Hi everyone, I was asked to post in here as I maybe able to help demystify the importance of art dept.
I'm about to direct my first film here in NZ, but I come from an art dept background and am happy to give some advice. My first art dept gig was on LOTR doing on set props and costume breakdown, and the latest big title that I've worked on was Avatar 2 (but I'm still under NDA for that so I cant say what I did).
I mostly work in props, paint and miniatures, but for indie films i get picked up for all manner of things from production design to set dec/set construction. I studied as a 3d artist and photographer, but found i enjoyed making things practically more up my ally. A recent jump in technology with aduino and 3d printing has seen practical fx become more and more a viable again. I also work in publishing and have managed over 200 people working on one project a number of times.
As I walk into this new adventure as a director, I feel having an art dept background really gives me good tools understanding what is achievable (at any budget) and a highly tuned BS detector when dealing with this dept practically and digitally.
I'm pretty busy currently, but i will do my best to answer any questions i have experience with (please be patient). Id love to work with you too! But currently booked for the next year or so.
Cheers!
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Dan MaxXx paint shop is diabolical too, last ones to get the props, often with very little time to paint them!
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This is incredible experience James. I'm curious in your experience, what would the right balance be between props and VFX? I imagine most of our indie filmmakers don't have enormous VFX budgets, and I'm curious how realistic cool effects can be done with props or miniatures.
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Amanda Toney i had a meeting today with an indie director trying to find that balance. Miniatures have sort of come full circle again. They are pretty cheap to turn around these days and have a bit of a benefit to being able to have shot changed on the fly (no re rendering or if the production isnt working from story boards) but can be a hassle if the dop hasn't had to match move them before.
Generally these days i try to pitch miniatures with a "set extension" as you can really get some phenomenal results with a compositor that knows what they are doing. Either cg or miniatures, a compositor
As for sfx, you can get some amazing effects practically (explosions can look great but i dont think fire is as good/scales well). Weve been fed a lot of cgi in recent years, but when you look at movies like star wars or fifth element, you can see what they were like when people really planned them out.
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James Bennett - love your note about Star Wars and that is so true. The execution is key, but only works if it truly is mapped out and you need a really creative director and art department to get you there. I'm shooting a thriller/horror film either at the end of this year or early next and after reading the latest script polish, I know we're going to have to use imagination for some of the scenes, so it's helpful to hear your thoughts on miniatures vs. sfx. When do you direct your film? Congrats on that, btw. Super exciting.
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Amanda Toney I'm happy if you need to bounce some ideas around, you'd be surprised what you can achieve!
I'm hoping to shoot about may next year! Well not counting camera/technology tests.
Thomas Allison thats a doozy!
I remember those days!
Mostly i look for industry gigs that pay and have a job that gives me the luxury of taking off large chunks of time, its kinda the way here with the industry so small, as there maybe only 3-4 projects supporting large parts of the industry and at times nothing being filmed. But since covid things have gotten busier and im expecting more large productions with 2 large new studios being built currently.
Hmm, i guess to answer your question, i dont really trade off exposure, unless it was something massive (in which case they are probably paying), but i like helping out within my network but is project and time specific. And fine with turning stuff down.
Thomas Allison thats rough bro.
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Just my two cents - if you are good enough that they want to work with you, you are good enough to charge for your time. Start small on the dollars if need be, but once you have some experience, if the project is worth doing and the connections worth having, they should be paying something. Even if it’s $100 a day or at minimum, fuel money and lunch etc, but that better be something you’re getting something out of yourself, like a step up in your role and not what you’ve done a hundred times.
Also, helping friends is different obviously. But ‘shoot a commercial for my brand for your exposure’ is only worth it (maybe) if it’s Doritos or Coca-Cola, not some start up fencing contractor business from the middle of nowhere.
Again just my two cents but it’s worked well for me. You’ll find that those ‘passion jobs’ work you harder than any studio film does too.
Ant
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Wow James this is a very inspirational post! I'm working on becoming an Art Director of sorts and I've worked with Audino and am in the process of setting up my 3-D printer. Getting the momentum going is funn! :-)
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Thomas Allison Apologies - misread and thought you were talking present tense. Yeah, I'm 100% with you. Same crap happens everywhere it seems. I guess it's more of a sign of that particular producers 'wannabe' status than anything else. :/