Manages and sources all movable set objects, from hand props to custom fabrications. Oversees hand props, set decoration, action props, and picture props.
Property Masters distinguish between Hand Props (direct actor interaction), Set Decoration (atmospheric objects), Action Props (mechanical/pyrotechnic elements), and Picture Props (special custom-made items suitable for close-ups). Storage areas typically comprise 200-800 m² for feature films, organized into 12-16 categories with digital inventory management via QR codes. Special props like weapons are subject to weapons law §42a and require appropriate proof of expertise.
In 1895, Méliès was the first to introduce systematic prop management. UFA established the job title of Chief Optician in 1923, the modern equivalent of the Property Master. In 1952, the collective bargaining agreement first defined the distinction from set designers. Digitization since 1998 has revolutionized inventory management: barcode scanners replaced handwritten lists, and 3D printers have enabled cost-effective prototype production within 4-8 hours since 2010.
For "Blade Runner 2049," the Property Master managed 8,400 individual items, including 347 self-illuminating custom-made props. In "Mad Max: Fury Road," 90% of the vehicle parts were created in the in-house workshop. The typical workflow includes breakdown creation (Days 1-3), procurement/manufacturing (Weeks 2-8), set dressing concurrent with camera construction, and continuous continuity documentation with 50-200 reference photos daily.
Distinction from Set Decorator: Property Masters focus on movable, plot-carrying objects, while Set Decorators handle atmospheric spatial design. The Assistant Property Master has specifically taken over continuity monitoring since the 1980s. Digital Asset Libraries are increasingly replacing physical props: 30% of background props are now created in post-production, particularly in Marvel productions from 2018 onwards.
Ich brauche alle Hero-Props 48 Stunden vor Drehbeginn für Lichttests, da reflektierende Oberflächen oder transparente Materialien meine Beleuchtung drastisch verändern. Besonders kritisch sind praktische Lichtquellen wie Lampen oder Monitore - hier stimme ich Farbtemperatur und Dimming direkt mit dem Requisiteur ab.
Jede Requisite erzählt Charakter-Subtext: Die abgegriffene Brieftasche verrät finanzielle Sorgen, das perfekt polierte Weinglas sozialen Status. Ich entwickle mit dem Requisiteur eine Objektbiografie für jeden wichtigen Gegenstand - seine Geschichte beeinflusst, wie Schauspieler damit interagieren und welche emotionale Ebene er transportiert.
Requisite verschlingt 3-8% des Gesamtbudgets, bei Period-Pieces bis zu 15%. Ich kalkuliere 2-4 Wochen Vorlaufzeit für Spezialbeschaffungen und budgetiere grundsätzlich 20% Sicherheitspuffer für Bruch oder Verlust. Die Lagerlogistik kostet zusätzlich 800-2.000€ pro Drehwoche, aber eigene Werkstätten amortisieren sich ab 6 Millionen Budget.
1. Was beschreibt „Requisiteur" am besten?
2. Zu welchem Department gehört „Requisiteur"?
3. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
The Lexikon is part of the Filmfarm ecosystem — alongside budgeting (FilmBalance), an industry magazine (FilmCircus) and crew networking (FilmCall, CrewMesh). One shared vocabulary for the whole production.