'Sweet Changeling' - Dressed Sets

I'm quite surprised about how well the sets came out, mostly because they seemed so disorganised after Christmas and wouldn't reply to our request for a meeting until a week after we had come back. They had constant location issues and Beatrice saved the day by allowing them to use her living room as the dining room set. After these initial problems, they were a lovely team to work with and very helpful.

The photos on this page were taken by various people from the art department, none are my own.

MARY BETH'S BEDROOM

LIVING ROOM

NURSERY

DINING ROOM

Before

After

'One Night' - Colour model final photos

I booked the Observatory to take professional-looking photos of the model before it could potentially be destroyed when filming the fire scene. Nick helped me light the model and showed me how to change the exposure length to alter how bright it would come out. I wanted to light the model as if it was night, in keeping with the film.

These photos came out really well and I think the model will look believable when it's filmed if we can create a realistic-looking fire.

Points for improvement/to think about when filming the model:

• Make sure the curb is glued down properly
• Have the light behind the windows less even (my dad pointed out that there would be objects creating shadows and after looking back at my reference photos I could see he was right. Changing this would make it more believable as an actual building.)

'One Night' - Colour model making

Vicky and I had help from TASE students Emily, Tom and Dan. We worked together to cut out all the pieces and add texture to all the brick walls. I took it upon myself to keep this organised and make sure that pieces were not mixed up or confused so there would be minimal mistakes and time wasted. I numbered all the pieces on the back and added notes to let others know if there was a bevelled edge. Whilst I was occupied with other jobs such as the graphics and making a washing machine for Sweet Changeling I gave them jobs to do so that we could get the model finished in the two weeks we were given.

Despite our best efforts and a few Saturdays dedicated to the project we were still not going to finish by our original deadline. I organised with the producer and director for the model to be filmed at the end of the shoot rather than the beginning and this gave us at least another week to work on the details.

I had a lot of fun working on this and I kept in mind tricks that we learned last year and carefully avoided the mistakes I made last year too.

GREENSCREENING THE MODEL

I was set the task of organising the booking for the Greenscreen at Wimbledon. When I booked it Jack Perry asked me if there was anything I would need/any help he could offer. As I was still unsure about how the DOP wanted to shoot the model I thought I would organise a meeting with Jack to discuss the best possible solution. He told me that no smoke or haze can be used in the Greenscreen room due to health and safety regulations but that vape smoke should be fine (the film students wanted to use vape to create a smoke effect). He suggested booking a pop-up greenscreen and filming outside which I had thought myself. So I put this suggestion forward to the group and they agreed this may be the best cause of action.

I also had to fill out a risk assessment form on Megan (Producer)'s behalf. See below.

'One Night' - Graphics

CIGARETTE PACKET
In the script, one of the girls buys a packet of cigarettes so I had to come up with a fake Marlboro brand. I scanned in one of the cigarette packets I would be covering and drew my design on top of it.

Left: flattened cigarette packet      Middle: Marlboro packet       Right: Marlboro logo

The phrase 'Veni, Vidi, Vici' means 'I came, I saw, I conquered' in Latin. So when I was coming up with my own logo I altered it to 'Vendi, Vedi, Mouri' which in Italian means 'You sell, You see, You Die'. This was mostly an accident as I'm teaching myself Italian at the moment and the words got muddled up in my head. But I thought it was funny and no one would even see it anyway.

Below on the left is my flattened cigarette packet design, in the middle my design printed and assembled on the packet, and on the right is my logo.

FUEL CANISTER

Above is a moodboard of fuel warning symbols and labels I researched before making my own. These were mostly sourced from Google Images and Pinterest.
Below is my diesel fuel oil label. As these warning signs are a standardised thing I didn't see any reason to change the pre-existing one from above on the right. I remade it so that it wouldn't be blurry when printed large for the canister. I also changed which symbols I used at the bottom but other than that they're almost identical. The group was very happy with it when I showed it to them.

CHOCOLATE PACKET
Mathilda (Production Designer from LCC) sent me these two screenshots of chocolate labels. She wanted it to be a circle like the one on the left in the colour tones of the one on the right.

Using this brief I made the logo below. Jack Pratt helped me add texture to make the logo look more like the above image on the right. I'm very pleased with how this turned out.

BEER LABEL
Mathilda wanted a beer label like the Beck's logo. To avoid copyright I altered the text and colours but kept the basic shapes so that it was still recognisably similar.

Left: Beck's label   Right: My Brook's label

BOOK COVER
In the script, one of the characters picks up a copy of The Picture of Dorian Gray by Oscar Wilde. As there are publication copyright laws I had to remake a cover for the book. I took preexisting covers of the book and used the images from those to create this version. I copied the blurb from the internet as there would be no focus on this and what it said wasn't important. I'm pleased with how this turned out after multiple attempts printing (I had issues with it being too dark and then forgetting text on the spine, it wasn't my day).

POSTERS
I ended up making two posters, a club poster and a burlesque poster that would go in the apartment set.  For the club poster, I took inspiration from a poster for a local club at home. I used the colours that Mathilda had said she wanted and the same composition as the one below (left). I had some difficulty with making the club posters as Mathilda would keep changing her mind about the colours she liked also instead of messaging me she was would individually contact a friend of mine who was also doing the graphics leaving me out of the look and a little confused. Luckily my friend would keep me updated, but this was a little frustrating at times.

Above left: Inspiration club poster (Google Images)  Above right: The poster I created.

Mathilda wanted the burlesque poster to be a Moulin Rouge poster with the colours predominantly being yellow and pink. Below is my inspiration for the poster. The bottom two photos are from a Toulouse Lautrec exhibition I had been to in Sicily over the summer. His style was what I had in mind and would have been perfect for this poster. Unfortunately, I didn't have time to learn how to print using lithography but it's something I'd like to learn in the future.

Below on the left is a scan of my composition drawing that I proposed to Mathilda she gave me the go-ahead to produce the poster on the right.

GRAPHICS DRESSED ON SET

Below are some photos from the club location set dressed with the graphics we made. Photos were taken by the film and art department.

'Sweet Changeling' - Set Dressing

I helped dress the sets in both locations. My job was to wallpaper the walls in the bedroom set and dining room set. Ana Castanedo told us about a trick for wallpapering on walls so that it comes off easily and without damage.

1. First we made a grid with masking tape on the wall
2. Next we stuck double sided tape over the masking tape
3. Then we peeled off the back of the double-sided and carefully applied the wallpaper strips

This wasn't as easy as it sounds, it was hard to get the wallpaper straight against the wall and to not create lumps in the paper. As I was the only tall person in our group I was the only one who could reach high enough up the wall. Therefore I became a sort of wallpaper master and I could probably do it with my eyes shut now.

The videos below show a timelapse of this process in both locations. They're also 360° videos so feel free to move around to see how the space changes!

'Under the White Sun' - Dressed bar set

Graphics dressed in the bar set

I was unable to make it to set dress the graphics because of responsibilities on the other two films I was working on. The others were kind enough to dress them for me and send photos of them. I think they fit in well with the set although I feel like the posters could have been dirtied down a little more.

Above: My beer label stuck onto a bottle. It was nice to see my work in context and I was happy with how this one turned out.

Below: Film still

'Sweet Changeling' - Dressing list

After another meeting with the Production Designers from LCC they confirmed we had a budget of £100 for the dining room set. I made the list below after the meeting with Sorrel and Vicky about what we would need to dress the set. Luckily the Scrapstore had a lot of fabric and wallpaper that was suitable so this saved us spending a lot of money on those essential pieces. Sorrel was also able to provide a lot of the props as her grandma has a lot of appropriate furniture and small pieces.

Left: Rough Dressing List   Right: Figuring out my weeks schedule