Tag Archives: Film design

My Night At The Haunted Mansion

Posted on by

Location surveys can be a unique experience. You never know what you’re going to have to deal with when you survey an unfamiliar location. One of the perks of being in the Art Department of a film or television series is that you get to see places that aren’t normally open to the public.

It could be a historic building, or a ship, or a military aircraft, or, it could be a place you’re familiar with but never really thought to look at close-up.

The Disneyland Haunted Mansion at 1:00 AM

A lot of times there are parameters that you have to work around to get all the information that you need. Usually these are limitations having to do with access to the location, either physical constraints or time limitations. You’ll do a lot of location surveys during your career. Often they will be a simple survey to determine a placement of a set piece or a simple drawing for a director’s plan for shot planning.

A deserted New Orleans square at midnight at Disneyland.

Other times you’ll have to do a detailed survey that involves recording a lot of measurements and taking photographic reference for either matching a location at another place or adding onto the existing structures.

I got a call in June of 2022 to work on the recent Disney film The Haunted Mansion, and was told that my first assignment was to survey the exterior of the Haunted Mansion ride at the Disneyland park in Anaheim. We would be building a replica of it on a studio backlot in Georgia.

I asked if they had a set of the original plans for reference and was told “no”. For reasons I was never able to understand, it was important that the film set look very close to the original mansion at the amusement park, but, we weren’t allowed to have a copy of the original drawings from 1962. If you can figure out the logic of that decision, please let me know.

I mentally put together a list in my head of the equipment that we’d need to do an accurate survey of the building but that was immediately discarded when I was told about the limitations of the scale of the survey. It would have to be done at night, after the park was closed to the public. I would have a park employee to help who would also provide a ladder. One of the construction foremen on the film would meet me there to help with the measuring.

Despite not having any drawings to use as a starting point, the survey was only authorized for one night, between the hours of 11pm and 3am.

This wasn’t the first time I’d had to do a survey in a ridiculously small amount of time, but it would be the first exterior survey that I’d done at night. Taking theodolite readings to determine heights in the dark would be fun.

In the past, location surveys were usually scheduled several days to a week in advance and the persons involved were usually asked how much time they needed for the scout. This is rare now and it pays to have a fully-equipped bag of survey tools ready to go. You may have to survey a forest area for one scene and a complicated building interior for the next, so you need to have a wide range of tools in your kit.

This list ranges from simple measuring tapes to laser measuring tools, levels, transits and plumb bobs, simple compasses to digital theodolites and clinometers. a compact tripod is a plus. Profile gauges or moulding combs are a must-have.

Some of the items that are part of my survey tool kit.

The tools pictured above are just a sampling. My survey bag weighs in at over 20 pounds. You’ll notice some duplicated tools. This is intentional. When you have traveled a long distance to do a survey, sometimes across country, a tool that’s not working or dead batteries isn’t an acceptable excuse. Sometimes you have to improvise when you are confronted with a situation where the tools you usually use won’t fit the bill. I once had to find a rural hardware store open where I could buy the supplies to make a water level when the location that I was surveying made using a laser level impossible.

Pre-scout research is usually key to accomplishing a successful survey and I immediately looked for any reference that I could find online. I was sure that someone had to have uploaded some of the original drawings from the 1962 construction. It took some digging but I found the 1/8th inch scale elevations. Now I wouldn’t have to try to get overall heights but I still had a lot of details to record.

When I’m confronted with a tight time schedule I have a checklist:

1- Overall photographs with a collapsable surveyors rod in the shot so I can scale from the images later.

2- Detail photos using a small story stick so that those can also be used for photo-scaling. The photos are important as I know I will often run out of time and the photos are a visual record that can be referred to if I haven’t been able to get a hard measurement with a laser or tape.

3- Overall measurements; ceiling and soffit heights, other measurements that would be impossible to scale from photographs.

4- Details. Here I am as thorough with measurements as I can be as the time allows.

A photo of the front door of the haunted mansion with a surveyors rod in the picture for scale reference.
A few of the hundreds of scaled photos that I took at the mansion to recreate the details for the backlot reproduction of the mansion in Georgia.

We covered the ground floor of the facade while we waited for a technician to get us to the balcony area. This is accessed only through a small door to the south side where you are immediately confronted with an 14′ tall, narrow ships ladder. We struggled to climb that with the equipment and set to work getting the details there.

The balcony of the Disneyland Haunted Mansion at 1:30 am. The photo was taken with a Sony A7S camera whose lowlight sensor makes the image seem like it was taken in daylight. In reality it was very dark and the ceiling details were not visible to our eyes.

In case you wondered, everything on the balcony is bolted, nailed, and glued down. No need to worry about wind carrying anything off.

As we started to record the second story area at about 1:30 am, all the lights around the mansion went out. Luckily we had headlamps in our kits and I had a Sony A7S camera whose incredible sensor makes photos look like they were taken in daylight.

We waited for a tech to take us to the roof to measure the cupola. He never arrived. Maybe the thought of crawling around on the roof in pitch darkness was the scariest thing about the house he could imagine.

3:00 am came sooner than I wanted it to, but I felt pretty certain that we had gotten the most important information.

Was it a spooky experience? The only thing I was afraid of was that the next day I would realize I’d missed a critical dimension.

Next post I’ll talk about how we integrated all that data into the backlot build. Hint- sometimes proportion is not your friend.

What Does A Set Designer Do?

Posted on by
Drawing by William Ladd Skinner

“So, what is it exactly that you do?”

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, Netflix
Futuristic & Science Fiction. Images: Paramount Pictures
Period & Fantasy subjects. Images: Walt Disney Pictures
Vehicles & Props. Images: Warner Bros., Touchstone Pictures
Location Builds. Images: Universal Pictures
Stage & 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.

You can find out more information here.

New 10-Week Set Design Fundamentals Course – 50% Off

Posted on by

One-Time Pre-Sale Offer

Wrand Productions announces it’s 10-Week Set Design Fundamentals Course at a Pre-Sale price of 50% off the regular price. 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.

Sign up for the course and learn more here.