I wouldn’t just forge ahead regardless.īut when we enter the film industry, that logic and common sense go out the window, especially when it comes to creative departments like art (set design, production design, props, etc.), costumes, CGI and visual effects, and makeup and special makeup effects. If I discovered those costs were too prohibitive or they exceeded what I could afford, the project would be shelved or rethought. For example, logic and common sense would dictate that if I need a display made for a trade show or an office built for my law firm, I’d do a ton of research to get a true and accurate understanding of the costs.
Now, there’s no harm in not knowing but let’s talk about the elephant in the room: what you do when don’t know can cause big problems. They may come to understand the cost of basic sets that have to be built, maybe even a custom period costume, but the same knowledge of makeup effects and specialty props continues to elude them. Even the most inexperienced producers can calculate the cost of gear rental, catering, locations, and crew but when it comes to things that have to be made, their knowledge ends abruptly.
What I mean is that what I do is an absolute mystery to them. And if there’s one thing I’ve learned in that time, it’s that producers view my craft as a mystical unicorn floating in the sky. I’ve been doing makeup effects, specialty props, specialty costume elements, and prototyping for the film industry for 14 years.
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