![]() There is a history of competitiveness and fear based behavior in our industry that we have all inherited and I believe our future and strength lies in transparency, cooperation, and a collective raising of the bar. We simply didn’t do what we’re doing now, in addition to pulling off miracles one set at a time, we’re addressing pay inequality, diverse hiring practices and abusive working conditions. I have wondered how we used to do it all, before email and cell phones and Google, but now I think the answer is - we didn’t. You need a 1920’s hotel with an atrium? Post about it - because collectively we are powerful enough to meet the demands of the current system and technology has made us virtual super heroes. You need a taxidermied screech owl by tomorrow morning? Post about it. You need to crew up in Texas? Post about it. ![]() How do we do it? We work smart, efficient and fast, all with the help of social media. Crews are smaller, shooting days are compressed into double-up days and prep times are half what they were 15 years ago, all the while demand for content just keeps coming. ![]() The accessibility to technology has been our saving grace in an ever changing industry. Photos were printed at the one hour developing shop across the street from Omega Cinema Props and Debbie’s Book was.well, a book. On my first gig I was advised to get a Thomas Guide and a digital camera. I started in the film and television industry in 2005. As a production designer though, I find social media to be essential, inspiring and the ultimate unifier. I find it distracting and addictive, as it was designed to be. It would be fun to post the models, sets and lost ideas that never made the cut.Īs a person, I am not a fan of social media. Maybe I’ll start posting, just to show work that has no other outlet. Have you replaced your early work with something new? Maybe someone has discovered you through one project and now you can show them the other facets of your design work that is less known. It’s not only a brilliant tool, keeping it up to date is a way of reflecting on your where your work has progressed. In visiting production design departments in a number of universities and speaking to the students, I am happily surprised that making a web site to show your work and present yourself is part of the final curriculum. That still holds true but the method to share your work is much easier. My work and word of mouth from those I had worked with was always the only calling card available for new projects. Eventually IMDB became the source for feature film resume’s. I would labor over the edit, distilling my contributions to commercials or music videos to look like they were somehow from the same eclectic mind. In social media you are in a closed loop of those who subscribe, those invited in and shared with, where as a website is accessible to anyone that has found the address.Īlthough I started using a computer for work around 1990, I was still making an edited “reel” on video tape to share my work through the nineties. Separating “social media” from websites in general is tricky. Doing research, you can’t help but end up in someone’s mood/wish board on Pinterest. I am never not doing research, saving images and piecing together a collection of influences for an unknown future project. Instagram can give you a glimpse of someone’s visual eye. I do have an Instagram account and a Pinterest account to gain access. It is the new version of a privately curated library. ![]() Although I don’t have any social media accounts where I post, I nonetheless constantly look at others - flow of new artwork from painters and sculptors, photos from Cinematographers, interiors and exteriors from Designers and Architects. Visuals in social media have become such a generous window into others’ creativity.
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