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Set furnishings, props, costumes and performer makeup are not completely independent elements in the production process. Elements of graphic design interact with each other and many other areas of production to create an overall visual impression. The most important interactions are those between graphic design and each of the following: lighting, performer movement and important graphic elements. The most commonly used types of on-set graphics are handheld cards, photographic blowups, and three dimensional graphic set pieces. Handheld cards are images that a performer holds up to the camera during a scene. The talent controls the timing and placement of this type of graphic illustration.
Still photographs can be blown up or enlarges so that they provide a convenient background or backdrop on the set. Such photographs should have a matte rather than a shiny or glossy surface so that they do not reflect a great deal of light, and they should be positioned so that no glare or reflection is directed toward the camera lens. Three-dimensional structures placed on the set for illustration purposes are called graphic set pieces. A graphic set piece could be an item to be demonstrated, such as a piece of machinery, or an art object. Most on-set graphics can be scanned and digitized ahead of time so that the framing can be precise and the camera is not tied up with a static shot unless it is necessary for the talent to handle the graphic or be part of the action involving the graphic.
Camera cards are usually placed on an easel, which is an adjustable display platform or graphics stand. The lights on the easel, which illuminate the card, are normally placed at a 45-degree angle form the cards surface to minimize light reflection in the camera lens. When the cards are attached to the easel by rings, they can be flipped while maintaining perfect registration for the camera.
It is also possible to Zoom into different elements on a card or photograph. This adds dynamic movement to static images. Dissolving form one card illustration to another is another common technique. The camera should record a card or illustration directly head-on to avoid keystone distortion.
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