Production Design 1
Subject is not scheduled Not scheduled
| Code | Completion | Credits | Range | Language Instruction | Semester |
|---|---|---|---|---|---|
| 203SFMA1 | exam | 10 | 8 hours (45 min) of instruction per week, 178 to 228 hours of self-study | English | winter |
Subject guarantor
Name of lecturer(s)
Contents
The student works on a short script or short story corresponding in its length to a short film. From the given text, he/she then elaborates in detail on the interior scenery, which he/she solves as a construction in the studio, and the most important exterior scenery, which he/she solves as a real location with a small extension. The student analyzes the dramatic text and then creates a dramatic space based on the text. The student is introduced to the artistic resources available to him/her as a set designer and learns to use them to create space for a dramatic situation. The presentation is structured to best communicate with other members of the film crew, from creative to fully technic professionals.
Learning outcomes
- Introduction to the issues of film and television set design, the difference in perception of film set design and theatre set design.
- Solution of a simple space according to the given text, working with space, color, light, and props.
- A complex design of a simple set, which addresses all aspects not only artistic but also technical.
Prerequisites and other requirements
None.
Literature
What an Art Director Does, Ward Preston, Silman-James Press 1994, Los Angeles, USA
The Filmmaker's Guide to Production Design, Vincent LoBrutto, Allworth Press 2002, New York, USA
The Art Direction Handbook For Film, Michael Rizzo, Focal Press 2005, USA
The Art of Illusion, Production design for Film and Television, Terry Ackland-Snow, Wendy Laybourn, The Crowwood Press, Ramsbury, Marlborough 2017, UK
Production Design for Screen, Visual Storytelling in Film and Television, Jane Barnwell,
Bloomsbury Publishing Plc, London 2017, UK
Designing for the Screen, Production Design and Art Direction explained, Georgina Shorter,
The Crowwood Press, Ramsbury, Marlborough 2012, UK
Film Design, compiled by Terence St. John Marner in collaboration with Michael Stringer, The Tantivy Press London, 1974, UK
Understanding Design in Film Production, Barbara Freedmand Doyle, Routledge, Taylor&Francis Group 2019, USA
Production design, visual design for film and television, Peg McClellan, Routledge, Taylor&Francis
Group 2020, USA&UK
Directing the Story, Professional Storytelling and Storyboarding Techniques for Live Action and Animation, Francis Glebas, Focal Press 2009, USA +UK
The Art of Movie Storyboards, Fionnuala Halligan, Ilex, London 2015, UK
The Invisible Art, The Legends of Movie Matte Painting, Mark Cotta Vaz & Craig Barron, Chronicle Books LLC San Francisco 2004, USA
Lighting for Cinematography, David Landau, Bloomsbury Academic 2014, USA
Visual Storytelling, Morgan Sandler, Michael Wiese Productions 2018, USA
Evaluation methods and criteria
The result of the semester's work is a final project. The scope of the submitted thesis is given at the beginning of the semester, the fulfillment of the scope of the project in terms of quantity is an essential item in the evaluation of the student. If the entire assignment is not developed, that is, both the artistic and technical parts of the assignment, the project is evaluated as deficient. The quality of the work produced is the element that influences the grade. Student activity during the semester is an additional component of the evaluation. During the semester, the student works on several sub-assignments, the completion of which is an integral part of the student's evaluation.
Further information
No schedule has been prepared for this course