Reel Opportunities

Set Designer

What does a Set Designer do?

Set Designers create the way a film or TV show looks by designing the sets. Films can be set in any number of places: a Victorian orphanage, a Caribbean cruise ship, or another planet, for example. They work with all the other visual departments, including costume, lighting, visual & special effects, and graphic design to build the perfect set without needing to rely on shooting on location.

Set Designers start with the script. Collaborating with the Production Designer, they draw sketches and develop blueprints. Then they work with other art department members to agree on a budget. They prioritise the work schedule and allocate the management of finances to team members performing different tasks. They are usually freelancers.

What's a Set Designer good at?
  • Art

    Draw by hand to scale, do technical drawings and computer-aided design

  • Design

    Understand colour theory, know the history of architecture and interior design

  • Knowledge of photography

    Understand cameras, lenses and lighting and their effect on a film’s look and mood

  • Organization

    Manage budgets, draw up schedules, prioritize and meet deadlines

  • Communication

    Share the vision with a wide number of different people and keep a team working together well

Who does a Set Designer work with?

Set Designers work directly with and report to the Production Designer or the Art Director. On a day-to-day basis they work with the art department such as Carpenters and Painters, and when filming they work with crews.

How do I become a Set Designer?

Most Set Designers have worked in the art department for many years. Aim to start as a Production Assistant and work your way up through the ranks outlined above. Here are some more tips:

Get a degree: Most set designers have got degrees in art, architecture, theatre, theatre design, interior design or 3D design.

Get an internship: An internship is a job with training, so it’s a great opportunity to earn as you learn. However, it can be challenging to find jobs as an internship within production companies. It might be worth looking for a job as an intern in an industry that uses similar skills, such as being an Architectural Assistant. This will help you develop your craft and create a body of work for a portfolio that you can use to find your way into film and TV shows at a later point.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

Our Partner, ScreenSkills UK is the industry-led skills body for the UK screen industries. For further information, www.screenskills.com.
Profiles and profile icons © 2022 ScreenSkills Limited. All rights reserved. No part of this publication may be reproduced without the permission of the copyright owner.
Job Profile Design by Dave Gray. Based on an original concept by Ian Murphy/Allan Burrell.

Reel Opportunities

Set Decorator

Also known as: Set Dec, Set Dresser, Stylist (commercials)

What does a Set Decorator do?

Set Decorators are storytellers. They create the background of the action, explaining the context, adding mood and visual interest as the drama unfolds. While Prop Masters deal with the placing of objects an actor holds, Set Decorators are concerned with the walls, floors, vehicles and furniture.

Before filming begins, Set Decorators work with the Director, Art Director, Props Master and Production Buyers to go through the script and work out what sets are needed. They make a list and a plan for the Props Master to follow. Then they buy or hire the items and get in Props Makers to make furniture.

The day before shooting, Set Decorators arrive early to begin dressing the set. After the Director and Director of Photography have checked it, the Set Decorators move on to the next scene. Once a scene has been shot, they are responsible for striking (taking apart) each set.

What's a Set Decorator good at?
  • Understanding film

    Be able to pick up the director’s vision, know how a background can tell a story

  • Style

    Have a good eye for decoration, a sense of colour and form, precise attention to detail

  • Historical knowledge

    Research different eras and dress a set authentically

  • Communication

    Work closely with the production designer and other departments, share the vision with the team

  • Organisation

    Break down a script for set requirements, manage staff, budgets, complex schedules and transport

Who does a Set Decorator work with?

In larger productions, Set Decorators will have a team made up of Assistant Set Decorators, Buyers, Set Dressers, painters, drapers, cabinet makers, sculptors and so on. They report to the Production Designer and work closely with the Art Director and Props Master.

How do I become a Set Decorator?

There is no standard career path to be a Set Decorator. Often, they will have experience working as a Production Buyer or an Assistant Set Decorator. They have usually worked in the art department for several years or in set design in the theatre.

Here are some tips:

Educational Requirements: If you want to go to university, courses in art and design, architecture, photography, theatre, graphic design or graphic communication are useful.

Get experience: Volunteer to do set decorating for student videos. Or decorate stage sets in amateur theatre productions.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

Our Partner, ScreenSkills UK is the industry-led skills body for the UK screen industries. For further information, www.screenskills.com.
Profiles and profile icons © 2022 ScreenSkills Limited. All rights reserved. No part of this publication may be reproduced without the permission of the copyright owner.
Job Profile Design by Dave Gray. Based on an original concept by Ian Murphy/Allan Burrell.

Reel Opportunities

Art Director

What does an Art Director do?

The role of an Art Director varies slightly depending on the kind of production being produced. Art Director is a title that appears in many industries, including film, theatre, advertising/marketing, fashion, and more. The Art Director makes decisions about visual elements.

Art Directors start by examining the script and working with the Director to understand the vision for the film or TV show. They then create their designs and determine the tone, mood and colour palettes.

In a studio show, Art Directors are responsible for turning the creative vision of the Production Designer into reality by drawing plans and visuals and making models. They organize the art department and oversee the construction of the set. They are responsible for the way the set is dressed and the inclusion of any props. They remain on set throughout the production to ensure the set is maintained and dressed appropriately to accommodate the varied content.

On shows where there isn’t a set, but where the content is filmed at various locations, they work with the Producer and Director. They create ‘mini-sets,’ managing the dressing and styling of an area (indoors or outdoors) in which to film. Often, they design these props themselves and oversee their build.

While the Production Designer is the creative mind behind the overall look of a production, the Art Director is the hands that makes that vision come to life. Art Directors are the metaphorical “architects” of the art department. If there is not a Production Designer on a production, Art Directors ensure that what they are doing meets health and safety guidelines as well as the needs of the Producer and Director, and is within budget.

In animation, Art Directors are responsible for the visual style of the animation. They decide how the characters, props, and environments are going to look and provide a basis for the rest of the art department to work from.

This is a job that involves a lot of communicating with people and needs strong management skills. Art Directors are responsible for ensuring all artwork is of high quality and in keeping with the Director’s vision. They are also responsible for making sure everyone in the art department stays on budget and on schedule.

What's an Art Director good at?
  • Creativity

    Visualize what a production requires, the look of a set or location, imagine how it will accommodate the production brief and department requirements. Have the artistic skill and imagination to produce original and high-quality designs

  • Leadership

    Have strong management skills to lead a department, be able to communicate visual ideas, and be able to work as part of a team

  • Art

    Be able to draw conceptually and technically, work with specialist design software, build props and small sets, have knowledge of art history

  • Knowledge of construction

    Source appropriate materials and props, be aware of the latest developments in production design

  • Knowledge of production

    Understand production techniques, studio environments, studio capabilities and the challenges of working on location. In animation, be able to understand what is going to be achievable further down the line on an animation production by the animation and post-production teams

  • Leadership

    Be able to share their vision with a wide number of different people, manage budgets and people, draw up schedules, prioritise and meet deadlines

  • Communication

    Understand what the director wants, be able to explain ideas, give constructive feedback, have good presentation skills

Who does an Art Director work with?

Art Directors project-manage work within an art department. They oversee construction teams, Production Buyers, Art Department Assistants, Carpenters, Greensmans, Painters, Scenic, Set Dec and Production Assistants. Art Directors work closely with Production Designers, particularly on studio shows, and on-location work with Producer and Directors and their teams of Associate Producers, Researchers and Production Designers. They also collaborate with camera, sound and lighting operators to ensure their work complements theirs and doesn’t create technical issues, such as with colour, lighting or the creation of unnecessary sound problems. They also work closely with Production Managers in planning and budgeting.

In animation, Art Directors work closely with the Director and as well as the artists in their teams, including Background Designers and Modellers.

How do I become an Art Director?

Art Directors typically need a bachelor’s degree in an area relating to visual art or design, preferably as they relate to film. Courses in theatre, architecture, digital design, fine art, film history, and interior design are all relevant to study.If you’re going the film school route, courses in production design are especially useful.

On-set experience is also key, as well as organizational and administrative skills. Art Director is a senior position, so you usually need some experience before you can progress to this role. A good route would be through starting in a junior position in the art department, such as a Set Decorator. You’ll also need to develop strong management skills. To be an Art Director in the animation realm, you will also need a good understanding of how an animation project works.

Here are some other tips:

Develop a wide range of art skills: Learn how to paint, do 3D modelling and graphic art. The more you can do at this stage, the more chance you have of being useful in the art department later on.

Learn to drive: If possible, get access to a car. This makes you more versatile and means you can help more.

Build a portfolio: Create work that you can show off to employers. As an Art Director, you will be hired based on your personal style and skill, so you need to have a strong portfolio. This could be made up of your own independent artwork or work you’ve done for collaborative projects. This is essential for impressing collaborators and people in the film industry.

Look outside the industry: Art Directors are needed in many industries outside of film and animation, including advertising, theatre, print magazines and product design. Getting experience working in the art department of a company in one of these fields would be a good way to gain relevant experience which you can translate into film.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

Our Partner, ScreenSkills UK is the industry-led skills body for the UK screen industries. For further information, www.screenskills.com.
Profiles and profile icons © 2022 ScreenSkills Limited. All rights reserved. No part of this publication may be reproduced without the permission of the copyright owner.
Job Profile Design by Dave Gray. Based on an original concept by Ian Murphy/Allan Burrell.

Reel Opportunities

Construction Manager

What does a Construction Manager do?

Construction Managers look after the building of sets in the studio. They make sure the sets look realistic or look the way the production desires. They interpret the drawings of the Production Designer, Art Directors, and Set Designers and work out how to build them in ways that are safe and environmentally friendly.

Then they hire the workforce, the Carpenters, Painters, Riggers, and Plasterers, and ensure everyone knows what needs to be done and by when. They are responsible for getting the necessary materials and tools on-site. They are also responsible for the safety of the crew. Construction Managers are responsible for dismantling (or “striking”) the sets, and ensuring all the materials are recycled as much as possible, or placed into storage for future productions.

What's a Construction Manager good at?
  • Construction

    Know all aspects of building work

  • Reading drawings

    Interpret drawings to plan size and scale, understand the designer’s vision, work out what this means in terms of building requirements

  • Organization

    Manage a budget, work to a schedule, recruit hundreds of constructors within a tight timeframe

  • Communication

    Be able to liaise between the artists and the construction workers, get a team to work well together

  • Staying safe

    Ensure all health and safety measures are in place

Who does a Construction Manager work with?

Charge Artist
Charge Artists or Lead Scenic Artists are responsible for all the work carried out by the painting team.

Scenic Artist
Scenic Artists may be asked to paint cloud or city backdrops, murals or other on-set paintings. They are skilled painters capable of intricate detailing and painting techniques such as marbling, wood graining and ageing. They may create complex prop pieces. They are responsible for scheduling their own work and buying necessary supplies.

Set Painter
Painters may be responsible for a range of artistic effects, from painting cars with a metallic finish, using a spray gun to cover a huge background surface, applying fine specialist finishes such as replica marbling and graining effects to sets, painting pipes to make them look old and rusty, and hanging large wall coverings. They usually supply their own tools and specialised brushes.

Set Carpenter
Carpenters produce a variety of structures, from on-screen props like windows and furniture to replica spacecraft or medieval ships. They also do a great deal of off-screen building to create support structures for the crew. This includes all the wooden structures required by film production, from doors and windows to the raised platforms that may be required by the crew.

Plasterer
Plasterers’ work involves the traditional job of applying wet finishes to walls, ceilings and floors. It also involves fibrous plastering, making moulds and model casts from solid plaster or fibreglass in workshops.

Rigger
Rigging is the fastening or securing of items at height in a safe way. Head Riggers are responsible for the work of the entire rigging department.

Model Maker
Model Makers are responsible for building models and miniatures. They could work with clay, plaster, plastic or metal and a range of techniques. They include polystyrene carvers and sculptors who make lightweight and large sculptures, trees, rocks and other oversized complex items. They may use freehand drawings skills or computer-aided design (CAD) to create designs.

How do I become a Construction Manager?

Construction Managers have years of experience in film and TV drama production. Typically, they start off in one of the trades, usually carpentry, and work their way up.

Get an apprenticeship: An apprenticeship is a job with training, so it’s a great opportunity to learn as you earn. However, it might be worth looking for a job as an apprentice in an industry that uses similar skills, such as being a furniture maker or a painter and decorator outside of film and TV. This could help you develop your craft and give you the skills you need to get into film and TV drama at a later point.

Get to know people in the industry: Once you are qualified and have a couple of years’ experience in your chosen trade, you will be handy for constructing film sets. Try to get to know people in the industry and ask if they need your skills.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

Our Partner, ScreenSkills UK is the industry-led skills body for the UK screen industries. For further information, www.screenskills.com.
Profiles and profile icons © 2022 ScreenSkills Limited. All rights reserved. No part of this publication may be reproduced without the permission of the copyright owner.
Job Profile Design by Dave Gray. Based on an original concept by Ian Murphy/Allan Burrell.

Reel Opportunities

Greensperson

Also known as: Greensman

What does a Greensperson do?

The Greensperson is responsible for all the plants and live foliage on a film set. The Greensperson has to rent, arrange, and take care of all the plants for a film shoot. They sometimes have to create large jungles in a sound studio or decorate a room with the right plants for the scene. If the scene is outside, or a location doesn’t require the renting or creating of a green landscape, the Greensperson may be brought in to shape the existing plants to what is desired.

They are a part of the art department and have to do a lot of research in the pre-production stage. They have to mark all the areas in the script that require vegetation or plants, then they have to research the correct plants to acquire and where to acquire them. Once they get their budget they have to rent the plants to make the scene just right.

What's a Greensperson good at?
  • Knowledge of plants and vegetation

    Have an understanding or background in different types of plants and foliage

  • Green Thumb

    Know how to properly take care of a multitude of plants and vegetation

  • Physically fit

    Be able and willing to work long hours, inside and outside, moving heavy objects

  • Organization

    Be organized with the planning of what plants need to arrive on what day and time

Who does a Greensperson work with?

The Greensperson will typically work with the Production Designer and Set Decorator. The Greensperson will get the sketches from these team members of the look of the film. They work together to create the vision of the Director to life, the Greensperson focuses on the plant element in the sketches. They would also work with the production team, such as grips, on the day of shooting. The Grips or art department PAs would help the Greensperson get the plants into place.

How do I become a Greensperson?

There is no degree or education required but studying horticulture, botany, or design in landscaping would be good knowledge prior. Greensperson may begin working at a greenhouse and book themselves out to various film shoots to get established. Others may begin in the art department as a PA and then grow in set decorating and focus on the greenery aspects.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

Our Partner, ScreenSkills UK is the industry-led skills body for the UK screen industries. For further information, www.screenskills.com.
Profiles and profile icons © 2022 ScreenSkills Limited. All rights reserved. No part of this publication may be reproduced without the permission of the copyright owner.
Job Profile Design by Dave Gray. Based on an original concept by Ian Murphy/Allan Burrell.

Reel Opportunities

Dolly Grip

What does a Dolly Grip do?

Dolly Grips are responsible for special equipment used on a film set, such as dollies (the wheeled platform which carries the camera and the camera operator), cranes or jibs (a boom device with a camera on one end, and a counterweight and camera controls on the other). They have the responsibility of taking care and operating this equipment.

The Dolly Grip builds the track and the dolly will go on top and help assemble the rig for it to properly ride. The Dolly Grip will ride on the dolly along with the Camera Operator to help get the track shots for the shoot. Along with the dolly they also help set-up and manage the crane and jib equipment depending on the production needs.

What's a Dolly Grip good at?
  • Knowledge of cameras and supports

    Understand the technical requirements of cameras and of the baseplates, dollies, cranes, and jib arms on which they are mounted

  • Specialized Knowledge

    Be trained and have experience operating and handling dollies cranes and jibs

  • Innovation

    Think quickly of practical solutions to problems, adapt equipment to particular environments

  • Lifting and Physical Fitness

    Know how to lift safely, and have the stamina

Who does a Dolly Grip work with?

The Dolly Grip will work closely with the Key Grip and the Best Person Grip. They work with the Key Grip to figure out the plans for the dolly and special equipment during the production. They work with the Best Person Grip during the day-to-day production. They will also work closely with the camera department when building and operating the special equipment.

How do I become a Dolly Grip?

Unlike many roles in film and television, there’s an established route to becoming a Grip. The best way to begin would be to contact your local IATSE union for trainee programs. They may be able to place you on a production willing to take on a Grip Trainee. After you’ve met the qualifications of a Grip, you can begin to apply for positions on unionized productions.
After becoming a Grip and gaining more experience on the production set, you should begin showing interest in special equipment. Take opportunities to work and learn the dolly and other equipment necessary for the role.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

Our Partner, ScreenSkills UK is the industry-led skills body for the UK screen industries. For further information, www.screenskills.com.
Profiles and profile icons © 2022 ScreenSkills Limited. All rights reserved. No part of this publication may be reproduced without the permission of the copyright owner.
Job Profile Design by Dave Gray. Based on an original concept by Ian Murphy/Allan Burrell.

Reel Opportunities

Best Person Grip

Also known as: Best Boys

What does a Best Person Grip do?

Best Persons (sometimes known as Best Boys) are second in charge and have a similar role to the Key Grip. They do all the paperwork. They liaise with the equipment rental companies, do the risk assessments, sort out contracts with the production team, and act as the go-between between the production office and the grip department.

While the Key Grip works with the Director of Photography and the Director to get the overall scope of the production, the Best Person does the day-to-day management. They create the schedules for the grip department, delegating the work for the production in accordance with the Key Grips plans. They also identify the needs of the crew and make sure everything is going according to plan.

They are the Key Grips right-hand and are responsible for making sure everything the Key Grip has planned out goes smoothly.

What's a Best Person Grip good at?
  • Knowledge of cameras and supports

    Understand the technical requirements of cameras and of the baseplates, dollies, cranes, and jib arms on which they are mounted

  • Leadership

    Motivate and communicate well with everyone throughout the project, take responsibility for decisions and outcomes, create a good working atmosphere

  • Organization

    Plan, prioritize, multitask and use your own initiative to manage schedule

  • Innovation

    Think quickly of practical solutions to problems, adapt equipment to particular environments

  • Communication

    Listen to the Director of Photography, be able to explain and share information with actors and the rest of the crew, especially when under pressure

  • Lifting

    Know how to lift safely, and have the stamina

Who does a Best Person Grip work with?

They work very closely with the Key Grip to help them achieve their plans for the production. They also work closely with the grip team to help schedule and manage the day-to-day task they will have to accomplish. The Best Person Grip will also be working with members of the production office such as the Production Manager, to make sure all the logistics are sorted out.

How do I become a Best Person Grip?

The best way to begin would be to contact your local IATSE union for trainee programs. They may be able to place you on a production willing to take on a Grip Trainee. After you’ve met the qualifications of a Grip, you can begin to apply for positions on unionized productions.

After being a grip for a number of productions and feeling confident in the field, you can use that experience to become a Best Person Grip.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

Our Partner, ScreenSkills UK is the industry-led skills body for the UK screen industries. For further information, www.screenskills.com.
Profiles and profile icons © 2022 ScreenSkills Limited. All rights reserved. No part of this publication may be reproduced without the permission of the copyright owner.
Job Profile Design by Dave Gray. Based on an original concept by Ian Murphy/Allan Burrell.

Reel Opportunities

Key Grip

What does a Key Grip do?

The Key Grip is the head of the grip department on a production. Key Grips have the same qualifications as Grips, but they are the ones in charge of all the grips working on the production.

Before filming starts, the Key Grip breaks down the script and works out (with the DoP and Director) what equipment will be needed to support the cameras for each scene. They make a list of any special equipment they may need and work with the production to get the best crew. They go on scouts to check out the location. If filming is taking place at a location with extreme climates, like the Sahara desert or the top of Mount Everest, they might need to adapt the equipment for the camera maneuvers.

Key Grips need to figure out how to correctly build the rigs and equipment so the rest of the team can execute the creative vision. They map all the supports for the lighting and camera departments to coincide with the plans created.

During production, the Key Grip will be in charge of the grip department and organize the construction or adjustments to any structure created. They do this with the help of the Best Person Grip, who manages the day-to-day tasks.

What's a Key Grip good at?
  • Knowledge of cameras and supports

    Understand the technical requirements of cameras and of the baseplates, dollies, cranes, and jib arms on which they are mounted

  • Leadership

    Motivate and communicate well with everyone throughout the project, take responsibility for decisions and outcomes, create a good working atmosphere

  • Innovation

    Think quickly of practical solutions to problems, adapt equipment to particular environments

  • Communication

    Listen to the Director of Photography, be able to explain and share information with actors and the rest of the crew, especially when under pressure

  • Lifting

    Know how to lift safely, and have the stamina

Who does a Key Grip work with?

The Key Grip will work very closely with the Grip Department. They also will work closely with the Director of Photography and the Director to work out the rigging plans for production. Along with the Director of Photography, they will also work alongside the Camera department and electrical department.

How do I become a Key Grip?

The best way to begin would be to contact your local IATSE union for trainee programs. They may be able to place you on a production willing to take on a Grip Trainee. After you’ve met the qualifications of a Grip, you can begin to apply for positions on unionized productions.

After being a grip for a number of productions and feeling confident in the field, you can use that experience to become a Best Person Grip. This is the second in command in the Grip department, before finally moving up to Key Grip.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

Our Partner, ScreenSkills UK is the industry-led skills body for the UK screen industries. For further information, www.screenskills.com.
Profiles and profile icons © 2022 ScreenSkills Limited. All rights reserved. No part of this publication may be reproduced without the permission of the copyright owner.
Job Profile Design by Dave Gray. Based on an original concept by Ian Murphy/Allan Burrell.

Reel Opportunities

Special FX Supervisor

Also known as: SFX Coordinator, FX Coordinator

What does a Special FX Supervisor do?

Special effects (sometimes known as practical effects or SFX) are either manual or mechanical effects that are applied on set during production. Explosions, earthquakes, vehicle chases, animatronic dragons, and even atmospheric effects like fog and rain are now standard fare in any live-action feature picture.

The Special Effects Supervisor (also known as an SFX Supervisor or an SFX Coordinator) is in charge of a team of Special Effects Technicians who work together to create special effects. The SFX Supervisor is a senior-level professional in charge of ensuring that the effects are carried out efficiently and securely.

Early in pre-production, the SFX Supervisor reports directly to the Director and Producers to ensure that they grasp the Director’s vision for the effects. They also collaborate with Production Designers and Art Directors to iron out the finer points, such as how to attain specific appearances or what particular equipment they’ll need to construct. On-set special effects (SFX) or (SPFX) differ from those made in post-production, which are referred to as “visual effects” (VFX).

What's a Special FX Supervisor good at?
  • Being accurate

    Be methodical in your work, pay close attention to detail, have strong problem-solving skills

  • Being efficient

    Work quickly and accurately on set so that the physical production can run smoothly, organize and prioritize your tasks

  • Familiarity with technical equipment

    From fog machines to high-tech prosthetics, SFX Supervisors are expected to understand, use, and even repair many complex pieces of equipment on set

  • Collaboration

    Work in pre-production with the director or producer to decide on which shots will need SFX work, respond to their creative and artistic direction

  • Leadership

    Share the Director or Producers’ vision of the film with the SFX artists of all departments, inspire them to do their best work, manage their output in terms of quality and deadlines

Who does a Special FX Supervisor work with?

The Special FX Supervisor works closely with the director, producer, actors, and all of the special effects department.

Our Partner, ScreenSkills UK is the industry-led skills body for the UK screen industries. For further information, www.screenskills.com.
Profiles and profile icons © 2022 ScreenSkills Limited. All rights reserved. No part of this publication may be reproduced without the permission of the copyright owner.
Job Profile Design by Dave Gray. Based on an original concept by Ian Murphy/Allan Burrell.

Reel Opportunities

Production Designer

What is a Production Designer?
What does a Production Designer do?

Production Designers create the way a film or TV drama looks. Films can be set in any number of places; a Victorian orphanage, a Caribbean cruise ship, or another planet, for example. They are an artistic jack-of-all-trades and a confident leader who manages the entire art department. They work with all the other visual departments, costume, lighting, visual and special effects, and graphic design. They help create the visual world in which the story is set.

Production Designers start with the script. Researching and collaborating with the Director, Director of Photography and other heads of department, they imagine the screenplay visually. They draw sketches showing mood, atmosphere, lighting, composition, colour and texture, which are given to the Art Director to develop.

The Production Designer is also in charge of hiring and managing the art department, which can be one of the biggest departments on a film crew.
They then work with other art department members to draw up a budget. They prioritize the work schedule and allocate the management of finances to team members performing different tasks.

What's a Production Designer good at?
  • Creativity

    Visualize the whole look of a film or TV drama, starting with words on a page

  • Art

    Draw by hand to scale, do technical drawings and computer-aided design

  • Design

    Understand colour theory, know the history of architecture and interior design

  • Knowledge of Photography

    Understand cameras, lenses and lighting and their effect on a film’s look and mood

  • Organization

    Manage budgets, draw up schedules, prioritize and meet deadlines

  • Communication

    Share the vision with a wide number of different people and keep a team working together well

Who does a Production Designer work with?

Set Decorator
The Set Decorator is responsible for the decoration of a set, including furnishings and all objects that are on view.

Production Buyer
Before the start of shooting, Production Buyers prepare orders for props.

Art Director
On big productions, Art Directors may start work months before shooting starts. They analyze a script to identify all the props or special items that will be needed and find cost-effective creative solutions to construction and decorating problems.

Assistant Art Director (first assistant, second, third)
Assistant Art Directors’ responsibilities vary depending on the size of the production. They may help the Art Director with research, surveying locations, model making or producing sets. On large productions with multiple sets, an Assistant Art Director will take responsibility for some of the smaller sets and manage the cleanliness and props for that set. Assistant Art Directors also sketch ideas, refine them, and work on 3D models.

Concept Artist
Big studio productions usually hire a number of concept artists to design specific elements, such as fantasy creatures. Concept Artists may analyze source material and work on illustrations that are both striking and accurate to be presented to the Producer, Director, and FX Supervisors. Many Concept Artists start their careers as graphic artists or illustrators before moving into the screen industries.

Set Designer
Set Designers provide hundreds of technical drawings that serve as a template for the construction department. Drawings are often still produced by hand, but computer-aided design software (also known as CAD software) is also used.

Production Assistant
Production Assistants usually start work in the early stages of pre-production and can be specifically assigned to the art department. This is an entry-level position and tasks vary.

How do I become a Production Designer?

As with many creative fields, there is no set way of becoming a Production Designer. Degrees in graphic design, theatre, architecture, or art, however, will give you a solid background in some of the key skills you’ll need to get into the industry—and can provide you with valuable industry connections. Courses in woodwork and set construction at your local college can be valuable to gain experience in building and design.

Most Production Designers have worked in the art department for many years. Aim to start as a Production Assistant and work your way up through the ranks outlined above.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

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