won an Academy Award for overseeing the design of Gotham City. Then there’s the cost of permits, insurance, other unforeseen expenses and natural elements when shooting exterior scenes on location. The production designer has to decide if whether or not the budget can allow explosions during filming or CGI use during post-production. If the church is going to blow up or catch fire, it would be more economical to construct a church than to use a real one. Often times, shooting in various locations can be difficult, so it may be more prudent to create a set.įor example, if a screenplay requires an exterior shot of a church, the production designer can decide on whether or not to shoot on location or construct a prop façade of a church. Real vs fake: faking a set or locationĭuring the pre-production stage, which may take weeks to months-depending on the project and the size of the budget-the production designer reads the script to determine whether to build sets or shoot on location. They work closely with the director to get a full cinematic understanding of the director’s vision and to quickly distinguish the lighting style of the cinematographer. Production designers are brought in during the very early stages of development-the pre-production phase. But how is it that a production designer is able to create such worlds of life and realism? To answer that, we have to first know exactly what it is a production designer does throughout production. Take a look at blockbuster and epic films, such as “Ben-Hur,” “Lawrence of Arabia,” “2001: A Space Odyssey,” “Star Wars,” “Alien,” “Blade Runner,” “Titanic,” and “Avatar.” You’re instantly thrown into an imaginative world created by the production designer, filled with visually stunning concepts and detailed creations.Ī production designer can fully make the imaginary imaginable to our eyes and our perception.
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