Found on Set _ Chapter 1
by Tara Dsouza — Associate Creative Director
One of the favourite parts of my job is when I get to be on a film set. It’s the joy of seeing so many things and people come together to give a frame life that make shoot days the high-points of my month. That being said, sets are full of lessons and laughs. So for all those of you who’ve always wondered what all goes into the making of a film, here’s a series that’s dedicated to deconstructing a set down to it’s smallest parts and roles. For today’s chapter, we pay homage to some unusual suspects.
A light called BABY — If you hear a director screaming furiously for a Baby on set, he’s asking for the lowest intensity light used in filmmaking. PS: Baby is often joined by Dinky, Redhead and Blonde quips a director buddy. Ah, the little joys.
A spread of SATIN SHEETS — Before you wonder just how nefarious the nature of our shoot was, let me set the record straight. An award-winning cinematographer who we worked with often uses Satin Sheets on the floor when shooting outdoors. Why? To create a defused sunlight reflection on the people/objects in frame so as to brighten up any shadow areas created by the sun’s harsh top light. Perhaps try his trick out when you’re taking your next sunny selfie.
THE UMBRELLA MEN — When you’re on set, Umbrella Men follow you around like they’re attached to you by an umbilical chord. As an outsider to the direction team, you’re quick to make the presumption that there are way too many unnecessary people on a set. But after 12 hours under the violent sun, you realise that the quality of your sanity is directly proportional to dedication of your Umbrella Man. So the next time you leave a set, remember to thank every single person. Because it’s the littlest things that make all the difference.
That’s all for today! Stay tuned for more Found On Set.
Do share your observations from filmmaking sets you’ve been on by commenting on this article!