Tip #26: Sets that save money

By Dan Parkes (Director)

One of the secrets to keeping costs at a minimum is to use working locations, with their own sets of props, which is what we did with Ambleton, with almost all of it filmed in a working restaurant and kitchen. However, this is not always practical and in our case there were several scenes which required the building of a set, specifically the two bedrooms sets for Chris Phillips and for John and Kate. Sets have the advantage of being almost completely adaptable and can be even built around camera moves and lighting.

While studio space can be an excellent choice with some even going for as little as £100 per day (some lighting included), others can be very expensive, and you need to factor in how long you will need to hire it for creating and dressing the sets prior to filming. Preparation is essential to plan the design and props you will need.

So it was that we decided to build our set in our own living room (see picture above)! The advantages were clear... there were no hire costs (except for lighting) and we had time to dress it to make it as realistic as possible, using props from our past and every day life to add to the authenticity.

The most elaborate set was Chris' bedroom which production designer Sinéad Ferguson has already discussed in a previous post in regards to choosing props to reflect the character's state of mind. It only took us half a day to build and dress, and the end result is convincing and more importantly enabled us to achieve shots that would be almost impossible in a real bedroom of this size, such as a long tracking shot, and various POV shots.

Above: Chris bedroom set, moving furniture
and props around to get the required shot.
Very top picture: Camera operator Roger
Marshall looking happy to be on set.

The other set was even more basic, a night scene in John and Kate's bedroom involving him waking up from a nightmare. Lighting a bedroom night scene can be difficult, but we decided on using a simple blue gel over a cardboard "gobo" to give the illusion of moonlight coming in through a bedroom window, thus providing the only illumination in the scene. A 'gobo' is a word derived from "Go Between" and refers to a template or 'cookie' (cuculoris) that is put between a light source and the set which is used to control the shape of the emitted light. As the shot also required the camera to be overhead, we simply put the mattress on the floor of the set, thus allowing the camera to sit on a tripod as normal, pointed downward, giving the illusion it was in fact shooting from the ceiling. This is of course something that would have been far more difficult to achieve if in a real bedroom.

Tip #25: Keeping Production Design Costs To A Minimum

By Sinéad Ferguson (Producer/Production designer)

While there are always ways to keep the production design budget down, where possible you want to do so without limiting the creative choices that will visually enhance the story.

Samantha Bolter and John Hayden
on location in the village pub.

The best locations for production designers on a limited budget are ones that come predressed. You then may modify the layout and enhance or change the dressing with a few limited items. This may not be possible for all locations. However for sets that get a lot of screen time putting in the extra work and effort on finding those ideal locations, can in the long term, save considerable expense and work down the line.

To avoid the mistake of spending time, effort and expense on details that don’t end up being in shot, or on details the camera won’t see, good communication with the director is essential. Put all the money spent on production design on the screen, always concentrate solely on what is within the camera frame. Plan and think before you spend any money, question every decision. You may have an idea that will look great but cost a lot, so you must search for alternatives that will get the same results without costing an arm and a leg.

Low-budget production design is adjustable to the needs and resources at hand. So use what you’ve got, then beg, borrow and steal. OK I won’t go so far as to recommend stealing, but
you get the picture! You would be amazed at the amount of wardrobe, props and so on you can source from those directly involved in the project like cast and crew, not to mention family and friends, even those “friends of a friend” can be invaluable.

Actress Judith Ellis-Jones on location

in the village store shoot.

Remember that low-budget independent filmmaking is a philosophy in itself. So if you keep your mind open and the integrity of the film forefront with the right attitude and a bit of creative thinking there is no reason you have to settle for anything less than the best when it comes to your production design.

Tip# 24: Visually interpreting the characters

By Sinéad Ferguson (Producer/Production designer)

As a production designer you must create a breakdown of the characters, in the spirit of the screenwriter who created them focusing on how the aspects are translated visually. What we wear, where we work and where we live is a reflection of who we are. Therefore we must apply our understanding of the characters to order to create their environments. Each location is an environment that reveals the lives of the characters and provides an environment that surrounds and embraces the characters as the story unfolds.

There is a direct relationship between the environment and the characters. Every space has its own nature and character. One of the primary locations in the film is the restaurant and this is the environment that reflects John and Kate personalities. The “Amble Inn” while traditional and old, obviously steeped in history, also possesses subtle modern and contemporary touches that reflect and project that a younger couple lives and works there and has had a hand in the decor. The warm, inviting and comfortable atmosphere of the restaurant is also a direct contrast to the Kitchen John’s workspace ,which is almost clinical by comparison. Stainless steel abounds and it is very much a functional space, everything has its use and its place, it’s ordered and practical. The kitchen like John has a cool exterior however once you get to know them, you find that beneath that cool exterior, they are both warm and creative.

Another point worth mentioning is that not every character lives in a contemporary time frame some remain in the styles of an earlier era. As seen in Chris’ grandmothers house, in particular the living room where the colour scheme, furniture, soft furnishings, ornaments and plentiful doilies are quite dated and are reflective of the tastes of an older generation. Chris’ bedroom is also a reflection of Chris’ confusion over who he is.The room itself suggests it has remained relatively unchanged since he first moved in with his Gran as a young boy after his parents passed. We see their picture beside his bed, we see drawings he did as a teenager and a keyboard.Yet in the mix there are hints of what he aspires to be,via movie posters, a camcorder and filmmaking books.

The colour palette of the film and production design, is inspired by the village and Mother Nature herself in the surrounding landscapes. Colours abound in the English countryside. You see everything from, rich autumnal colours, piercing sky blues,stormy grey clouds, green rolling hills to the muted earthy tones of rustic lanes.

But how can you keep the design costs down to a minimum? In my final post on production design I will tell you how we did it.