“Everyone I’ve ever seen working on these things really cares, they want to do the best they can,” he says. I will remind you that the Mona Lisa is famous for her smile, not the soft-focus dodgy background of the painting Dan Yarhi, art directorīut he wants to make something clear: this isn’t the result of lazy or uninspired work. “Up until the early 2000s no one cared, and just gradually over time, it’s getting to be more of a problem,” Rutledge says.
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Now we have HD TV that any keen viewer can pause and inspect, so small cracks in production stand out like dry ravines, and the film industry has had to adapt. The photo has just been upgraded from set dressing to an action prop with nowhere to hide.īefore 4K quality came along people didn’t really notice this stuff. Imagine prepping a photo frame designed to sit out of focus on a distant shelf, then an improvising actor picks it up while the camera is rolling. The Change Up (2011) /e2C9yA7KLd- Amusing Pseudonym March 7, 2022 “They do a camera blocking first thing in the morning, and then sometimes I come back in the afternoon, and they’ve turned the set around and are now pointing another way.” “You have to remember, too, that things happen on a set spontaneously,” Yarhi says. Yarhi has been working across art departments in film and TV since the early 1970s and his team were responsible for the framed photos that appeared in Resident Evil: Retribution in 2012 – which turned up in Gerber’s thread as an example of questionable editing. It’s like, ‘No, you’re supposed to be playing a homeless guy!’” Veteran art director Dan Yarhi says: “You ask them for photographs, and then their agent sends you actor’s headshots. But this doesn’t always go to plan either. If the actors can’t make it on set at the same time during preproduction, they’ll be asked to submit portraits of themselves instead that can be spliced together. The obvious solution is to arrange a photoshoot with the actors, but there are conflicting schedules to consider.
If the script calls for a cosy shot of two characters embracing, Rutledge has to make that happen. “Often the art department will need something and be like, ‘Hey, can you make this background picture of this guy’s kids that we never see on the TV?’”
“Primarily I do sets and locations, which is how I get involved in doing these Photoshop pictures of people in backgrounds,” he says. That means creating lots of phone selfies and family photos designed to dot around the characters’ houses. “The scripts get written without any idea what exists or not.” Rutledge has worked on several notable TV shows in recent years, from Snowpiercer to Batwoman and Supergirl, and is currently in charge of sourcing portraits for a Disney+ teen romance movie. “Sometimes it’s just kind of a nightmare,” assistant art director Seth Rutledge says about the process of putting such photos together.
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