Art Director Job Description

© Copyright 1995 by Greg Papalia

 Do not duplicate, publish or distribute with out express written consent.

THE ART DIRECTOR

 JOB DESCRIPTI0N: The Art Director’s primary function and responsibility is to support and follow through on the visual concepts for the project as specified by the Production Designer and Director. That support relies on both creative and managerial skills. In the hierarchy of production, the Art Director is second in command after the Production Designer. He/She is responsible, either completely or in part, for the efforts of many departments within a film. Commonly those departments include: Art, Construction, Set Dressing, Props, Locations and Special Effects. The Art Director’s efforts and responsibilities may also include/affect other departments in varying degrees depending on the type and complexities of the production.

The following is a list of necessary experience a person must possess in order to effectively assume the position of Art Director on both Television and Feature Film productions. 

1. Experience:

An Art Director should possess 4 to 5 years experience in film or television set design (not necessarily as a Set Designer) and 2 to 3 years experience as an Assistant Art Director. It is expected that an Art Director will bring to the categories listed below, at least 6 years of familiarity.

2. Script Breakdown:

The Art Director should be able to break down the script noting individual sets, locations, interiors, exteriors and expected backings. Information relating to set dressing, props, practical effects and visual effects should also be noted. He/She should then be capable of disseminating that information both to Production and to all related departments.

3. Scheduling:

An Art Director must possess the ability to lay out a schedule estimating time involved in drawing, construction, paint and set dressing for each set/location. The Art Director should then have the experience and ability to implement that schedule, disseminating the information to all related departments.

4. Budget:

An Art Director must have experience with setting up a construction budget. While the actual estimating of a set is the Construction Coordinator’s responsibility, the Art Director should have enough experience to oversee the initial structure of the budget. In doing so He/She is responsible for making sure that all sets and contingencies are accounted for. An understanding of time, labor and material costs is an important factor in maintaining and utilizing the budget after it is established. In addition, an understanding of the budget process as it relates to the overall film and the parent company or studio, is equally important.

5. Staff:

The Art Director must be experienced in arranging for and hiring Set Designers, Illustrators, Graphic Artists and Model Makers. Knowledge of current rates, deal structures and union requirements is essential. It is expected that the Art Director will possess a complete understanding of all the Art Department crafts. This knowledge is integral to the selection of the appropriate individuals for the project and to the successful direction of their efforts.

6. Computers:

The Art Director may be called upon to decide how and when computer technology may benefit the design of the film. An understanding of current technology, advantages, disadvantages and applications is an important factor in this process.

7. Executing the Design Concepts:

More often than not the Art Director is responsible for the initial lay-out of the sets based upon the Production Designer’s description or rough drawings. He/She is then responsible for turning the sets into reality. Following is a list of the skills and experience and knowledge required:

• Architecture: The Art Director must posses a complete knowledge of both contemporary and period Architecture. Also a complete knowledge of film set design as well as some experience with various forms of industrial design.

• Blocking: The Art Director must have a basic familiarity with how a Director typically blocks the action in a scene and the related camera positions.  This knowledge is vital during the initial lay-out of the sets.

• Research: The Art Director must be experienced in doing research. He/she must be familiar with both studio and independent research facilities, local book stores, archives and public libraries.

• Construction Techniques: An Art Director must have experience working with a film/television construction crew. An understanding of the skills and position of the Construction Coordinator, Foreman, Carpenters, Painters, Plasterers, Sculptors, Metal Shop, Sign Shop, Prop Shop, Staff Shop, Mechanical Effects, Grips and Greens is essential to guiding the sets to completion. A solid understanding of both the materials and techniques of each craft is important in respect to the decisions the Art Director makes during the course of construction.

• Lighting and Camera: An understanding of set lighting and camera and the requirements of both crafts. Complete proficiency in the lay-out and use of camera angles for 1:33, 1:85 and 2:35 film aspect ratios.

• Hardware: Thorough knowledge of period hardware. Familiarity not only with styles appropriate to a given period, but with how the selected hardware operates and is installed. Experience in dealing with the construction crew’s specific problems related to installation. Knowledge of all sources, both inside and outside the studio facilities.

• Procurement: The Art Director is frequently responsible for locating materials, both common and unusual.  Experience with making recommendations, verifying availability, placing orders, and following through is important.

• Rental Facilities: Experience with locating and using stock units. Familiarity with various studio and independent scene docks and how they operate.

• Set Decoration: The Art Director should have a detailed knowledge of the Decorator’s craft and position. He/she should have experience in working with the Decorator, Lead person and Set Dec Crew. The Art Director frequently makes decisions and has information that has a direct effect upon Set Dressing. Understanding the process and needs of Set Dressing is integral to the planning and completion of the sets.

• Backings: Experience with, and a thorough understanding of the process of creating both photographic and painted backings. The Art Director is the individual responsible for scheduling the production of a backing and is responsible for determining the proper placement on stage. He/She should be familiar with the techniques and needs of the Cinematographer, Set Lighting and Grips. (Both rigging and on set Grips.) The Art Director should understand the advantages and disadvantages of both photographic and painted backings. He/She should also be capable of determining the appropriate application of either type of backing as needed. In addition, the Art Director is responsible for locating and arranging for the rental of existing backings. He/She should be capable of analyzing the conditions for which the rented backing was originally created, and then be able to make recommendations as to feasibility and placement as it relates to the current needs of production.

• Visual Effects: Knowledge, understanding and experience with Visual Effects in all phases of a project from pre-production through principle photography and into post-production. Exposure to a variety of Visual Effects problems and their solutions. Experience with the application of Blue Screen, Foreground Miniatures, Forced Perspective, Rear Screen Projection, Vista Vision, Matte Painting, Gimbaled sets and Computer Generated Effects.

8. Production:

The Art Director should understand the function of virtually every individual participating in the production of a film. During the course of production absolutely anyone can unexpectedly present themselves as either the solution to an Art Direction problem or a hindrance. Knowledge of that person’s position can make the difference between success and failure. In addition, the Art Director should have experience in dealing with the people on the shooting company. He/She should know how to get something done utilizing just the people on the (shooting) company.

9. Locations:

Experience with the process of scouting and securing a location. An understanding of prep requirements and general legal or contractual conditions is important. A general over-all understanding of the Location Manager’s job is necessary for the Art Director to effectively deal with any location situation.

10. Stunts:

The Art Director should be familiar with the needs of the Stunt Coordinator. He/She should also be familiar with the techniques used to create some of the more common stunts. As well as how they relate to the planning and execution of a set. Very often the Art Director is called upon to make structural decisions relating to the set that also effect the safety and success of a given stunt.

11. Wardrobe:

Experience working with the Costume Designer and staff is important. The Art Director frequently has information that relates specifically to Wardrobe concerns. He/She should be familiar with the craft so that information can be properly conveyed.

12. Props:

An Art director should understand the Prop Master’s position both in terms of how it relates to the Art Department and also the role the Prop Master plays when on stage. There exists a certain amount of crossover between the Set Decorator and the Prop Master’s responsibilities. In order for the Art Director to insure that related work is effectively carried out, He/She needs to understand both crafts and how they relate to each other.

13. Special Effects

On many occasions the Art Director is the individual responsible for scheduling and initiating Special Effects work. In order to effectively do this, the Art Director should be experienced in dealing with the Effects Coordinator and crew. A basic understanding of effects work and how and when it ties in with construction is very important A good over view of how Special Effects ties in with Props, Set Dressing, Wardrobe, Stunts and Transportation is essential to effective scheduling and coordination.

14. Transportation:

The Art Director should have experience with and understand the role of the Transportation Department on a film. An equal understanding of both the practical and aesthetic contributions this department makes is important. In many instances the Art Director finds Him/Her self responsible for delivering the “finished product” in respect to picture vehicles. Knowledge of the Transportation Department and how it functions is integral to success.

15. Legal/Product Placement: 

The Art Director should be aware of the Studio legal issues in regard to the use of either company or personal names. He/She should have experience with clearances and know how the process works on each project. In addition, the Art Director should have experience with Product Placement. He/She should be able to foresee product placement opportunities for the sets and know how to act upon them. An awareness of the inherent pitfalls in dealing with product placement is equally important.