Set dressing and props are crucial elements in TV production. They create believable environments and support the story. From furniture to decorative objects, these elements establish mood, time period, and character details.

Prop management involves various types of props, from hand props to special effects items. Prop designers and makers collaborate with other departments to create, track, and maintain props throughout production, ensuring continuity and safety on set.

Types of set dressing

• Set dressing is the process of adding decorative elements to a set to create a believable and immersive environment that supports the story and characters
• It involves selecting and placing various items on the set, such as furniture, decorative objects, textiles, and greenery, to enhance the visual appeal and realism of the scene
• Set dressing plays a crucial role in establishing the mood, time period, and socioeconomic status of the characters and their surroundings

Furniture and large items

• Furniture pieces, such as sofas, chairs, tables, and cabinets, form the foundation of set dressing and help define the purpose and style of a room (living room, bedroom, office)
• Large decorative items, like artwork, mirrors, and light fixtures, add visual interest and contribute to the overall aesthetic of the set
• The selection and placement of furniture and large items should be consistent with the script, characters, and production design (modern, vintage, rustic)

Decorative objects and accessories

• Smaller decorative objects, such as vases, sculptures, books, and picture frames, provide additional layers of detail and personality to the set
• Accessories, like clocks, lamps, and knick-knacks, help to create a lived-in and authentic atmosphere (family photos, collectibles)
• These objects should be carefully chosen to reflect the characters' tastes, interests, and backstories, as well as the time period and location of the scene

Greenery and plants

• Plants, flowers, and other greenery can add life, color, and texture to a set, making it feel more natural and inviting (potted plants, flower arrangements)
• The use of greenery can help to soften the edges of a set and create a more organic and relaxed atmosphere, particularly in outdoor or garden scenes
• The type and amount of greenery should be appropriate for the setting and season, as well as the characters' personalities and lifestyles (succulents, ferns, seasonal flowers)

Textiles and soft goods

• Textiles, such as curtains, rugs, blankets, and throw pillows, add warmth, comfort, and visual interest to a set
• Soft goods can be used to introduce color, pattern, and texture, and to help define the style and mood of a space (velvet curtains, patterned rugs)
• The choice of textiles should be consistent with the characters' tastes, the time period, and the overall production design, while also considering practical factors like durability and ease of maintenance

Selecting set dressing

• Choosing the appropriate set dressing is a crucial aspect of creating a believable and immersive environment that supports the story and characters
• Set dressers must consider various factors when selecting items, such as the script, characters, production design, and budget constraints
• Effective set dressing requires a keen eye for detail, an understanding of the story and characters, and the ability to create a cohesive and visually appealing space

Matching the script and scene

• Set dressing should be carefully chosen to align with the script and the specific requirements of each scene (time period, location, season)
• The selected items should help to establish the setting, mood, and atmosphere of the scene, and should not distract from the action or dialogue
• Set dressers must pay close attention to the script and any changes or updates to ensure that the set dressing remains consistent and appropriate throughout the production

Considering the characters

• The set dressing should reflect the personalities, backgrounds, and socioeconomic status of the characters inhabiting the space
• Items should be selected based on the characters' tastes, interests, and lifestyles, and should help to provide insight into their backstories and relationships (family photos, personal mementos)
• Set dressers must work closely with the director, production designer, and actors to ensure that the set dressing accurately represents the characters and supports their performances

Adhering to the production design

• Set dressing must be consistent with the overall production design, which encompasses the visual style, color palette, and aesthetic of the entire production
• The selected items should complement the set design, costumes, and lighting, and should help to create a cohesive and immersive world (period-appropriate furniture, color-coordinated accessories)
• Set dressers must collaborate with the production designer and other department heads to ensure that the set dressing aligns with the established visual language of the production

Budget and resource constraints

• Set dressing must be accomplished within the allocated budget and available resources, which may require creativity and resourcefulness on the part of the set dressers
• Prioritizing essential items, sourcing cost-effective alternatives, and repurposing or modifying existing pieces can help to maximize the impact of set dressing while staying within budget
• Set dressers must also consider the practicality and durability of selected items, as well as any potential challenges related to storage, transportation, and installation

Acquiring set dressing

• Obtaining the necessary set dressing items is a critical part of the set dressing process, and involves various methods such as purchasing, renting, borrowing, and building custom pieces
• Set dressers must be resourceful and creative in sourcing items that meet the requirements of the script, characters, and production design while staying within budget
• Effective acquisition of set dressing requires strong organizational skills, attention to detail, and the ability to adapt to changing needs and constraints throughout the production process

Purchasing new items

• In some cases, set dressers may need to purchase new items specifically for a production, particularly when unique or hard-to-find pieces are required
• Purchasing allows for greater control over the exact style, color, and condition of the items, but can be more expensive than other acquisition methods
• Set dressers must carefully research and compare options to find the best value for the budget, and should consider the potential for reuse or resale after the production wraps

Renting from prop houses

• Renting set dressing items from prop houses is a common and cost-effective solution, especially for period pieces or productions requiring specialized or high-end items
• Prop houses maintain extensive inventories of furniture, decorative objects, and accessories from various time periods and styles, allowing set dressers to find the perfect pieces for their needs
• Renting can be more budget-friendly than purchasing, but may require additional coordination and planning to ensure that items are available when needed and returned in good condition

Borrowing or loaning pieces

• Set dressers may also arrange to borrow or loan items from other productions, studios, or private collectors, particularly for rare or expensive pieces
• Borrowing can be a cost-effective alternative to purchasing or renting, but requires strong relationships and trust between the parties involved
• Loaned items must be carefully tracked, insured, and returned in the same condition to maintain good working relationships and avoid additional costs

Building custom set dressing

• In some cases, set dressers may need to build custom pieces to meet the specific requirements of the script or production design, or to create items that are not readily available
• Building custom set dressing allows for complete control over the design, materials, and functionality of the pieces, but can be time-consuming and expensive
• Custom-built items may require specialized skills and collaboration with other departments, such as the art department or special effects team, to ensure that they meet the necessary standards of quality and safety

Types of props

• Props, or properties, are movable objects used by actors or placed on the set to support the story, characters, and overall production design
• There are several types of props, each serving a specific purpose and requiring different considerations for design, creation, and use on set
• Understanding the various types of props is essential for effective prop management and collaboration between the prop department and other production teams

Hand props vs set props

• Hand props, also known as personal props, are items that are handled or carried by actors during a scene, such as cups, phones, or books
• Set props, also called set dressing props, are objects that are placed on the set to create a believable environment but are not directly interacted with by the actors (paintings, lamps, vases)
• The distinction between hand props and set props is important for determining responsibility for the items and ensuring that they are available and properly placed for each scene

Practical vs non-practical props

• Practical props are functional items that work as they would in real life, such as a working clock or a lamp that actually lights up
• Non-practical props, also known as dummy props, are non-functional replicas used for visual effect or safety reasons (rubber weapons, fake food)
• The choice between practical and non-practical props depends on the requirements of the script, the actors' interactions with the items, and any potential safety or technical concerns

Hero props and duplicates

• Hero props are the primary version of a prop that is featured prominently in a scene or has special significance to the story or characters (a character's signature weapon, a key plot device)
• Duplicates, also called stunt props or backup props, are identical copies of hero props created to minimize the risk of damage or loss during filming
• Having multiple copies of important props ensures that filming can continue smoothly even if an item is damaged or misplaced, and allows for different versions to be used for specific purposes (a breakaway prop for a fight scene)

Special effects props

• Special effects props are items that are designed and created to produce a specific visual or practical effect on camera, such as explosions, gunfire, or supernatural occurrences
• These props often require specialized knowledge and collaboration with the special effects department to ensure that they are safe, reliable, and convincing on screen
• Examples of special effects props include squibs for simulating gunshot wounds, breakaway furniture for fight scenes, and animatronic creatures for science fiction or horror productions

Prop design and creation

• The process of designing and creating props is a critical aspect of bringing the story and characters to life on screen
• Prop designers and makers work closely with the director, production designer, and other department heads to develop and produce props that meet the creative, technical, and practical requirements of the production
• Effective prop design and creation involves a combination of artistic skill, technical knowledge, and attention to detail, as well as the ability to work within budget and time constraints

Sketching and concept art

• The prop design process often begins with sketches and concept art, which help to visualize the appearance, scale, and functionality of the props
• Prop designers create detailed drawings and renderings that communicate the key features and aesthetics of each prop, taking into account the script, characters, and overall production design
• Concept art may also include color studies, material suggestions, and construction notes to guide the prop-making process and ensure that the final products match the intended vision

Materials and construction techniques

• Prop makers use a wide range of materials and construction techniques to bring the designed props to life, depending on the specific requirements of each item
• Common materials include wood, metal, plastic, foam, and fabric, which can be shaped, molded, and finished to create the desired appearance and functionality
• Prop makers must have a strong understanding of the properties and limitations of different materials, as well as the skills and tools needed to work with them effectively (carpentry, welding, sewing)

Aging and distressing props

• To create a sense of realism and history, many props require aging and distressing techniques that simulate the effects of time, wear, and use
• Prop makers use various methods to age and distress props, such as painting, staining, sanding, and applying chemical treatments or physical damage
• The level and type of aging and distressing applied to a prop depends on the specific needs of the script and characters, as well as the overall aesthetic of the production (a well-worn book, a rusted metal sign)

Safety considerations

• Prop design and creation must prioritize the safety of the actors, crew, and any other individuals who may come into contact with the props
• Prop makers are responsible for ensuring that all props are constructed and used in accordance with industry safety standards and guidelines, particularly for items that may pose potential hazards (weapons, breakable objects, electrical components)
• Safety considerations may influence the choice of materials, construction methods, and handling procedures for certain props, and may require collaboration with the safety department or other specialized teams

Prop continuity

• Prop continuity refers to the consistency and accuracy of props throughout a production, ensuring that they appear and are used in the same way from shot to shot and scene to scene
• Maintaining prop continuity is essential for preserving the illusion of a seamless and believable story world, and requires close attention to detail and collaboration between the prop department and other production teams
• Effective prop continuity involves a range of tasks and considerations, from tracking the placement and use of props on set to cataloging and storing them for future reference

Maintaining prop consistency

• Prop continuity begins with ensuring that all props are consistent in terms of their appearance, functionality, and placement within a scene
• Prop masters and assistants must carefully monitor the use of props during filming, making sure that they are handled and positioned in the same way for each take and shot
• Consistency also extends to the continuity of props between scenes, requiring prop masters to keep detailed records of which props appear in each scene and how they are used by the characters

Tracking prop placement

• To maintain prop continuity, prop masters use a variety of methods to track the placement and movement of props on set, such as photographs, diagrams, and continuity notes
• These records help to ensure that props are always returned to their correct positions between takes and scenes, and can be used as a reference for resetting the set or matching prop placement in later shots
• Prop masters may also use specialized software or apps to document and track prop placement, allowing for more efficient and accurate continuity management

Resetting props between takes

• Between takes, prop masters and assistants are responsible for resetting all props to their original positions and states, ensuring that they are ready for the next shot
• This process may involve cleaning, repairing, or replacing props that have been damaged or altered during the previous take, as well as adjusting the placement or arrangement of items on set
• Resetting props requires a keen eye for detail and the ability to work quickly and efficiently under pressure, as delays in prop resetting can impact the overall production schedule

Cataloging and storing props

• Prop continuity also extends beyond the immediate needs of the production, requiring prop masters to catalog and store all props for future reference and potential reuse
• Prop departments typically maintain detailed inventories of all props used in a production, including photographs, descriptions, and any relevant notes or documentation
• Props must be properly labeled, packaged, and stored in a secure and organized manner, allowing for easy retrieval and minimizing the risk of damage or loss over time

Collaboration with departments

• Effective prop management requires close collaboration and communication between the prop department and various other production teams, from the art department to the actors themselves
• Prop masters and assistants must work closely with these departments to ensure that all props are designed, created, and used in a way that supports the overall creative vision and practical needs of the production
• Successful collaboration involves a range of skills and considerations, including the ability to communicate clearly, anticipate and resolve potential challenges, and maintain a positive and professional working relationship with all team members

Working with the art department

• The prop department works closely with the art department, particularly the production designer and set decorator, to ensure that all props are consistent with the overall visual style and aesthetic of the production
• Prop masters collaborate with the art department on the design and creation of certain props, such as hero props or items that require specialized fabrication or finishing
• The art department may also provide guidance or resources for sourcing and acquiring props, as well as coordinating the integration of props with other set dressing elements

Coordinating with the director and AD

• Prop masters must communicate regularly with the director and assistant director (AD) to ensure that all props are available and used in accordance with the creative vision and practical requirements of each scene
• The director may provide specific notes or instructions regarding the selection, placement, or use of certain props, which the prop department must work to accommodate or address
• The AD is responsible for managing the overall production schedule and workflow, and may coordinate with the prop department to ensure that props are ready and available for each scene as needed

Communicating with actors about props

• The prop department is responsible for providing actors with the necessary props for each scene and ensuring that they are comfortable and confident in using them
• Prop masters may work directly with actors to provide training or guidance on the proper handling and use of certain props, particularly for specialized or technical items (weapons, medical equipment)
• Actors may also provide feedback or suggestions regarding the props, which the prop department must consider and address in order to support their performances and maintain continuity

Liaising with the prop master

• The prop master is the head of the prop department and is responsible for overseeing all aspects of prop management, from design and acquisition to continuity and storage
• Prop assistants and other team members must work closely with the prop master to ensure that all tasks and responsibilities are carried out efficiently and effectively
• The prop master serves as the primary liaison between the prop department and other production teams, communicating needs, challenges, and solutions as needed to support the overall goals of the production

Set dressing and prop challenges

• Set dressing and prop management can present a range of challenges and obstacles that require creative problem-solving, adaptability, and effective communication to overcome
• These challenges may arise from a variety of factors, including limited resources, tight schedules, unexpected changes, or the inherent complexity of certain sets or scenes
• Successful set dressers and prop masters must be prepared to anticipate and address these challenges in order to maintain the quality and consistency of the production while minimizing disruptions or delays

Limited space on studio sets

• Studio sets often have limited space available for set dressing and prop placement, particularly for multi-camera productions or sets that require frequent changes or resets
• Set dressers and prop masters must work creatively to maximize the use of available space, selecting and arranging items in a way that balances visual impact with practical considerations
• This may involve using smaller-scale or multi-functional pieces, creating the illusion of depth or space through careful placement and lighting, or coordinating with other departments to optimize the use of shared resources

Quick set changes and turnarounds

• Television productions often require rapid set changes and turnarounds between scenes or episodes, leaving limited time for