Art Director - Film & TV
Art Directors work on feature films, commercials and some types of television productions. On feature films they act as project managers for Art Departments. They facilitate the Production Designer's creative vision for all the sets and locations that eventually give productions their unique visual identity. In large Art Departments on television productions Art Directors are also responsible for the Art Department budget and schedule of work, and help the Production Designer to maximise the money allocated to the department.
Art Directors are usually appointed by the Production Designer, and are responsible for the Assistant Art Director, the Draughtsmen*, the Art Department Assistant(s), Graphic Designers, Storyboard Artists, Model-makers and all Construction personnel. However, on some TV dramas the Art Department may consist of only the Production Designer, Art Director, and Production Buyer, while on smaller television productions the roles of Production Designer and Art Director are often combined. As Art Directors must find practical solutions to creative problems while simultaneously monitoring the budget, this is highly skilled work. The hours are long and the job can involve long periods working away from home. Art Directors usually work on a freelance basis.
What is the job?
On big budget film or television productions, Art Directors may start work up to 4 to 5 months before shooting begins (on low budget productions 4 weeks may be sufficient). When the Final Schedule is delivered (detailing the precise shooting order of the scenes), Art Directors begin the work of overseeing the preparation of the first sets required. Art Directors analyse the script to identify all props or special items that may require longer lead times. Simultaneously, plans of sets and locations are drawn up by one or more draughtsmen* for the use of the Construction Managers and their teams. Throughout this extremely busy, pressured time for every member of the Art Department, Art Directors must also tightly monitor and control the budget.
On big productions, weekly meetings with the Accountant are key to the design process. A major part of Art Directors' work is troubleshooting - they must find cost effective creative solutions which also provide practical answers to construction and decorating problems. During pre-production, they also work closely with the relevant departments about any required visual effects (such as explosions or car crash sequences), or special computer generated effects. They are also involved in the use of any vehicles (from cars to horse-drawn carriages) and animals chosen by the Director for dressing or action, and their on set requirements, including kenneling in studios. As the shooting date approaches, Art Directors liaise closely with the Location Manager to negotiate about when locations can be prepared and dressed.
Throughout production processes, Art Directors continually oversee the construction, dressing and striking (dismantling) of all sets. On smaller productions, particularly in television, Art Directors also monitor every scene as it is shot. After the production wraps (shooting is completed), in collaboration with Location Managers, Art Directors must ensure that any remaining sets are struck and locations cleared and that the Art Department budget is balanced.
As television dramas are sometimes shot in disused buildings, Art Directors must use and adapt the available raw materials where possible. They also find and source other suitable materials to adapt the locations to meet the Designers' creative brief. Because they must often work to tight budgets, this may involve creative compromises. They must also work strictly to the relevant Health and Safety legislation and procedures, e.g. when working with hazardous materials and conditions in old buildings.
Where more permanent sets are required for television productions the designs and construction must be more robust and durable, e.g. as studio backgrounds for news, current affairs or lifestyle programmes, where the sets may be used for a number of years, or on serial dramas such as the back-lot builds for the streets and buildings of a fictional town in a soap opera. In these circumstances, Art Directors may have to negotiate with planning authorities and structural engineers. Art Directors are also responsible for the maintenance and continuity of such sets, and must monitor scripts for any developmental changes or re-builds in fixed sets.
Typical career routes
Art Directors must learn their skills on the job, which involves starting out as an Art Department Assistant and progressing through the grades, e.g. to Junior Draughtsman, then to Draughtsman 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.
Art Directors may also have worked in theatre, where they learn how to conceptualise ideas and create a sense of drama through visual spectacle, as well as the art of set design and construction. However, these techniques vary considerably between theatre and design for screen. Students who have studied film, television and theatre design may also gain experience working on low budget productions before progressing to junior roles on television programmes or feature films.
Essential knowledge and skills
Art Directors should have a good all round knowledge of interior design and architecture and the history of both, as well as a practical understanding of building and construction. They also need to understand the work of other departments, such as camera, lighting, sound, props, and to know how their set designs affect others working in studios or on location. When working in other countries, Art Directors must be aware of and sensitive towards, different working practices and cultures. Good knowledge of computer budgeting software, e.g. Excel and CAD is useful. A full clean driving license is also required.
Key Skills include:
- free-hand drawing, perspective and technical drawing skills;
- a good eye for decoration and detail;
- a good sense of time and place;
- ability to conceptualise ideas;
- ability to think visually;
- methodical approach to work;
- ability to lead a team;
- ability to see the broader picture and to co-ordinate effectively;
- diplomacy and sensitivity when working with artists and crew;
- willingness to work long and irregular hours;
- knowledge of the requirements of the relevant Health and Safety legislation and procedures, particularly in relation to working with potentially hazardous working conditions or materials.
Training and qualifications
Art Directors are likely to be graduates of Art, Architecture, Theatre, Interior or 3D Design courses. Some individuals may also undertake higher level courses in Film and/or Theatre Production Design. After training, it is very important to acquire on-the-job experience of how Art Departments work, studio practice, working on locations, etc.
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 Audio Visual 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; http://www.filmdesigners.co.uk/
- - BECTU, the trade union represents production personnel;http://www.bectu.org.uk/
- - American Cinematographer has regular features on film design and digital production techniques; http://www.theasc.com/
Publications
- - Ken Adam: The Art of Production Design - C. Frayling - ISBN - 0571220576
- - Production Design and Art Direction - P. Ettedgui - ISBN - 2880463645
- - By Design: Interviews with Film Production Designers - V. LoBrutto - ISBN - 0275940314
- - Film Architecture: From Metropolis to Blade Runner - D. Neumann - ISBN - 3791316052
- - Filming the Future - Piers Bizony - ISBN -1854103652
- - Broadcast, the weekly newspaper for the UK TV and Radio industry. http://www.broadcastnow.co.uk/
- - Televisual, the business magazine for the broadcast and production industry http://www.televisual.com/
* These terms are used generically and refer to both men and women practitioners
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