Production designer: Difference between revisions
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A '''production designer''' is the head of the art department. He is ultimately responsible for producing the overall look of sets, props and graphics seen in an episode. He is also ultimately responsible for the practical manufacure of most of his designs, either in-house or through the use of prosthetic or [[CGI]] specialists. As such, he is one of the key personnel in the [[pre-production]] process. Since the art department is comprised of many sub-departments, the production designer also has managerial responsibilities over a large number of the people working on a programme, equivalent to that of the [[production manager]] or the [[post-production supervisor]]. | A '''production designer''' is the head of the art department. He is ultimately responsible for producing the overall look of sets, props and graphics seen in an episode. He is also ultimately responsible for the practical manufacure of most of his designs, either in-house or through the use of prosthetic or [[CGI]] specialists. As such, he is one of the key personnel in the [[pre-production]] process, and one of the first people to be involved in the making of an episode. Since the art department is comprised of many sub-departments, the production designer also has managerial responsibilities over a large number of the people working on a programme, equivalent to that of the [[production manager]] or the [[post-production supervisor]]. | ||
Only two people have ever been credited with this position in the history of ''[[Doctor Who]]'': [[Richard Hudolin]] for the [[Paul McGann]] film, and [[Edward Thomas]] for every [[BBC Wales]] episode, as of the end of the [[Series 5 (Doctor Who)|2010 series]]. | |||
Furthermore, Thomas has production designed virtually every episode of the [[BBC Wales]] [[Whoniverse]]. He held the post on every episode of ''[[Torchwood]]'' through [[Series 3 (Torchwood)|series 3]], and the [[Series 1 (The Sarah Jane Adventures)|first series]] of ''[[The Sarah Jane Adventures]]''. Although [[Arwel Wyn Jones]] replaced him on [[Series 2 (The Sarah Jane Adventures)|series 2]] and [[Series 3 (The Sarah Jane Adventures)|3]] of ''Sarah Jane'', the job of the production designer — insofar as the [[Whoniverse]] is concerned — is largely the job Ed Thomas has made of it. | |||
==As compared with designers== | ==As compared with designers== | ||
Though related, the job of [[designer]] on the 1963 version of ''[[Doctor Who]]'' was much smaller in scope. Designers only worked on one, or at most two, serials at a time. They also may not have had complete control over the design of every element. For instance on ''[[An Unearthly Child]]'', [[Barry Newbery]], was lumbered with a [[TARDIS]] interior set that had been created [[Peter Brachacki]], a person who quit the programme after a very brief stint. Thus, one of the central design elements of the show was rendered by someone who did not survive in his post long enough to see his episode filmed. Especially in the [[1960s]], many of the props were not in fact made in-house, but shipped off to specialist manufacturers. This often resulted in uncontrollable deviations from the original designs, which could not be corrected before filming began. There was thus no single person in charge of the overall look of the programme as a whole, as there is with the production designer. In a practical sense, the "designer" of old had the greatest control over sets and those props they could make in-house. | Though related, the job of [[designer]] on the 1963 version of ''[[Doctor Who]]'' was much smaller in scope. Designers only worked on one, or at most two, serials at a time. They also may not have had complete control over the design of every element. For instance on ''[[An Unearthly Child]]'', [[Barry Newbery]], was lumbered with a [[TARDIS]] interior set that had been created [[Peter Brachacki]], a person who quit the programme after a very brief stint. Thus, one of the central design elements of the show was rendered by someone who did not survive in his post long enough to see his episode filmed. Especially in the [[1960s]], many of the props were not in fact made in-house, but shipped off to specialist manufacturers. This often resulted in uncontrollable deviations from the original designs, which could not be corrected before filming began. There was thus no single person in charge of the overall look of the programme as a whole, as there is with the production designer. In a practical sense, the "designer" of old had the greatest control over sets and those props they could make in-house. | ||
Designers were also not heads of the art department in the formal sense that Thomas is. Their staffs were not under their administrative control, as is the case with the modern production designer. Because they were employees of the BBC, rather than of the ''Doctor Who'' production office, a designer typically had no true powers of firing and hiring, as is enjoyed by the production designer of today. | Designers were also not heads of the art department in the formal sense that Thomas is. Their staffs were not under their administrative control, as is the case with the modern production designer. Because they were employees of the BBC, rather than of the ''Doctor Who'' production office, a designer typically had no true powers of firing and hiring, as is enjoyed by the production designer of today. | ||
Revision as of 15:19, 24 January 2010
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A production designer is the head of the art department. He is ultimately responsible for producing the overall look of sets, props and graphics seen in an episode. He is also ultimately responsible for the practical manufacure of most of his designs, either in-house or through the use of prosthetic or CGI specialists. As such, he is one of the key personnel in the pre-production process, and one of the first people to be involved in the making of an episode. Since the art department is comprised of many sub-departments, the production designer also has managerial responsibilities over a large number of the people working on a programme, equivalent to that of the production manager or the post-production supervisor.
Only two people have ever been credited with this position in the history of Doctor Who: Richard Hudolin for the Paul McGann film, and Edward Thomas for every BBC Wales episode, as of the end of the 2010 series.
Furthermore, Thomas has production designed virtually every episode of the BBC Wales Whoniverse. He held the post on every episode of Torchwood through series 3, and the first series of The Sarah Jane Adventures. Although Arwel Wyn Jones replaced him on series 2 and 3 of Sarah Jane, the job of the production designer — insofar as the Whoniverse is concerned — is largely the job Ed Thomas has made of it.
As compared with designers
Though related, the job of designer on the 1963 version of Doctor Who was much smaller in scope. Designers only worked on one, or at most two, serials at a time. They also may not have had complete control over the design of every element. For instance on An Unearthly Child, Barry Newbery, was lumbered with a TARDIS interior set that had been created Peter Brachacki, a person who quit the programme after a very brief stint. Thus, one of the central design elements of the show was rendered by someone who did not survive in his post long enough to see his episode filmed. Especially in the 1960s, many of the props were not in fact made in-house, but shipped off to specialist manufacturers. This often resulted in uncontrollable deviations from the original designs, which could not be corrected before filming began. There was thus no single person in charge of the overall look of the programme as a whole, as there is with the production designer. In a practical sense, the "designer" of old had the greatest control over sets and those props they could make in-house.
Designers were also not heads of the art department in the formal sense that Thomas is. Their staffs were not under their administrative control, as is the case with the modern production designer. Because they were employees of the BBC, rather than of the Doctor Who production office, a designer typically had no true powers of firing and hiring, as is enjoyed by the production designer of today.
