Design For Theatre, Film And Television
Overview
Everywhere else in this endorsement you design objects that have to be true. Here you design objects that only have to be convincing, and only from where the audience or the camera is. A marble column can be polystyrene, a two-hundred-year-old door can be new pine painted by somebody at four in the morning, and a wall can stop existing eight feet up because nothing above that is in shot. This is design as controlled illusion, made fast, on a budget, to a fixed opening night.
This note covers what changes when the viewpoint is fixed and the lighting is designed: sight lines and the camera frame, the model box and the storyboard, scenic construction from flats and rostra, paint techniques that make new things look old, costume as character and as something an actor has to move and sweat in, props classified by how hard they work, and the deadline discipline that governs all of it. The designers here worked on a war room, a stage with a video-mapped grid, and a musical whose leading actors are visible inside their own animals.
Objectives
- Use traditional and non-traditional media to develop and create set, prop, and costume designs for theatre, film and television
- Use a range of design materials, tools and techniques such as digital and non-digital design methods, graphic and construction materials
Lesson Note
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Lesson Evaluation
Congratulations on completing the lesson on Design For Theatre, Film And Television. Now that youve explored the key concepts and ideas, its time to put your knowledge to the test. This section offers a variety of practice questions designed to reinforce your understanding and help you gauge your grasp of the material.
You will encounter a mix of question types, including multiple-choice questions, short answer questions, and essay questions. Each question is thoughtfully crafted to assess different aspects of your knowledge and critical thinking skills.
Use this evaluation section as an opportunity to reinforce your understanding of the topic and to identify any areas where you may need additional study. Don't be discouraged by any challenges you encounter; instead, view them as opportunities for growth and improvement.
- A gauze appears as a solid painted surface when it is: A) Lit from behind B) Lit from the front C) Not lit at all D) Dampened Answer: B
- A red costume lit by a deep blue wash will appear: A) Bright red B) Purple C) Almost black, because there is little red light for it to reflect D) White Answer: C
- A white card model is built early in the process mainly to: A) Show the final colours to the director B) Test scale, sight lines and the stage picture without the distraction of colour C) Replace the working drawings D) Impress the audience Answer: B
- Which prop category is made to the highest standard and usually duplicated? A) Dressing B) Hand props C) Hero props D) Set dressing furniture Answer: C
- The get-in dimension of a theatre determines: A) The number of seats B) The maximum size of any single built piece of scenery C) The colour of the lighting D) The length of the interval Answer: B
Available on the Green Bridge App
Download the Green Bridge CBT app on your phone or computer to access full lesson notes, practice questions, and more.
Available on the Green Bridge App
Download the Green Bridge CBT app on your phone or computer to access full lesson notes, practice questions, and more.
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