Standby Art Directors monitor the Art Department's work on set during filming on behalf of the Production Designer. They work closely with the Standby Painters and Standby Carpenters, and co-ordinate any changes to the set during filming. This may involve a range of activities, from repainting signage that is not to the Director's liking, to organising the fast dismantling and rebuilding of large pieces of scenery.

Precise preplanning is essential in film production, and a great deal of the Art Department's work is carried out before principal photography begins. However, immediate responses may also be required to unanticipated situations as they arise during filming, and these are the responsibility of Standby Art Directors. Although Standby Carpenters usually perform any of the manual labour required, in some circumstances Standby Art Directors may also be very involved in these aspects of the work. They are usually requested by the Art Director, or Production Designer, and work on a freelance basis. The hours are long and the job can involve long periods working away from home.

What is the job?
Depending on the film's style and budget, Standby Art Directors begin work 1-2 weeks before the first day of principal photography. After breaking down the script, and carefully listing all props required, including graphics (letters, newspapers, signage, etc.), animals, vehicles, food, drink, etc., Standby Art Directors give this list to the Props Master, who uses it to check off all props already noted and requested by the Set Decorator.

During filming, Standby Art Directors stay close to the video playback monitor, where they can see what the camera is shooting, and can calculate how this impacts on the on set requirements. The Director or Director of Photography may request changes to the set requiring a quick response from Standby Art Directors, who may even be required to make a prop at the last minute. Standby Art Directors may fulfil two roles on the same film, working as Draughtsmen* or as Assistant Art Directors (on big budget films where their responsibility is greater) during pre-production, and moving to working on set or location close to the start of filming. In these circumstances they have the added advantage of being fully conversant with the sets and how they were constructed.

Typical career routes
Standby Art Directors are expected to learn on the job, which means starting out as Art Department Runners or Assistants and progressing through the roles, e.g., from Junior Draughtsman to Draughtsman and/or Assistant Art Director. Although this progression can take a number of years, it is a crucial process during which they acquire the knowledge and experience that enables them to become competent trouble-shooters. Some Standby Art Directors start their careers in the theatre, where they learn the art of set design and construction as well as how to conceptualise ideas and create a sense of drama through visual spectacle. Graduates who have studied Film and Theatre Design may also gain experience working on short films before progressing to junior roles in feature films.

Essential knowledge and skills
Standby Art Directors should have a good all round knowledge of interior design and architecture as well as a practical understanding of building and construction. Knowledge of technical drawing is extremely useful. A full clean driving license is required.
 

Key Skills include:

• excellent people skills;
  
• ability to work as part of a team;
  
• ability to troubleshoot and respond to unexpected situations;
  
• a calm approach to stressful situations;
  
• an artistic eye;
  
• knowledge of the requirements of the relevant Health and Safety legislation and procedures.

Training and qualifications
A degree in Fine Art, Graphics, Theatre, Architecture or 3D Design provides a good basis for Standby Art Directors. Some individuals may also undertake higher level courses in Film and/or Theatre Production Design. After training, it is equally important to acquire on the job experience of how Art Departments work, whilst refining and improving draughting skills. 

Individual course accreditation in certain subject areas is currently being piloted. As part of Skillset's and the UK Film Council's Film Skills Strategy, A Bigger Future, a network of Screen Academies and a Film Business Academy have been approved as centres of excellence in education and training for film.

Where to go for more information

Skillset is the Sector Skills Council for the Creative Media Industries. The first sources of information for all jobs in the industry are the National Occupational Standards. Browse Skillset's website for links to our network of training partners, information about training and access to the comprehensive Skillset/BFI course database. Finally, Skillset Careers is UK's only specialist media careers advice service; for detailed media careers information and advice, visit www.skillset.org/careers.

Websites
– British Film Designers Guild

– American Cinematographer has regular features on film design and digital production techniques.

Publications
– Ken Adam: The Art of Production Design (Faber and Faber) by Christopher Frayling

– Production Design and Art Direction (Focal Press) by Peter Ettedgui

– By Design: Interviews with Film Production Designers (Greenwood Press) by Vincent LoBrutto

– Film Architecture: From Metropolis to Blade Runner (Prestel Publishing Ltd). Edited by D. Neumann 2001

– Filming the Future (Aurum Press Ltd) by Piers Bizony

– The Invisible Art: The Legends of Movie Matt Painting (Chronicle Books) by M. Cotta Vaz and C. Barron

Download:
Standby Art Director

If your computer has the relevant software, click the document icons or document titles to view the relevant document. Right-click (PC) or hold your mouse-button down (Mac) on the document icon/title, you'll be given the option to save the file to disk. If you don't have the necessary software to view the documents, take the above links to download free reader programs.