Until now, no one has created a class that explains cameras to designers.
You’ll not only learn the technical information that will help you understand the mechanic of cameras and optics, but you’ll learn how they capture your scenery and how they can affect your design decisions.
Image: Warner Bros Studios
As a film designer you must understand how cameras capture and record images, because that’s how the audience sees and experiences your work.
Few if any film design schools include optics as part of the curriculum leaving film designers with a huge disadvantage when working with the cinematographer on a new project. The information in this course will help you create effective and believable sets that help the camera tell the film’s visual story as successfully as possible.
Image: Netflix
With this course, you will be able to discuss the camera requirements for your sets with the cinematographer and visual effects supervisor and not be excluded from important decisions that affect your designs. It will further your knowledge for a successful career in the Art Department as a set designer, art director, or production designer.
What you’ll learn in this course:
Cameras – Film vs. Digital
Lenses – spherical vs. anamorphic, prime vs. zoom
Specialty lenses – lenses and attachments that solve tricky shooting issues
Understanding focal lengths
Understanding depth-of-field
Aperture settings – F-stops vs. T-stops
Dynamic range – over and under exposure comparisons
Lighting – color temperature, typical lighting styles
The Inverse square law of lighting
The basics of optics for in-camera effects such as foreground miniatures and forced perspective sets.
Understanding color grading vs. color correction, and digital intermediates or D.I.’s
Why is resolution important? Understanding the race for more pixel depth.
User Manual – you’ll get a manual with both text and diagrams that explains the concepts of the course for later reference
You will also get access to the weekly Community Lounge where you can get questions answered and meet other members of the film community.
In addition, I’ve included a special section that analyzes a number of the shots from the new German film, “All Quiet On The West Front” (Im Westen Nichts Neues). which won Oscars for both Best Cinematography and Best Art Direction in 2023.
With 3D model recreations of some of the sets and locations, I’ll discuss why certain shots were difficult to get and how they achieved them. I’ll also discuss how physical locations and built sets can sometimes make shooting problematic and how careful pre-planning can avoid frustrating situations during production.
That’s a typical question I get from people when I tell them my job title. People assume many different things, based on what they’ve heard from others, or read in a magazine. And most of the time they have an incorrect idea about my job description.
It’s not their fault, really. Our industry does a lousy job of explaining job titles in the entertainment world. They just leave it up to people outside the business to figure it out for themselves. It doesn’t help that the same jobs sometimes have different titles depending on what part of the U.S. you’re in, much less what part of the world you’re talking about. Many people who now work in the entertainment industry had never heard of the Art Department or knew that film design was a career option until after they had finished college.
I received an email from Bruno Anselmo, a Set Designer in Brazil. He was curious to know how our job descriptions might differ even though we have the same job title. His background is both in theater and film and video so I’m sure he experiences the same confusion with people he meets who aren’t familiar with the film industry. (Bruno, tell me if I’m wrong here.)
The job title ‘Set Designer’ means different things here depending on the end-product. In the professional theater field, the Set Designer is the lead artist for the creation and implementation of the visuals for a stage production. In the film and television industry, this role as head of the visual aesthetics of a project is given the title ‘Production Designer’.
To make matters even more confusing, the title ‘Production Designer’ is a department head title, not an actual job description. All Production Designers in the professional film and television entertainment industry are Art Directors. The Production Designer title is given to the head of the Art Department, and this title must be approved by the Art Directors Guild for shows which are produced under the union contract.
Let’s look at a typical Art Department:
Some will argue Set Decoration is a separate department as the Set Decorator works in tandem with the Production Designer rather than as a sub-department. In some cases and projects this may be true, the Set Decorator is absolutely a major contributor and an influence on the look of a film. But still, this department is under the Art Department umbrella and the winner of an Academy Award for Art Direction goes to the Set Decorator as well as the Production Designer.
You’ll see that the Set Designer designation is in the table above in the ‘Design’ category. I usually tell people that a Set Designer in the film industry is a close approximation to an architect in an architectural firm. They are in charge of creating the working drawings that are used by the Construction Department to construct the stage sets and scenery that is used at a location.
Traditionally the Set Designer position was a starting point for Art Directors but this is not always the case. Some Art Directors come from set decoration or a scenic artist position.
Here’s a general list of what a set designer in the entertainment industry, i.e. film and television, is responsible for creating:
Surveying locations and creating accurate as-built drawings.
Construction drawings of stage sets; plans & elevations, scale detail drawings, FSD’s (full size details). These may be architectural or mechanical in nature.
Working drawings of any period of architecture as well as fantasy or futuristic/science fiction designs.
Working drawings of organic elements: topographic maps, terrain creation, volcanoes, mine shafts, caves or subterranean features, other planets.
Working drawings of vehicles: automobiles, aircraft, ships or marine craft of any period.
Working drawings for furniture and props.
Working drawings for special effects shots.
Director Plans, stage plans, and location layouts.
Dimensional study models of paper and wood as well as 3D digital models with photorealistic textures and other elements like furniture or vehicles.
Architectural Drawings. Images: HBO, NetflixFuturistic & Science Fiction. Images: Paramount PicturesPeriod & Fantasy subjects. Images: Walt Disney PicturesVehicles & Props. Images: Warner Bros., Touchstone PicturesLocation Builds. Images: Universal PicturesStage & Location Plans Images: HBO, Walt Disney Pictures
As you can see, probably the biggest difference between a set designer and an architect or an interior designer is that over the course of a career you’ll get to design and draw things that no one in either of the other two professions would if their career lasted 300 years. Instead of worrying about building code or structural concerns, your main focus is making sure the final result looks fantastic. The design is the main focus, not an afterthought.
So, what skills do you need as a set designer? Well, one of the big plusses for me and for most people that work in the industry is that you will never stop learning. You won’t be stuck drawing reflected ceiling plans the rest of your life. It will be a constant learning process.
If you want to design vehicles as well as architecture then you can. If you ONLY want to design vehicles, you can. Many people develop a specialty and primarily just do the type of design that they like best. It’s a never-ending smorgasbord of design possibilities. After having done over 80 films, there are still things I’d like to create that I haven’t yet done.
So, what are the primary skills you need? I’d start with this list:
The ability to draft – You have to know how to create proper working drawings and unlike fine art drawing, anyone can learn how to draft. It can be exacting because precision is important. But, as they say, it isn’t brain surgery. You can learn it.
Camera basics – We design scenery, not permanent buildings. We design for a camera. I tell people that basically, we create beautiful reflectors. A film is a record of light particles that have bounced off of people and scenery and passed through a glass lens. Making it look good is the main objective. Understanding lenses and how they work is a big part of successfully designing stage sets.
Architecture & proportion – You’ll never know everything, but knowing the basics of building history is a must. You’ll be drawing details of doors, windows, stairways, and furniture. You’ll specify hardware, mouldings, plaster details and finishes. There is very little that we order from a catalogue. Almost everything is custom made by studio craftspersons.
Set Construction – Understanding how sets are built and knowing correct nomenclature is a key part of being able to draw studio sets. A lot of our drawings are similar to architectural drawings but there are some big differences between them. The layout styles, nomenclature and notation have more in common with theatrical and 1920’s architectural drawings.
Also, you’ll need to understand basic physical special effects, how to create and lay out backings, both painted and photo backings, know how to create scale drawings from photographs and artwork, understand visual effects requirements, and do location surveying.
The list seems overwhelming but remember, you will learn a lot of these things on the job. You just need the basics and a good portfolio to get your foot in the door.
You’ll need to be proficient with computer software. There will probably be one program that you will do most of your work in and that will be a personal preference. Unlike architecture, there is not a standard program that we use, so you may work on a project with many people using a wide variety of programs.
Currently, in the U.S., the most-used software programs for set design are Vectorworks, Sketchup, Rhino, Blender, Modo, Autocad, Moment Of Inspiration, Z-brush, Solidworks, and a few others like Photoshop, V-Ray and Twin Motion for renders.
Don’t try to learn them all. Software diversity is great but it’s better to get really good a just one or two.
There are a lot of choices of film schools in the country, but if that is the route you choose you’ll have to check to be sure that they have a course in film design or a Production Design track. Many schools don’t.
If you are thinking about schools and looking for an alternative to a four year program, we offer specific classes in set design that focus on the basic skills you need to get started.
Our 10-Week Set Design Fundamentals series is available on-line and is self-paced so you can progress on your own schedule. It is now on sale for 40% off until May 30, 2023.
First of all, this is not a paid ad. I’m getting nothing out of doing this post other than making people aware that they may be missing a big opportunity to take advantage of an event where they can learn a lot about the state of current and upcoming technology that is created specifically for the entertainment industry.
Cinegear is an annual expo that takes place in Los Angeles during the summer. This year it’s being held back at its usual spot on the Paramount Studios lot in Hollywood on June 1 – 4. (There was one in New York in March and there will be a slimmed down version in Atlanta in October). And, it’s free. Admission is now waived, you’ll just have to pay for parking in an adjacent structure.
Known mainly as a product expo for manufacturers and purveyors of cameras, lighting instruments and production equipment, the event is a perfect place for designers and art directors to find out about inventions and equipment that will affect their jobs now and in the future.
People who aren’t camera-savvy tend to be intimidated by the immense amount of hardware on display and assume that they have nothing to gain by spending a day looking at cameras and grip equipment.
Yes, it’s geared toward professional camera crews, but they don’t make you take a test at the gate. The vendors are more than happy to answer any and all questions about their merchandise, even ones that you think might be simplistic. There are also hands-on exhibits and master classes available to anyone.
Where else can you go and see (and play with) every available cinema camera that’s on the market? My daughter loves checking out those $60,000 cameras that she can’t yet afford to rent.
At the Panavision booth they’ll even put any vintage anamorphic lens you want on one of their cameras so you can see them in action.
And it’s not just cameras that are on display. Vendors of new LED lighting instruments, LED wall systems, backings, pre-visualization systems, etc., are eager to show anyone involved in the business what the possibilities are. LED lighting instruments keep getting better, brighter, and smarter. The new Arri LED panels, for instance, are set up to mimic any color temperature or lighting effect.
You can see a map of the vendor sites on their webpage, and you can create your own map to track booths you want to visit ahead of time if a fear of being overwhelmed by the size of the venue (nearly 200 vendors) is a concern. Vendor booths fill 5 sound stages and the entire backlot area.
Master classes are usually held on the last day and attendance quotas fill up quickly, so be sure and make a reservation in advance.
If you do go, save time by registering beforehand and skip the long line at the gate:
This years’s show should be well-attended. It’s been 4 years since the last show at Paramount. Last year there was a much scaled-down version at the Los Angeles Convention Center which was disappointing to say the least.
My preference for books is always a hard copy, but sometimes having easy access to the information is more important than having a physical book, especially when copies of the actual book are impossible to find or really expensive.
That’s the case with this book, Plastering Plain and Decorative. First published in 1890, the book has become known as “The Plasterer’s Bible”. Now out of print, except for the occasional third-party reprint, it went through four editions. It contains hundreds of black & white photographs and drawings which aren’t always of a very good quality with most of the modern reprints, usually because they are printed in a smaller size than the original quarto size and because the scan quality of the original images is bad.
On top of not being of a very good quality, they are also nearly as expensive as an original copy, which would be a better bet as those are stitched like a traditional book and not perfect-bound (glued edges) like all soft cover books are. I have seen so-so quality reprints go from anywhere from $100 to $300.
Fortunately there is an inexpensive (free) copy of the book online at the Internet Archive. This isn’t just a book of nice drawings and photos, this is a book written for crafts people. Besides the layout diagrams, there are drawings of the actual tools used to create complicated plaster elements and a huge list of plaster types as well as the ingredients and mixtures used to create them in various time periods, such as instructions on what type of animal hair to use in the staff pieces for strength. It is an early edition of the book and contains over 700 pages which is more than is included in later editions.
The book covers not just typical plasterwork but, sculpting, mold making, terra cotta work, scagliola, sgraffito, and composite decorations. Besides Western European techniques it examines designs and techniques from Japan, China, India, Persia and the Middle East.
There is also a section on concrete work such as staircases, sidewalks, road, roofs, fountains, and other decorative elements.
You can find the digital book here at The Internet Archive. There are a number of different digital files available for download with varying file sizes depending on the quality of the images you want to have available.
Last week I posted the Imperial version of a new tool I’ve updated recently. I promised I’d post the Metric version of the tool this week so here it is. You’ll find the Imperial version here if you missed the post.
If you stack them one over the other, you get a quick scale conversion calculator across 12 Imperial and metric scales. No batteries required.
This is one of the design books on my Top Ten list. Authors Jim Tolpin and George R. Walker examine the role of proportion in design from ancient times to the present. While the emphasis is on furniture design, they show how much of the world is governed by simple proportions, noting how ratios such as 1:2; 3:5 and 4:5 were ubiquitous in the designs of pre-industrial artisans.
This is not a recipe book but a guide to a new way of looking at design through the eyes of centuries of artists.
Published by Lost Arts Press, this is just one of a whole line of fantastic books on design and hand woodworking that they offer.
You’ll receive a link after you purchase the course to download the PDF.
This new first edition is the only one of it’s kind; a film glossary created for film designers. Whether you are a novice or an industry professional, you’ll find useful information in this book that doesn’t exist in any other film glossary,. As well as nearly 1500 up-to-date terms on production, cameras, crew positions, post-production, legal aspects, stage equipment, and industry slang, there are hundreds of entries on architecture, hardware, set construction, and more.
The 2023 Ebook is due to be available in mid-December. Series purchasers will be the first to get the book when in becomes available and will receive a download link.
The 10-Week Course Description
This is the only time the series will be offered at this price and it will return to the normal price when the series begins on October 31.
This self-paced online series covers the fundamental skills that a Set Designer in the feature film and television industry here in Los Angeles are expected to have.
This is similar in difficulty to a one-semester graduate-level program at a university, but much of the material presented here is not covered at most colleges and is normally only available at the professional level. I’ve been developing this series for several years, basing it on classes I teach at the Art Directors Guild in Los Angeles.
Here is an outline of the material that will be covered in the series:
Week 1 – The Basics
Standard drafting conventions and symbols for set construction drawings. Set construction: typical flat construction techniques and variations.
Week 2 – Cameras & Optics
Understanding basic camera and lens terms: aspect ratios, focal length, depth of field, sensor sizes, exposure, stage lighting, using camera angle templates.
Scaling from photographs and artwork: calculating dimensions, understanding picture perspective and allowing for lens distortion.
Week 3 – Analyzing the Script / Reference Materials
How to break down a script for set design; using storyboards; techniques for estimating drawing time schedules.
References: using online, printed, and survey photo references; building a reference library on a budget.
Week 4 – Working Drawings
Step-by-step directions on creating proper construction drawings: plans and elevations; details, full-size details, and digital cut files; reflected ceilings and furniture plans; stage spotting plans, and director’s plans.
Week 5 – Door & Window Details
Diagrams and explanations of door and window construction and various adaptations for stage sets; creating accurate-looking period reconstructions; understanding, using, and sourcing hardware.
Week 6 – Stairways
The fundamentals of stair design: types of stairs, stair construction, how the choice of stair type affects design, and designing elliptical stairs.
Week 7 – Mouldings & Staff Elements
Understanding and using the Classical Orders of architecture; the proportions of mouldings based on style type; using a moulding catalog and creating built-up moulds.
Using plaster staff and compo elements in a set; designing with brick skins and textured surfaces.
Week 8 – Backings, Special Effects, & Visual Effects
Using painted and photo backings: The advantages and drawbacks of various types; creating custom backings; how to calculate correct placement distance from the set.
Special effects considerations: replicating fire, water, and wind effects; understanding legal requirements for special effects work on a sound stage; dealing with practical fireplaces.
Visual effects work: shooting with green or blue screens; using LED walls or volumes.
Week 9 – Backlots & Location Surveys
Shooting on studio backlots; shooting on location; proper surveying techniques; assembling a personal survey tool kit.
Week 10 – Physical Models
The advantages of physical study models; determining model scales; various model types and construction techniques.
Class Materials & Videos
Each week there will be tools, charts, and reference material to download as well as video instruction to help you do the exercises and create your portfolio drawings.
Along with the classes, you’ll have access to a private chat area that is only available to students of the series and alumnae who have taken courses previously. Here you’ll be able to meet other designers, discuss class material, get advice on your career, and exchange ideas and experiences from both the classes and real-world entertainment jobs.
Prerequisites:
– You must know how to draft. Drafting ability is essential to effectively completing the course and ending up with a set of professional quality working drawings. I’ll be offering a course on drafting later in 2022 to fulfill this prerequisite.
– Be familiar with CAD software – You are free to use any CAD software you are familiar with. Using software that you are still learning may make the lessons more challenging than you can handle. There is no standard drawing software in the entertainment industry as far as the Art Department is concerned. There are preferences among certain designers but one aspect of the job is a need to create files that can be used by many different other programs. 3D modeling won’t be required for any of the class projects but feel free to work that way if that is part of your usual design process.
There is a 14-day money-back guarantee from the time you begin the series if you change your mind. If you’re unsure about whether the series is right for you, you can schedule a free 15-minute discovery call to talk with me and I’ll be happy to answer any questions you might have.
A full-size triangular architects scale isn’t the handiest thing to carry around with you.
I have those miniature versions, the cute ones that are about 6″ long and require a magnifying glass to be sure you’re reading them correctly.
It hurts my eyes to try to read the numbers on these things
After I nearly poked a hole in my chest from having one of these in my pocket, I looked for an alternative that might lessen the chances of a trip to the emergency room after falling on one of these.
I found an 18th century drafting tool that was a combination scale and liked the concept. So, I updated and revised it to what you see here. It’s a combination of the six standard scales we use for set design and throws in a protractor as well.
A good thing about it is that it’s not engraved on brass or ivory and it fits in a binder or a book, or you can fold it up and put it in your pocket. But, it doesn’t work very well with a lot of folds in it. Best to leave it as flat as possible. Just be sure you print it out at 100%. Check it with the inch scale at the bottom against a known accurate ruler.
It’s better if you mound it to some thin card stock or manila folder material. Then cut out the little windows between the scales and you’re good to go. Heck, you can even have it printed on a transparency if you want.
Cut out the slots between the scales for use on drawings
Lay a ruler or straight edge vertically on the scales and you have a direct-reading scale conversion calculator. Next week I’ll be posting the Metric version of this tool.
A straight edge aligned vertically will allow you to do quick scale conversions.
On April 8 and 9, I’ll be teaching two new classes at the Art Director’s Guild in Los Angeles. The classes are free to ADG members.
April 8 – Back Projection and Scaling From Photographs
Prerequisite: none. Class size limit: 12
Tools needed: notebook, calculator (does not have to calculate feet or inches, one on a phone will work fine)
The technique of ‘back projection’ was developed as a way of extracting necessary information from photographs for use with rear projection systems to build set pieces that would match the scale and perspective of the projected ‘plates’.
You’ll learn the basics of this system to find sizes, camera heights, focal lengths of lenses and more.  You’ll learn additional methods of basic photographic scaling that you can use to work from printed images, books or even your computer screen. You’ll leave with a set of tools, including digital calipers, and the knowledge to be able to use this practical and valuable skill.
 April 9 – Architectural Moulding
Prerequisite: none. Class size limit: 20
Tools needed: notebook
Curb your fear of moulding! This class will examine the history and development of architectural moulding in the western architectural tradition and trace their roots from ancient cultures. You’ll learn the 8 basic shapes that make up most profiles, understand the transition from Greek to Roman moulding, learn the proper names of mouldings from their beginnings, and learn the correct use of moulding profiles by architectural period and style.
You’ll learn what’s wrong with your moulding catalogue and also get a list of moulding catalogue profiles by date so you can classify them by their period.
And,  I’ll be bringing in many of my 18th and 19th century British, American and French moulding planes and you’ll see a demonstration of ‘sticking’, or creating traditional wood mouldings by hand.
I love well-made tools, especially dividers. So when I got an email from Robert Lèvy in Switzerland describing a new set of dividers based on the Golden Proportion, I was very interested. He was kind enough to send me one of his tools on loan to examine and try out. The dividers are everything I would expect in a tool; beautiful, easy to use and very well made.
The packaging is as well thought out as the tool itself. It comes in a black box stamped with the logo and name in gold. Inside, in black tissue, is a very nice calfskin case which is also stamped with the logo. The leather (real) and the stitching are very good. Unlike a lot of faux leather cases you see today, this one, of real leather, is well constructed both inside and out. The top flap is held closed by two magnets, both stitched into the leather, and the inside of the case is lined with a soft microfiber fabric. On the back of the case is a leather loop for attaching it to a belt.
The tool itself is excellent in every way. Laser cut from 316L stainless steel, it holds up to oil from hands. The lettering is laser engraved and the arms of the dividers are connected with permanent flush rivets. Rivets are usually the weak point of dividers as they are either set too tight or they quickly loosen up after some use. These rivets are not only well engineered but they are set at a perfect tension. The arms move easily but stay where you want them so gravity won’t pull them to a wider setting during use.
One of the great thing about these dividers compared to others based on the Golden Proportion is that this tool’s  8 arms give you multiple proportions at once, not just a single one making it possible to lay out the primary, secondary and tertiary lines for a drawing. Drawing a volute is actually easy, and explaining a relationship between a cubit and a handbreadth and showing the golden proportion relationship of body parts is simple with these dividers.
Photo: GDA
Photo: GDA
Rather than go into a long-winded article on Golden Proportion, go to Robert’s website. You’ll learn everything you need plus get more information on his device, which by the way took the Silver Medal at the Geneva International Exhibition of Inventions this year.
The dividers are now at an introductory price of 295 CHF, or about $298 US. This is a very good price for a tool of this quality. Buy one while you can. Very well made specialty tools like this won’t be available forever.
Here is a video on using the tool to lay out regulating lines.
Some of my collection of traditional studio lens angle templates. The ones on the left are for long lenses while the ones on the right are wide-angle lens. The third from the left is a zoom lens template.
Pre-vis Before Previs
Before the term “Pre-visualization” ever existed, there was the lens angle template. These were a staple of any Hollywood studio Art Department and were used when laying out a set to determine camera angles, backing sizes needed, rear projection screens and planning back-projected set illustrations for the producer and director to approve sets long before there were 3D computer programs.
There was a time when a basic knowledge of optics and lenses was considered mandatory and was necessary not only because the Art Director would design the sets to be shot in a specific way but this information was needed when designing effects shots such as forced perspective sets, glass shots and the like.
A template for a 100mm to 300mm zoom lens in the Todd AO format. Todd AO was an early 70mm film format with an aspect ratio of 2.20.
The templates were for a single lens, usually a prime lens, and were made using 1/8″ or 1/4″ thick plexiglas. The projection lines were scratched or engraved into the acrylic, sometimes by a Set Designer but other times they were made by the studio sign shop. Some of my examples are obviously done with a hand held engraving tool while others have been done with a lettering template and have inked letters.
Each template had two sets of projection lines, one set for the horizontal plane (for use with a plan view) and another for the vertical plane, for use with scale room elevations. Most are made for use with 1/4″ scale drawings but they are accurate for any orthographic drawing because the angle is unaffected by the scale. Most will have markings to note the distances from the lens entrance pupil in 1/4″ scale.
The “Quick View”
By the 1990’s, there were so many different formats and lens combinations most of us in the Art Department in Hollywood carried thick manila envelopes of acetates of the various focal lengths, but I always seemed to be missing one that I needed and I found some were inaccurate from being cloned so many times. In 1998 I designed a device that had all the available formats and prime lenses  so you could just dial up the one you needed. I redesigned it in 2008 to include the digital formats but sold out of them a year ago.
I stopped having them made since they were expensive but hated to see them become obsolete since they are still so useful. For a director, they are the perfect way to see if a shot is possible at a location or see the limitations of a particular lens on a set when you can’t rely on wild walls.
Making A Quick View
Yours won’t be on Lexan like the originals were but will be sturdy enough plus cheap enough to replace if it’s damaged or lost. Download the files below and take them to your nearest copy center and have both the dial and the nomen printed on clear acetate. They don’t have to be printed at exactly 100% but they should be at the same scale to each other. Then you just line up the center marks and use a compass point or push pin to pierce the centers, creating a pivot point in place of the brass rivet as in the photo above.
The diagrams from the original instruction manual will explain how to use them. You’ll note that I’ve added a feature that wasn’t on the originals, a protractor which will tell you the angle of a selected lens.
The Designer's Assistant 