Kave Quinn and Chris Lowe Course Outline
KAVE QUINN- Day 1
- My Career Path and Experience
- How I started in the Film Business and my path to be becoming a
- Production Designer
- (Different to Sophie Becher and Alice Normington)
- I studied Fashion Design at St Martins School of Art. I started working
- My progression through costume and then into the art department.
- Gaining experience within the Art Department and all the different job positions I had.
- Short films, how this was enormously beneficial in my path towards becoming a Production Designer
- How all of the above this helped me become a more rounded Production Designer.
- If I were to repeat my experience now, what would be different?
- Training I had
- What Does a Production Designer Do?
- What key capabilities are important?
- Why is Good Production Design Important?
- Examples of good design and not so good and how it can impact a project.
- Inspiration and how you find it?
- Practicalities of Being a Production Designer
- Working with the Director
- Working with Producer/Line Producer
- Working with the D.O.P.
- Working with Post i.e. C.G.I.
- Working with Special Effects
- Working with your Set Decorator
- Working with the Location Manager
- Working with your Art Department
- How to crew an Art Department
- Working/breaking down a script
- Working on tight budgets/bigger budgets and budgeting
- How to break down
CHRIS LOWE- Day 2
● Brief History of my career path
● Attributes learned at University
● Things they might not teach you…
● What happens when you leave Uni and how to Maximise your chances of employment
● A great portfolio
● What is a production designer? What is a supervising art director? What is an art director?
● Starting a Project
● Reading a Script
● Breaking down a Script
● Approaching a Schedule
● Reading a one line
● Breaking a script into a Budget Format
● Doing a construction schedule
● Doing a labour flow
● Stage Allocations
● Stage plans and Schematics
● Construction Drawings
● What CM’s don’t like to see.
● Location Builds
● Pencil Drawings VS 2D or 3D Digital
● Scouting, Recces and the politics of managing expectations
● Communication across departments
● Approaching a shoot and managing it
● Flexibility and preparation for curve balls
● Art direction – is it fun and why I do it?
● CG, Virtual Environments, and the Future
● Conclusions and Questions