2. LITERATURE REVIEW

CHAPTER 2

2. LITERATURE REVIEW

2.1. SETS

Sets are ephemeral in nature. They are manufactured, utilized and afterward devastated after the fruition of the film, or a play. Set development varies from ordinary development in a few particular manners. A set is definitely not a lasting structure; it regularly is an a few divider development. Numerous sets are worked with pads, wooden edges secured with extended canvas or board. Not everything in a set is operational. Materials for sets vary in quality and validness. Sets can be an area of a structure that is the main component expected to make the deception of a bigger structure or a detail that suggests a bigger space around it.

Type of sets

 Soundstage(studio sets)  Location sets(interior or exterior)

2.1.1 SOUNDSTAGE - It is soundproof studio used for shooting the films. It gives the advantage of recording the sound while shooting. External environment can have no effect in filming. Artificial light can be used along with the natural light. Shooting under studio conditions gives movie producers ideal power over the creation of their activities. Sets can be built and shooting can occur without climate interferences, swarms, and different interruptions.

2.1.2 LOCATION SETS - sets are built in real location rather than in a studio. Dubbing is done later in the dubbing studio. Natural light comes into the play. Unpredictable environment plays important role. Working on location grants situations of controlled turmoil, especially when taking pictures in outside sites of populated urban areas. In location

the designers encounter the natural climate elements, the wondrous eccentrics of the sun, and a range of obstruction as spectators, clamor contamination, house rules limitations, laws, and science.

2.2. DESIGN ELEMENTS AND PRINCIPLES IN SET DESIGN

2.2.1. DESIGN ELEMENTS IN SET DESIGN

2.2.1.1. Line - Lines encase and consolidate the pieces of a structure by utilizing developing outlines. They might be smooth, unpleasant, ceaseless, broken, thick or flimsy. Lines can be utilized to stress, establishing specific precedents off in a furious piece and attracting the eye to a specific zone. They can be moulded into shapes or edges. The eye may even observe strains in better places—expect structures, parts of a tree, a skyline, or an immovable of train tracks—that offer a characteristic part or outskirts. Lines are regularly used to make viewpoint. Predominant directional are accustomed to acquire a feeling of continuation in a

scene.

2.2.1.2. Colour - Colour in set design is very important. It is as important as in interior of a house, or any building. If we start to bring in similarities of colour function in architecture and set design, there are infinite. Because, ultimately both the fields use colour to evoke certain emotions, through the careful and precise use to create the desirable look.

Colour is used to achieve likelihood in the films. It can be used to establish raw emotions, environment and mood, define characters, can help communicate time and place. Colour can affect us psychologically and even physically, often without us becoming aware.

2.2.1.3. Shape - Shapes are created through enclosing line, or by colour and value changes which define edges. Form and shape can be either organic or geometric. Shapes are created when a line meets itself. Organic shapes are free form while geometric shapes are exact shapes such as circles or squares. Shapes are 2 dimensional, flat and do not have any volume, like graffiti or wallpaper. Other additives of a composition, like blocks of text, are also shapes.

2.2.1.4. Texture - Texture in sets can be defined as smoothness, roughness, graininess, shininess or softness of costume, prop, furniture etc. Texture is significant in making

genuineness; inspiring age, wear, use, and section of time; and mirroring the impacts of natural circumstances on a surface. The outside of an item needs to imitate that it has been

lived-in or has existed in time. The reason for texture in building materials, textures, and furniture is to give assessment and supplement and to include authenticity and a material sense to the structure.

2.2.1.5. Space - It refers to the area that a shape or form occupies. The arrangement of things in a film (structures fading into the distance), which shows the 3d intensity of items. There is positive space and negative space. Positive space is any object on a set and negative space can be the emptiness around that object.

2.2.2. DESIGN PRINCIPLES IN SET DESIGN

2.2.2.1. Harmony – Designers harmonize each and every part of the setting to bring in a sense of unity.

2.2.2.2. Balance - Distribution of parts of the setting in such a way that it develops a sense of stability.

2.2.2.3. Emphasis – There is a focal point in every design or centre of emphasis. Well composed scenes direct the viewers to main focal point and then to the other subordinate parts.

2.2.2.4. Rhythm - Rhythm in set design leads the viewer’s eye easily and smoothly from one part to another.

2.2.2.5. Proportion - It is a principle which involves the relationship between the individual parts of the setting to the setting as whole that makes the total picture.

2.3. DESIGN TEAM

PRODUCTION DESIGNER ART DIRECTOR

SET DESIGNER

SET DECORATOR

COSTUME DESIGNER

PROPERTY MASTER

CONSTRUCTION CORDINATOR

LOCATION MANAGER

SCENIC ARTIST

DRAFTSMAN

Figure 2. 1. Above figure highlighting the hierarchy in the design team.

2.3.1. PRODUCTION DESIGNER - Production designer is the one who supervise the team of art director, set designer, and other artists and craftsman who produces and executes the work generated by the production designers plan. He works in proximity with director of photography to create the look of the film.

2.3.2. ART DIRECTOR – Art director is an executive assistant to a production designer. He supervises the art department on the set. In small budget movies where there is no production designer art director is responsible for the look of the film.

2.3.3. SET DESIGNER - He/she has the responsibility of designing and supervising the construction of sets based upon the guidance of production designer and art director. A set designer can be brought in for one set or all sets of a film.

2.3.4. SET DECORATOR - Set decorator is responsible for the decoration part of the sets keeping in mind that the décor reflects the time, space and intent of the story.

2.3.5. COSTUME DESIGNER - Costume designer creates or selects the costume of the actors according to the look of the film. He/she must have in depth knowledge of the period, place, and fashion of the story that the film is based upon.

2.3.6. PROPERTY MASTER - Property master is responsible for all the tools, props and objects handled and used in the set by the actors. He works in connection with set decorator and set designer.

2.3.7. CONSTRUCTION COORDINATOR - Construction coordinator builds the set

following the working drawings of the art department. He supervises the construction crew.

2.3.8. LOCATION MANAGER - The person accountable for the place in preproduction and all through shooting until the group is finished is the location manager, who is chargeable for the security of the property and equipment.

2.3.9. SCENIC ARTIST - iAn iart idepartment iauthority iwho imakes ievery isingle ipainted ifoundation, iprop iworks iof iart, isignage, iany iillustrative imaterial, imagazine icovers, ibook icoats, iand iwall ipaintings idemonstrated iby ithe istory, ia idecent iscenic iartist ican ipaint iout iproblem iareas, ishadows, ior idifferent ielements ithat imay imeddle ior iconcern ithe icinematographer iduring icreation. iScenic iwork iis ilikewise iimportant ito ifinish iup iand ikeep iup ithe iset iconsistently.

2.3.10. DRAFTSMAN - The draftsman makes specialized drawings that detail an arrangement to fabricate a set. They are exact, uniform specialized drawings made to correct scale. Drafting for a film is equivalent to any design plan.

2.4. CONSTRUCTION PROCESS OF SETS

 Ideas are discussed by production designer and the director.  Concepts, storyboards are prepared.  These ideas are than put on the paper. They serve the purpose of communication.

 Scaled models are built than, so the director and cinematographer can plan the shots.

 Plan, elevation, section and all the necessary drawings are prepared.  The construction coordinator studies the plan. Materials are ordered.  The set is than built in a soundstage or live location.

Design ideas for a film set

Materials are orderderd

Concept drawing Construction coordinator studies the plan

Scale models Detailed working drawing

Figure 2. 2. Construction process of the sets. Set is built or is assembled

2.5. PHYSICAL COMPONENNTS OF SET DESIGN

2.5.1. FLATS - These are framed units. They are utilized to frame dividers, rooms, and other plan structures in set. These are confined and cross propped out of wood. Pads whenever associated together, called a run, can be utilized to make independent components of set.

2.5.2. CYCLORAMAS - A cyclorama also called cyc is a background suspended on bended funnelling, a wooden secure, or shade track from the head of the studio. Tenderly bending around the sides of a set, it runs along at least two studio dividers making the allencompassing fantasy of a scene, sky, cityscape, endlessness, or void. The cyclorama can be made out of materials, for example, canvas, cloth, scrim and velour.

Figure 2. 3. A cyclorama was used for creating the art-directed train, in murder on the orient express (1974), which seemed to be in motion rather it stood in a studio. The outside artworks gave the impression the train was fleeting through numerous sceneries. (Source: www. Imdb.com)

2.5.3. SET PIECES - Set pieces generally refers to any free standing structure in a set. Screens, modular units, arches, platforms and stairs can be called set pieces.

2.5.4. DRAPES – Drapes or also drapery is term broadly used for all types of fabric used in staging. Drapes may include decorative clothes, tab curtain, scenic gauzes, black background clothes, cycloramas, and Chroma key back ground.

2.5.5. CEILING - Ceilings include measurement, verisimilitude, and clear definition of space. Lighting and sound recording are undermined, however with appropriate structure and arranging; a partial roof can manage the cost of the look that is required, alongside the opportunity of development for the cast and group.

2.5.6. FLOORS AND GROUND AREAS – Floor and ground areas are the elements which are critical to the production design. By Manipulating the height or angle of a floor the designer may create a dramatic effect.

Figure 2.4 In the set design of The Freshman (1990), Ken Adam(German-British creation designer) needed to give the social club, where the crowd figure played by Marlon Brando in this satire held court, a feeling of intensity and the atmosphere of his character in The Godfather without mimicking, that great film. Adam constrained the viewpoint by bringing down the roof and raising the, floor of the set, to make Brando show up significantly greater than he was. (Source: www. Imdb.com)

2.5.7. BACKING - In an interior studio set if the camera can see through the window, backing must be required to create an illusion that there is something outside. Backings can

be on a flat stretched with canvas or other material. A hard backing is made of wood, board, or other solid materials.

2.5.8. PAINTING - The set is painted once constructed. Set work of art is like painting an apartment or house; the painter covers the surface with paint. The thing that matters is that the designer isn't simply choosing elegant or satisfying shading yet one that suits character and story, just as state of mind and air.

2.5.9. BLOCKING - iStage iblocking, ior iactor iblocking, ialludes ito ihow iat ileast ione ion-screen icharacters imove iaround ithe ispace iduring ia icreation. iThis ican ibe iblocking iin ia iphase iplay ior iblocking iin ia iscene ifor ifilms ior iTV. iThis ican ieven iincorporate ia iblocking irehearsal ithat iwill iassist iwith iexplaining ithe iexpectation ibehind ievery idevelopment iand ismooth iout ithe imovements. iBlocking iisn't ijust iwhere ithe ion-screen icharacters itravel ithrough ia iscene, iyet iin iaddition ihow ithey icommunicate iwith itheir icondition. iThis ican iincorporate inon-verbal icommunication.

2.6. EVOLUTION OF SETS IN MOVIES

The first films utilized the painted flats and boxlike sets of the stage, and little was done to create the illusion of reality. The earliest film sets were no different from those of the theatre: two-dimensional painted backgrounds. As the time passed, technology advanced, with advancement in technology, production of movies got more technical, with more reliance on technology. Sets evolved from a painting in background to miniature models to green screen and now to the virtual sets.

2.6.1. THE CABINET OF DR. CALIGARI (1920) – It is a silent horror film directed by Robert Wiene and production design by Walter Riemann, Walter Rohrig. Being a black and white movie a lot of work was done on the contrast of the objects. It was shot in grayscale and therefor designer had to recognize in what way each colour decodes to a value from black to white. It is thought-out as one of the most significant films of German expressionism; since many of the film’s rare features (from the symmetrical nature of the sets to the actors’ costumes) were times forward of their phase. Every detail of every set is dominated to the consistency of Expressionist distortion: chairs with no right angles have seats rested five feet off the ground, and the houses have trapezoidal windows. Streets are three-dimensional abstract compositions of receding angles, projecting parapets, and brightly lit blank spaces. In a 1921 article in the Mentor, Hugo Ballin, a notable painter and designer, described the sets as "futurist" and called the backgrounds "scenery that acts."

Figure 2. 5. Image from the cabinet of dr. Caligari (1920). ( Source : www.intjournal.com)

2.6.2. Blade runner (1982) - iSet iin ia icatastrophic ilos iAngeles iin i2019 ihas iset ithe istandard iof igreatness ifor isci-fi ifilms. iIts iinfiltrating iclass iand inever-ending inewness iare icharacteristics ithat imake iit ipractically iextraordinary iin ithe iclass, iand iit ihas iimpacted inot ijust iother isci-fi imovies iand imusic irecordings iyet iin iaddition icomputer igames, iengineering, iset idesign, i, iand iads. iProduction idesign ifor iblade irunner iwas ipracticed iby iLawrence iPaul i(was iprepared ias ia idraftsman iand icity iorganizer, igiving ihim ia icomprehension iof iurban isituations ithat ihas iserved ihim iwell iartistically ias ia iproduction idesigner) iand ithe iart idirection iwas itaken icare iof iby iDavid iSnyder. iRidley iScott i(director) ihad ifaith iin i"layering" iin ithe idesign iand idevelopment iof ithe isets ijust ias ithe iset idressing. iThe iinside isets iwere ismoky, iand irecorded iwith iblazes iof ilight ithat ifilled ino iparticular ineed iother ithan igiving ithe ivisual imotivator ithat iScott iwanted. iWhile ithe isets iwere iphysical, ithe ivibe iof ithe ifilm iwas ilikewise ipracticed ithrough imaster imodel-production, iutilized iin ithe iTyrel ibuilding, iand iin ithe imatte iworks iof iart iutilized ifor ithe iflying iperspectives.

Everything we see in the film, every flying car and skyscraper, was made by hand. Scale models were built for the film. Each and every detail was developed in the models to bring in the realism that the designers wanted. Intricate models were used to bring the massive Tyrell pyramids to life, as well as views of future Los Angeles and the iconic flying Spinner vehicles.

Figure 2. 6. Model Artist precisely giving the details to the miniature models of Blade Runner (1982). (Source : www.vfxvoice.com).

Figure 2. 7 Designer adjusting elements for a miniature shot, Blade Runner (1982). (Source : www.vfxvoice.com)

2.6.3. THE MANDALORIAN (2020) is one of the primary significant productions to pick LED walls over green screens. Virtual set developed for season 1 of The Mandalorian was 75 feet in distance across, 21 feet high, and furthermore had rooftop made out of LED'S. The show is made by Jon Favreau and production design by Andrew L. jones. An underlying interest in virtual set like in mandalorin is gigantic. Anyway the cash spared from heading out to areas, fabricating new sets, and exorbitant post productions, can make the speculation justified, despite all the trouble.

Virtual sets have extraordinary bit of leeway over green screen. Lighting is one of them, what green screen does is that as opposed to anticipating wonderful lighting of condition that would have behind it, it spills part of green light on the items and on-screen characters. In any case, a major 360 drove divider takes care of that issue. Also, the character and items feel like they are installed in their condition.

Virtual sets assists with reasonable things as well. It confines the measure of stage space that is utilized in shooting and bigly affects time and financial plan.

An iongoing iadvancement ito ithis iinnovation iapplies iUnreal iEngine, ian iincredible icomputer igame icreation idevice ithat ipermits imovie iproducers ifull ioversight iover ithe iset iand igeneral icondition iimmediately. iArtists ican imake ia iphotorealistic i3D ifoundation ithat imoves icarefully iwith ithe icamera's ifield iof iview, iknown ias ithe ifrustum. iSo iif ithe icamera iswings iaround iand ichanges ipoints, ithe ifoundation imoves iin icorrectly ia isimilar iway.

Figure 2. 8. Virtual LED screen in The Mandalorian (2020). (Source : www.slashfilm.com).

2.7. ARCHITECTURE IN SET DESIGN

Architecture and motion picture has always been close. Le Corbusier defined architecture: “The masterly, correct and magnificent play of form in light.” It stands out as a pronounced explanation of buildings as well as for cinema.

Set idesign iin ifilm iwas iresulting ifrom icoordinated ieffort ibetween ithree iseparate iart iforms: ithe ibeautifying iarts, itheatre, iand iarchitecture. iThe ibeautifying iarts ihave ia ilong iconvention ifollowing iback ito ithe ibeginnings iof inumerous isocieties. iTheatre istageart ifollows iback ito ithe iAncient iGreeks iand iRomans, iproceeding ithrough iShakespeare, ito ithe ibeginnings iof ivaudeville, iand iBroadway. iBoth ithese iartistic icontrols iaffected imovie iart idirection, ihowever ithe imost ihuge iimpact ion iproduction idesign iwas iarchitecture. iToward ithe istart iof ithe itwentieth icentury, ias ifilm iwas ibeing iconceived, ian iartistic iupheaval iwas ibeing imanufactured iin ipresent iday idesign.

Architecture idetails iare iwhat ievoke itime iand iplace iin iset idesign. iCornice, imoulding, idoor/window, ihardware, iwall ipaper, ialong iwith iaging ipaint itreatments ican ibring iaudience iinto ithe iworld iset iby ithe iset idesigner ibased iupon ithe idirector’s ivision. iArchitecture iand iset idesign iare iboth iabout iaesthetic iand ifunctionality. iBoth iare iabout ifiguring iout ihow ia istructure iwould ifit iin ia icertain ispace.

The designer uses the principle of architecture, in order to make a coherent, logical space that is accessible to an audience. The construction methods are however considerably different because of the requirements of filming and because of the ephemeral nature of set. Film sets only have to exist for a short amount of time. Most sets are built within soundstage, mostly interiors. Film sets are for people to act in front of and are not permanent, but they need to look like people live in them.

Similarly as architecture utilizes fabricated structure to set up tone and speak to thoughts of personality and spot, set design uses nature in which a story unfurls as a medium with which to pass on state of mind and decipher the significance inside a particular account. Juhani Pallasmaa (Finnish Architect) articulates his musings on the capacity of set design in his content, The Architecture of Image:

“Cinematic architecture evokes and sustains specific mental states; the architecture of film is architecture of terror, anguish, suspense, boredom, alienation, melancholy, happiness or ecstasy, depending on the essence of the particular cinematic narrative and the director’s intention. Space and architectural imagery are the amplifiers of specific emotions” .

Cabiria (1914) an Italian production was the first film to introduce architecture in full force. An out-and-out iarchitectural itactic iwas iused iin ithis ifilm, iincluding ithe icreation iof istairways, iplatforms, iand iwalls iconstructed iout iof iwood iand ithen itextured iwith ia iplaster iand ifibre iarrangement ito ibring iscale iand itexture ito ithe iset iconstruction iin ia iregeneration iof ithird-century iRome. iThe iterm i“film iarchitecture” iwas iused ifor ithe iforemost itime ito ia ifilm iproduction. iEarlier ito iCabiria, ito ielaborate ithe isetting, idesigners iused itinted ibackgrounds iand ihandcrafted idecor iand ihad inot iyet irevealed ithe iapplication iof iphysical ithree-dimensional idesign ito icinematic istorytelling.

Architecture is designing the external and the internal environment. Be it one of the world’s major cities or the tiniest towns, the architecture of the places we dwell, play and work becomes the contextual setting for our life’s altered experiences. Using creativity and a considerable knowledge base to create different profound and three-dimensional qualities, role of an architect is also to manipulate these settings: creating the character for our private life stories. In film production, the role of the architect becomes the authority of the set designer, and our personal stories are substituted with combined social descriptions.

2.7.1. USE OF SPACE

The characters in a film exist with regards to the space in which they show up. Space can communicate power, abuse, opportunity, dread, euphoria, suspicion, and a horde of feelings, mind-sets, and climates dependent on the connection between the characters and their condition. To reproduce a spot or time, the production designer must examination the architecture in question. Recreation includes examination to comprehend the design, the materials, procedures, and apparatuses utilized in the original development.

2.7.2. CONSTRUCTION

The design ideas for a film set are in the long run built for the production. The methodology from impression to finished set is corresponding to the conventional architecture process except for the way that a film set is a brief structure. The thoughts for a set must talk the concerns of the screenplay. They ought to be true to life, visual, and lead into the picture of the director. The idea drawings put those thoughts in sketch for the first time. They effectively communicate the production designer's perception to the director.

At ithe ipoint iwhen ithe iproducer iand idirector iagree, ithe iart idepartment idoes ithe iprocedure iwhich ibrings iabout ithe istructure iof isets. iIntensive iworking idrawings ithat iaddress imaterials, iscale, isize, iand iengineering idesign iare imade. iAt ithat ipoint, ian iartist idraws ian iarrangement iof ithe iset idependent ion ithose iworking idrawings. iThe iarrangement iresembles iany iarchitecture iarrangement iand ifills ia isimilar ineed. iThe idevelopment iorganizer iexamines ithe iarrangement. iMaterials iare irequested. iThe iset ican ibe iworked iin ithe istudio ior iin ipart iat ia ishop ior istockroom iand isent ito ithe istudio iwhere iit iis igathered. iA igroup iof iwoodworkers iand idifferent iartisans

ivarying iare iput ion ithe itask iby ithe iconstruction icoordinator, iwho iresembles ia idevelopment iforeman ion ia icustomary istructure iventure. iThe iconstruction icoordinator ishould ilikewise idecide ito iwhat iextent iit iwill itake ito ifabricate ithe iset iso iit itends ito ibe ifacilitated iwith ithe ishooting iplan.

2.7.3. POST-MODERN FILM DESIGN

Futuristic istories ichallenge ithe idesigner. iDesign ithoughts imust ibe ianticipated ito imake ian iultrapresent idayiworld ithat iis inever ibeen iseen.

Frequently iproduction idesigners idepend ion iformat istandards ifrom ithe ipast ito imake ithe ifuture iin ifilms. iThis iidea, ipost-innovation, iprogressed iin idesign ithroughout ithe iSeventies ias ia iresponse iagainst ifront iline istructure iof ithe itime. iIn iproduction idesign, ipostmodernism icarries ia iduality iof iimportance ito ithe iaccount iof ia ifilm.

Charles iJencks, ia iprofessional iin ipost-modern iarchitecture, igives ivision iinto ihow iproduction idesigners iuse ipost-modernism iin imovie ito irepeat ithe ihistory iand iput ithe iexisting iand ifuture iinto ibackground: i “A ipost-modern ibuilding iis idoubly icoded—part imodern iand ipart isomething ielse: ivernacular, irevivalist, ilocal, icommercial, imetaphorical, ior icontextual. iIn iseveral iimportant iinstances iit iis ialso idoubly icoded iin ithe isense ithat iit iseeks ito ispeak ion itwo ilevels iat ionce: ito ia iconcerned iminority iof iarchitects, ian ielite iwho irecognize ithe isubtle idistinctions iof ia ifastchanging ilanguage, iand ithe iinhabitants, iusers, ior ipassers-by, iwho iwant ionly ito iunderstand iand ienjoy iit.” i

iA iClockwork iOrange i(1971) iwas ibased iin ia iproximate ifuture iworld ithat iwas iboth icollapsing iand ilustrous iwith imodernism. iBlade iRunner i(1982) iwas iset iin ian iAsian-inspired iLos iAngeles, ia ithird iworld ination, iset ialight iwith ineon iilluminations iunited iwith iEgyptian iand iMayan iarchitectural ielements.

Figure 2. 9. A post-modernist interior of home in a clockwork orange. It was designed by group of architects called team 4 in 1966. (Source : www.modernism-in-metroland.co.uk)

2.8. ARCHITECTS IN SET DESIGN

Film industry is the most creative and high profile field where architects are offered a wide range of career options. Architects are best suited in the production design and cinematography department of a film. Where they can show their skills and creativity in bringing out the look of the film, by designing the sets, setting the lights, working on camera, and hence, creating the imaginary world of the directors vision. Production designer, art director, and set designer are the positions that an architect can consider.

Numerous production designers, set designers had aroused out of schooling as an architect and have brought structural design perceptions to filmmaking.

2.8.1. ANSHUMAN PRASAD is one of the set designers working in a movie that holds an architecture degree in his bag. He is a globally celebrated for his concepts and sets. He studied architecture in India from the Manipal Institute of Technology, and later worked in an architecture firm in New Delhi. iHis ichoice ito idesign ifor ifilm icarried ihim ito ithe

iUniversity iof iIllinois, iUrbana iChampaign, iwhere ihe idid ihis igraduate ithesis ientitle i “Beyond iMis-en-scene: inarrative ithrough iarchitecture iin imainstream icinema” . iFrom iexcellently iengineered iBatwing iin iBatman iVs iSuperman i(2016) ito ithe iterrifying isets iof iThe iGirl iwith ia iDragon iTattoo i(2011), iAnshuman’s iart iis istimulated iby ia istrong, irealworld ivisual ijoint iwith ian iinfluential, iartistic ivisualization. iAn iadditional idistinguished iventures ihe ihas ioperated ion icomprises ithe iHangover i(2009), iTerminator iSalvation i(2009), iCaptain iAmerica: iWinter iSoldier i(2014), iBatman ivs iSuperman: iDawn iof iJustice i(2016), iMaleficent: iMistress iof iEvil i(2019) iand ithe icritically imuch-admired iTV ishows iNewsroom iand iWestworld. i iHis imovies, iPassengers iand iThe iGirl iwith ithe iDragon iTattoo iearned ithe iArt iDirector’s iGuild iaward ifor iExcellence iin iProduction iDesign.

Figure 2. 10. Image above is a 3d model render of the castle from the movie maleficent: mistress of evil (2019), one of the works from anshuman prasad’s portfolio. (Source : www.anshumanprasad.com).

2.8.2. KEN ADAM (1921-2016) is one of the most famous architects to have worked in production design in the movies. He was also the best exceptional production designer of the 20th century. His family in 1934 fled to London from Germany where he studied architecture from Bartlett School of Architecture. In war he worked as a fighter pilot for the RAF. Later the war, he operated on Around the World in 80 Days (1956), coming to the consideration of producer Albert "Cubby" Broccoli who went on to employ him for The Trials of Oscar Wilde and, in 1962, Sir Ken's first Bond film, Dr No .(1962). Adam is chiefly related with the design of the James Bond films, whose sets bore his handwriting from the commencement. He was accountable for the design of an overall of seven Bond films.

Ken Adam assisted on closely 100 film ventures, two opera productions, a multimedia venture and varied demonstrations over the sequence of fifty years. He has acknowledged a countless number of respected honours and awards, comprising the British Academy Film Award, six Academy Award nominations and two award-winning Oscars.

Figure 2.11Sketch of the shuttles launch complex prepared by ken adam, for the movie moonraker(1979).( Source : Deutsche Kinemathek – Ken Adam Archive)

Figure 2. 12. Ken Adam, the British set designer, created some of the most famous film sets ever made. Visualized here is his "war room" from Stanley Kubrick’s 1963 film "dr. Strangelove or: how I learned to stop worrying and love the bomb," a dark nuclear satire. (Source : Deutsche Kinemathek –Ken Adam Archive)

Chapter 3

3.1. PARASITE (2019) 3. CASE STUDY

Parasite (2019) South Korean black witty thriller film directed by Bong Joon-Ho, and production designed by Ha-Jun Lee is a film that won four Oscars at the academy awards 2020 out of six nominees. It won best picture, best foreign language film, best director and best original screenplay. It was also selected for best production design and film editing categories. To prepare for the film, Bong’s team conducted interviews with architects and even toured a Frank Lloyd Wright house in L.A. All of the sets were built on outdoor lots.

Parasite ifollows ithe iKim ifamily iendeavouring ito imake ia idecent iliving iuntil ichild iKi-woo iruns iover ian iunforeseen ichance. iWith ino iexperience ishowing iEnglish, ihe ichooses ito iacknowledge iwork imentoring iDa-hye, ia ilittle igirl ifrom ithe iaffluent iPark ifamily. iWhat's imore, ihence, ia icalculated imission ifor ithe iwhole iKim ifamily ito ipenetrate ithe irich ifamily. iIndividually, ievery irelative imakes isure iabout iwork iunder ithe iappearance ithat ithey're idubiously iassociated ithrough ishared icontacts. iWhat's imore, idespite ithe ifact ithat ithe itwo ifamilies iin ithe ilong irun isink iinto ia igive-and-take irelationship iof isubjugation iand iwealth, ithere iis ian iunpredicted iparasite ithat itakes isteps ito idevastate ieverything iby iuncovering ireality.

A great part of the stun and rush in Bong Joon-Ho's film Parasite — named for six Oscars including Best Production Design — relies on the fictional house worked by an fictional architect claimed by the well-off Park family. At the point when the servant Mun-Kwang (Lee Jeong-eun) first invites the family's new mentor, Kim Ki-charm (Choi Woo-shik) into the pin-impeccable glass home, she discloses to him it was designed by the popular Korean architect Namgoong Hyunja. What gives off an impression of being a chateau is only an intricate world worked to the director's precise determinations: development traversed four distinct sets, with film from each combined in postproduction to make a consistent structure

onscreen. Much like the film itself, a moderate façade repudiates an evil complexity. To get the overall structure right for the storytelling, smaller details were very important.

Figure 3. 1. Isometric plan of the park’s house. (source: www. Floorplancroissant.com).

3.1.1. THE PARK HOUSE

In the movie park’s house was planned by an imaginary star architect, he was actually the previous owner of the house before the arrival of Park family. It was built in contemporary architecture style. Production designer lee took inspiration from minimalistic, modern houses with great space arrangement.

Figure 3. 2. Large window wall giving view of garden in park’s house. Minimal furniture was used so as not to distract "audiences from being absorbed in the story". (Source: 2019 CJ ENM CORPORATION, BARUNSON E&A).

So to create the set, production designer had to think more like an architect. There were certain factors but the production team also had to create the house so real that the audience would think like the real characters were living in a real house. The outcome is straightforward, exquisite, and current with a lot of wood, glass, and clean lines and outlines. "When Namgoong constructed the Park house, the reason for the principal floor front room was to value the garden," as indicated by director Bong. So the designer gave the space a goliath mass of glass watching out at the yard, and equipped it with negligible furniture put something aside for a remarkable, staggered foot stool and a smart sofa. There was no TV in the front room. So the window divider was made as per 2:35:1 aspect ratio with the goal that the huge living room and nursery look like picture on screen.

The ihouse iwas imeticulously idesigned iby ithe iproduction idesigner. iIt iresembles iits iown iuniverse iinside ithis ifilm. iEach icharacter iand ievery ifamily ihas ispaces ithat ithey iassume icontrol iover ithat ithey ican iinvade, iand ifurthermore imystery ispaces ithat ithey idon't ihave ia iclue. iSo ithe idynamic ibetween ithese ithree ifamilies iand ithe idynamic iof ispace, ithey iwere iespecially iinterlaced iand iI iimagine ithat imix itrulyimade ia ifascinating icomponent ito ithis ifilm.

The furniture was uncommonly made by a trend-setter skilled worker named Bahk Jong Sun, picked for his smooth, saucy elegant, from the tables to the seats to the lights. The furniture has a warm similarly as a nippy, metal-like tendency with the straight-cutting edges and clear extents. The front room table that the Kim family stows away underneath, when the Park family appears all of a sudden from their escape was made a gigantic table as steps, made of four sheets of different levels. A structure and a level was needed where Mr. Park couldn't

see Kim family using any and all means, whether or not they were lying straight or on their sides.

Figure 3. 3 All of the furniture in the park house was custom-made for the film. (Source: 2019 CJ ENM CORPORATION, BARUNSON E&A).

3.1.1.1. The Basement

The imost iactively icharged iscenes iof iParasite ioccur ihere iand ithere ithe isteps ifrom ithe istorm icellar ito ithe imystery ishelter iunderneath, iproduction idesigner iand ihis igroup iassembled ithe iwhole istructure ias ia isolitary iunit, ithrough iand ithrough, ion ia isoundstage. iThe istructure istarted iat ithe itop: ithe isteps idriving ifrom ithe ikitchen ito ithe icellar istoreroom icontaining idifferent imaturation iextends, iwhich iare iall isorted iout ion ia icupboard idarkening ia ishrouded iflight iof istairs iframework. iThe iprimary itrips iof isteps ilead ito ia irestricted ipassage ifollowed iby ianother iarrangement iof isteps iand ithe iinevitable imystery ishelter, iwhere iKun-sae, ithe ispouse iof ithe iservant, ihas ibeen iavoiding iobligation iauthorities ifor iquite ia ilong itime.

Figure 3. 4. A digital rendering of the basement storeroom of the park house. (Source: ⓒ2019 cj enm corporation, barunson e&a). . (Source: 2019 CJ ENM CORPORATION, BARUNSON E&A).

3.1.2. KIM’S HOUSE

Kim’s house was a tiny sub-basement, which has very limited light and no views and cluttered space. Passage nearby it was crowded with storefronts and households. Production team hunted resources from neighbourhood’s that were in restoration regions agreed to be destroyed by the government. A significant part of the arrangement of Kim home is included of discovered materials: entryways, windows, tiles, bug screens, outlines, and even electric wires. They utilized resources that conveyed the attire and filth from ten, 20 years of utilization. Since watchers need to feel that from the earliest starting point through pictures, since it can't be passed on through smell. Everything, the rear entryway, neighbouring structures, and customer facing facades that the Kim house is totally based on set. What's more, they were so genuine even the Korean crowd couldn't tell whether these were set. They would put blue screens to make a visual expansion for the remainder of the area. So as to hit the nail on the head, production designer Lee Ha Jun visited and captured void towns that were set to be destroyed, and afterward duplicated them as he assembled the Kim family's packed road and confined, jumbled apartment on a set. They even displayed the old blocks utilized in the vacant houses in silicon to re-make them.

Figure 3. 5. The steps descending into the kim-family apartment. (Source: neon)

As opposed to the rich house, Kim semi-storm cellar neighbourhood is progressively vibrant, however shading tones were limited however much as could be expected with the goal that no particular tone stuck out. Rather, the surfaces were harsh and the space was denser contrasted with the rich house.

Kim ifamily iliving iin ione iof ia ikind istructure iof isemi-storm icellar ihomes, iit iwasn't isimply ito isimply ishow ia iKorean icomponent iof istory. iThere's ia iprogressively iexplicit iimportance ibehind iit, iin ilight iof ithe ifact ithat ithe isemi-cellar iis ifundamentally iof ithe icentre iof ihigh iand ilow. iThere's ithis idread iyou ican ifall isignificantly ipromote iunderneath iyet iyou idespite ieverything ifeel itrust ithat iyou're istill ihalf iover ithe iground, iso iit itruly imirrors ithis ithin ispace ithey're iin, iand ithe ispaces iin ithis ifilm iare imuch iprogressively icompartmentalized iand iall iassociated ithrough ian ientangled iflight iof istairs.

Kim’s house also features a prominent window, looking at street level from below. This window is also slightly unusual in shape, similar to the shape of the film’s own 2.39:1 aspect ratio. In a way, window is screen for the audience to view these houses through — just as the families themselves either view the world from below or above. The Kim’s constantly gaze out through a minuscule window with vertical lines breaking it apart like a prison door.

Figure 3. 6. An early rendering of the Kim family’s basement home. (Source: 2019 CJ ENM CORPORATION, BARUNSON E&A).

The ispatial icontrasts ibetween ithe itwo ihomes igo ifar iin idisclosing ito ius imore iabout ithe icharacters ithan iany iverbally iexpressed iline iof idiscourse. iWhere ithe iParks ican iappreciate ia ifree-spaced ihouse iwith ihigh iroofs, ithe iKim’s ineed ito isuffer iin ia iconsiderably imore iconfined ispace ithat iis iabout ias ifar ias ipossible iunderground. iWhile ithe iParks ihave iminimal iobvious imess iat ihome i– ia ireality, ialmost icertainly, isupported iby ithe inearness iof itheir iservant i– ithe iKim's' ithings iare ieverywhere, iwith istuff ipacked iinto ithe isame inumber iof ilittle ispaces ias ithey ican idiscover.

CHAPTER 4

4. CONCLUSION

All films have architecture. Retro dramas upsurge their pragmatism by signifying the style of the structures the characters truly would live. Science fiction uses architecture to help trust the viewer of the authenticity of an imaginary world. In contemporary drama, the architectural style is made-up to be quiet or self-effacing, and in psychological to be figurative. If the film is to prosper, the designer’s obligation is challenge the role of architecture in designing the backgrounds. The importance of these details is revealed by closely examining several films in which the architectural details are a critical element of the overall production design. Moreover, individual can anticipate a precise pattern to cinema’s approach in the direction of modern architecture, an approach that changes from entirely mischievous to admiration of power, and lastly to illogical fear. Of course, these approaches just echo our own varying mental state about the buildings around us and their consequence upon us. Filmmakers therefore had turned and will turn to architects and designers with architectural training to design sets, trusting that knowledge of the multidimensionality of built space is a essential requirement to designing for film. Even production designer of parasite Ha-Jun Lee had to turn to his friend who is an architect to help him prepare the sets of the film.

Being able to think conceptually and problem solving creatively are huge part of what we can use from our education in this industry. Designers have to come up with creative solutions that are both cost effective and convey the space three dimensionally and deceive wherever possible to generate an illusion of something even greater when it appears on film, whether filming on location or building a set from scratch. Having the knowledge of the software’s like Maya, 3ds Max, V-ray, and unreal engine which are extensively used nowadays for the virtual sets, VFX and CGI can give architects upper hand against any other person. And additionally 3d modelling skills and drafting skills will surely add to the advantage.

CHAPTER 5

5. REFERENCES

5.1 BOOKS

 LoBrutto, V. (2002). The filmmaker's guide to production design. Simon and

Schuster.

 SMOTHERS, J. (1995). Setting the scene-the great Hollywood art-directors-Sennett,

RS.

 Millerson, G. (2013). TV scenic design.  Pallasmaa, J. (2001). The architecture of image.  Winslow, C. (2006). The handbook of set design.

5.2 INTERNET

 The look of blade runner – Silver Screen Modes by Christian Esquevin http://silverscreenmodes.com/the-look-of-blade-runner/  The Miniature Models of BLADE RUNNER - VFX Voice Magazine https://www.vfxvoice.com/the-miniature-models-of-blade-runner/  The cabinet of dr. Caligari (1920) - Interiors : An Online Publication about

Architecture and Film -

https://www.intjournal.com/0813/the-cabinet-of-dr-caligari  Why 'the mandalorian' uses virtual sets instead of green screens - Insider https://www.insider.com/green-screen-virtual-sets-mandalorian-2020-4  Art of LED Wall Virtual Production, Part One: ‘Lessons from the Mandalorian’ fxguide https://www.fxguide.com/fxfeatured/art-of-led-wall-virtual-production-part-onelessons-from-the-mandalorian/

 How Bong Joon Ho Built the Houses in Parasite.

https://www.vulture.com/2020/02/how-bong-joon-ho-built-the-houses-inparasite.html  Inside the House From Bong Joon Ho’s Parasite- Architectural Digest https://www.architecturaldigest.com/story/bong-joon-ho-parasite-movie-set-designinterview

 'Parasite' tells a story of class through architecture - KCRW https://www.kcrw.com/culture/shows/design-and-architecture/architecture-in-parasitemovie-villain-homes/parasite-tells-a-story-of-class-through-architecture  How Bong Joon Ho Designed the House in “Parasite” - Indie Wire https://www.indiewire.com/2019/10/parasite-house-set-design-bong-joon-ho1202185829/

 How Bong Joon-ho’s “Parasite” Made Deliberate Use of its Architecture - Tgr https://tgr.com.ph/how-bong-joon-hos-parasite-made-deliberate-use-of-itsarchitecture/