Portable objects actors handle on set. Hero props are camera-ready up to 4K; stunt props use soft foam for action sequences.
Hero props are manufactured from higher-quality materials and are camera-ready up to 4K resolution. Background props meet lower standards and cost 60-80% less. Stunt props are made from soft foams, silicone, or balsa wood with a density of 100-400 kg/m³. Action props must withstand drop heights of up to 3 meters, while pyro props are made from correspondingly fire-resistant materials like Nomex or treated aluminum. Insert props for close-ups are often 1.5-2 times the normal size and contain functional electronics.
Georges Méliès was the first filmmaker to establish a systematic prop system in his Montreuil studios in 1896. In 1915, Thomas Ince introduced the position of Property Master. In 1925, MGM developed the first central prop storage with over 50,000 cataloged items. Digitization began in 1993 with "Jurassic Park," where 40% of the dinosaur props were replaced by CGI. Today, 15-25% of all visible props are created as digital extensions of practical base objects.
The briefcase in "Pulp Fiction" existed in eight versions: four hero props with LED lighting, two stunt versions, and two background doubles. "Mad Max: Fury Road" used 150 functional vehicles as rolling props. The Property Master creates prop lists with 300-800 items, categorized by department and shooting days. Continuity props require photographic documentation of each position between takes. Weapons props are subject to special safety protocols with separate storage and transport permits.
Set decoration includes immovable furnishings such as furniture or wall paintings. Wardrobe props are items permanently attached to costumes. Special effects props contain mechanical or pyrotechnic elements. Virtual props are created entirely digitally, while hybrid props combine practical base bodies with digital extensions. Motion capture props serve as references for later CGI replacement and carry tracking markers in a 15mm grid.
Ich achte darauf, dass Hero-Props die richtige Oberflächenbeschaffenheit für meine Beleuchtung haben – glänzende Metalle reflektieren zu stark, während matte Oberflächen Details verschlucken können. Bei Makro-Aufnahmen von Insert-Props muss ich die Schärfentiefe exakt kalkulieren, da vergrößerte Props andere Proportionen zu den Händen der Schauspieler haben.
Props sind meine direkteste Verbindung zwischen Figur und Geschichte – der abgegriffene Ehering erzählt mehr über eine gescheiterte Ehe als drei Dialogseiten. Ich arbeite mit dem Property Master daran, dass jeder Gegenstand die emotionale Reise der Figur unterstützt, vom makellosen Smartphone am Anfang bis zum zerstörten Display am Ende des Films.
Props-Budgets liegen bei 2-4% des Gesamtbudgets, aber Nachbestellungen von beschädigten Hero-Props können Drehtage kosten. Ich kalkuliere grundsätzlich 30% Aufschlag für Stunt-Doubles und führe separate Versicherungspolicen für wertvollere Props ab 5.000 Euro. Transport und Lagerung verschlingen oft mehr Budget als die Herstellung selbst.
1. Zu welchem Department gehört „Requisiten"?
2. 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.