Games Vs TV concept / production design

[conceptbloke]

I was wondering if anyone had any insight into the needs and requirments for designing in TV productions. What major differences are there in comparison to games industry. For instance what would a TV client need for a prop design?

[Hyver]

a good drawing, and a good propmaker that can interpret it ;)

[Not Pink]

well, as for "requirements" it's one of those things that are hard to interpret. Companies will say "2 years experience, yadda yadda, etc." but really, I don't know any company that would hire a guy with worse abilities that someone else, just because the someone else has less of the requirements meeting.

Art is the most prominent feature when choosing a client for an art job, with the rest being tie breakers. does that mean to forget about college or one of the other requirements and just become better than everyone else? No, not at all.

but prop design is a weird comparison for TV to video games. for TV props you need something that looks good and is functional. sure you can carve a gun out and make it look real, but is there a moving trigger? removable scope? For video games, and actual physical "prop" is mainly used for either merchandising, or the concept artists molded it so the 3D drafters have a better idea of what their 3D model is supposed to look like.

all requirements for any job is set by the employer. Go search the net for companies hiring in those positions and compare them.

[MiniGoth]

Umm, in addition to painting, can you wallpaper, upholster, sew, do carpentry, and sculpt?

That's kinda the 'prop' land thing to do. And most of the painting is either painting walls and furniture, or texturing/distressing/detailing walls and furniture.

[George Abraham]

Depends what type of productions.

Movies, talk shows etc...

Watch a little TV, that's what I would have done.. The thing is though is to know what they started with and how does the client present job instuction to you.


The same with movie making. Our country is far behind but I have no friggin clue why they don't just obseve.

Take a move and pull it apart, there are tons of "How to's" if you just notice what's happening.

I would have loved to be a director.

[VirusArtist]

needs and requirements?

the thing you really need first is contacts in the industry- not nessecearily people in high places, but people, who already have "their foot in the door" and are willing to recommend you. I'ts all about networking (here in Germany at least).

from there on its all about skill and socialising. I got most of my jobs not because I applied for them, but because I always knew someone who mentioned my name on certain productions or because my work on a production was good enough to make my clients call me back whenever the next one came.

but that door swings both ways.. call it a kind of internal currency.. for every recommendation I got I recommended someone I knew from other productions when the need for talent arose... be it actors, cameramen, cutters, musicians or stuntmen.

its a bit unfair, but applications often get refused because of personal preferrence. a direcor or producer will most likely attempt to hire the artist he trusts from experience. an art director will always try to get a reliable, stable team together, just to be on the safe side. because when the production starts there really is no room for quarrels, feuds and inexperience within the department.

A good way to get some experience, contacts and to get the buzz about you going is to scout indiefilm-websites and forums for small projects.

indie/low budget filmmakers tend to be more risk friendly when it comes to "new blood". just dont expect good payment. most of theses projects tend tol be on a low/no pay basis, so choose the ones you want to work on wisely. If you happen to hit a production that has a lot of talent attached to it, it might be your gateway into bigger productions...

look at it this way: its about gaining experience and getting contacts the first few times you are around.

As for the question concerning concept art for props, sets and so on:

You have to know what is possible and what isnt. in stark contrast to videogames, where everything is possible visually, films and tv are still bound to materials, work methods, the laws of physics etc..

so do your research- learn everything there is to know about mechanics, materials, anatomy (VERY IMPORTANT, especially when designing armours and real life creatures) and historical and contemporary work methods. It also helps to create some props yourself, just to get a feeling for it.

for instance: an art director might ask you to design an evil looking diabolical, terrifying sword wich is to be wielded by a stuntman acting as the films evil overlord badguy. in video games you might end up with an unidentifyable, bony, spiky thing that has an oversized blade and a crossbar that bends towards the hand using the sword.

in real life the wrist of the one wielding it would be hurt or broken within seconds, the sword would be too heavy and too dangerous for the one wielding it and for the ones hit by it.

another problem would be the fabrication... you can do a lot with the new materials that are around today, but a prop needs to be believable, durable and its fabrication needs to be as fast and uncomplicated as possible.

same goes for armours. the real life armours from gears of war for instance had to be heavily modified in order to create freedom of movement for the one willing to buy one. an example on how video game design and real life armour design tend to differ.

in the end all I can tell you is to know your stuff. an artist who knows how props, costumes and sets are made will always have an advantage over the one just scribbling whats in his head.

as for useful weblinks:

www.mandy.com
www.crew-united.com
www.indymogul.com

some tips I can give you concerning research: LARP sites and casemodding forums often have tutorials and tips on fabrication and are a constant source of inspiration concerning using alternative (inexpensive) materials and tools.

youtube has a ton of valuable information on prop design and fabrication, so have indyfilm forums. and if all else fails, there are always the making ofs and extras you find on any dvd these days.

hope that helped

cheers,
Etienne

[AdventDawn]

I agree with VirusArtist. Networking is key! Practicing all day and night will get you a good portfolio, but not the full ride into landing a job. You have be aggressive and confident and pursue every networking opportunity available. Learn to build relationships, friends, display decent social ettiquette, and go out to bars, parties, events, gatherings, and have a friend-of'a-friend's brother introduce you to someone who can help you get your foot in. Hell I went to a gay bar to meet my employeer who introduced me via a mutual friend. (No, I didn't succumb to having to do any 'favor's) I was able to isolate him from the competition and impress him and it worked.

From there all the photographers, graphic designers, creative specialist, what have you, all got the jobs the same way. NONE of them applied or sent out a portfolio hoping for the best. They were all recommended by either one of us on the creative team. One photographer, whose work is amazing, didn't get a job because one the people simply said he's a total asshole and not worth dealing with. So there you go :)

Just remember luck is nothing more than when hard work meets opportunity. Keep at it and you'll get there.

[phiq]

Remember also in video game development, you'll most likely be under the control of a GEEK who wants ULTIMATE COOLNESS on every inch of character, environment and interface art... thus enriching the level of cliched, flogged-to-death imagery currently proliferating in video games ("Yeah! Lets make her mega armoured and mega hot! Make sure she has a forty foot rifle, giant rocket boots and exposed midrif! Whoa... HOW COOL!" - Game Art Director).

For some quite strange reason, audiences won't accept ultimate coolness imagery in film, so the design direction takes a different slant in pre-production (unless of course it's the Star Wars prequels, which as we all know turned out to be magnificent and deeply meaningful films). [apologies for cynicism dump]