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82
BRITISH kINEMATOGRAPHY
Vol. 18, No. 3
Tunnel, also for shots of a jump from a high building on to the roof of another.
Set Costs
It is the Art Director who has to estimate the cost of his proposed sets, the amount of timber likely to be used, the plaster, paint, hessian, photo backings, scenic canvas, the construction wage bill, the modelling, moulding and casting of models and trick shots, the hire of props and set dressings and the making of special props. What stock can be used, stock flats, doors, windows, columns and enrichments and the
keeping set costs down is to have a script sufficiently finalized and the set-ups planned, so that only the minimum required is built. Overbuilding increases costs, not only because more material and labour have to be used than necessary, but because a set takes up more floor space and there is more to encumber operation on the floor, particularly when the set is built higher than is ultimately necessary. The Art Director has to use his discretion and experience — or it might even be described as intuition.
The rising cost of materials has, of course, sent up set costs quite considerably. An
Fig. 5. Soundproofing the Mobile Studio used for " The Magnet."
(Courtesy of Ealing Studios, Ltd.
" revamping " of existing sets — all these are considered when estimating the cost of a set.
The really important consideration in
average that used to be worked on was onefifth of the total for materials, but recently on some sets the cost of materials has almost reached the cost of labour.
REFERENCES
1. Brit. Kim., 14, No. 1, Jan. 1949, p. 1.
2. Brit. Kine., 16, No. 4, April 1950, p. 109.
3. Studio Review, Nov. 1950, p. 7.
4. Brit. Kine., 13, No. 5, Nov. 1948, p. 145.
5. Brit. Kine., 13, No. 3, Sept. 1948, p. 74.
6. Brit. Kine., 15, No. 4, Oct. 1949, p. 105.
7. /. Brit. Kine. Soc, 5, No. 3, July 1942, p. 77.
8. Studio Review, April, 1951, p. 9.