Interest: Storytelling

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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.

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Art Department

A Set Designer works in the Art Department

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Job Profile Design by Dave Gray. Based on an original concept by Ian Murphy/Allan Burrell.

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Art Department Assistant

What does an Art Department Assistant do?

Art Department Assistants help the whole art department, but particularly the Art Director. In a studio, they help dress the set and manage the props, ensuring they are in working order and available when needed.

They also help with styling when the filming is on location, where there might be a very large area needing styling and props. If an Art Department Assistant is experienced, they might be the only person from the art department on location.

Otherwise, much of an assistant’s work is in the preparation before filming. This involves helping with the sourcing and purchasing of materials, as well as the building, painting, and finishing of props. They sometimes design and make props themselves.

Generally, Art Department Assistants are expected to pitch ideas and assist in any way that’s required, from helping transport items and making coffee to filling the gaps of any work that needs doing. On smaller budget studio shows, they might do the work of a Production Assistant alongside their other responsibilities.

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What's an Art Department Assistant good at?
  • Art

    Draw conceptually (technical and freehand), work with specialist design software, build props and dress sets

  • Attention to detail

    Have thorough research skills, source correct materials and props, be organized and tidy

  • Knowledge of construction and design

    Research and awareness of the latest developments in production design

  • Knowledge of production

    Understand production techniques, studio environments, studio capabilities, and the challenges of working on location

  • Hard work

    Be able to multitask and meet deadlines

Who does an Art Department Assistant work with?

Art Department Assistants work directly with Art Directors and manage Production Assistants, but they will also work with everyone and anyone in the department, including Production Designers and Buyers.

How do I become an Art Department Assistant?

Build up your skills as an artist. Then try to find work in an entry-level role such as an art department Production Assistant, and work your way up.

Develop a wide range of art skills: Learn how to paint, do 3D modeling 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: This is essential for impressing collaborators and people in the film industry.

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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Art Department

A Prop Master works in the Art Department

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Job Profile Design by Dave Gray. Based on an original concept by Ian Murphy/Allan Burrell.

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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.

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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.

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Art Department

A Set Decorator works in the Art Department

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Job Profile Design by Dave Gray. Based on an original concept by Ian Murphy/Allan Burrell.

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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.

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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.

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Art Department

An Art Director works in the Art Department

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Job Profile Design by Dave Gray. Based on an original concept by Ian Murphy/Allan Burrell.

Director of Photography

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Director of Photography

Also known as: Cinematographer, DP, DoP

What does a Director of Photography do?

The DoP is the head of both the lighting and camera departments. They are responsible for artistic and technical decisions related to the images captured by the camera.

They read the screenplay and work closely with the Director to discuss the look and feel of a film. They then research how to create the look through lighting, framing, and camera movement and what they will need in terms of equipment and crew to achieve this. The DoP works with other departments, like sound and the director’s unit, to coordinate production needs.

During production, the DoP coordinates the camera crew and works with the Director to make sure each scene is set up and shot to match the overall vision. A DoP can have a lot of creative input on the look and feel of the film. For each scene, the Director of Photography decides on the best combination of cameras, filters, and lenses, as well as camera placement, camera moves, and lighting best suited for the scene.

It’s the job of DoPs to make sure every shot satisfies the Director’s vision and fits with the aesthetic of the film. They view the dailies with the Director and work closely with the Colourist in post-production. On smaller productions, they sometimes double as the Camera Operator.

The DoP is considered one of the key creatives on a film set. The position is both highly technical and artistic, requiring extensive experience and training.

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What's a Director of Photography good at?
  • Photography

    Have an eye for composition and color, know how to tell a story through a shot, understand camera and lighting techniques, know how to use them to evoke an emotional response




  • Technical knowledge of cameras

    Have an in-depth understanding of all motion picture equipment, cameras, lens, monitors, and lights

  • Editing knowledge

    Understand the post-production workflow, and how shots fit together to tell a coherent story

  • Making decisions

    Think quickly, often under pressure

  • Organization

    Plan, know how to do things and how long it will take, get the right kit and crew, think about logistical, artistic, and budgetary considerations at the same time

  • Communication

    Ensure everyone in the team knows what’s expected, work closely with the grips and the gaffer, lead the team and resolve conflicts in situations that can sometimes be stressful

Who does a Director of Photography work with?

The Director of Photography works closely with, and oversees the Camera Department which consists of the Camera Operator who looks through the camera and is the DoP’s eyes, the 1st Assistant Camera who makes sure the shots are in focus, the 2nd Assistant Camera, who prepares the equipment and keeps records of the shots, and the Camera Trainee who assists the whole department. The DoP also works closely with the Digital Imaging Technician who makes sure that all the digital settings on the cameras are set to bring the DoP’s vision to life, as well as the Video Assist Operator who makes sure that the director can see what is being shot.

How do I become a Director of Photography?

This is a senior role and people come into it through a variety of routes. Some start as Camera Trainees and work their way up through the roles outlined above. Others come up through the lighting department. IATSE has an excellent apprenticeship training programme that is the most direct way into this field. You can also learn a lot about cameras and other equipment in a film production programme in college, university, or independent training programmes. Here are some more tips:

Educational requirements: Many film schools offer courses in cinematography, touching on lighting, shot design, and how to tell visual stories. You can also start out as an entry-level assistant in the camera department, learn on the job, and work your way up.

Work for an equipment company: Contact an equipment rental company like Panavision, Provision, or ARRI Rentals. Ask if you can become an intern or driver for them. That way you will learn more about the equipment and build up contacts

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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Director of Photography

Camera Department

A Director of Photography works in Camera Department

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Job Profile Design by Dave Gray. Based on an original concept by Ian Murphy/Allan Burrell.

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Colourist

Also known as: Grader, Post-Digital Imaging Technician

What does a Colourist do?

Colourists contribute to the mood and look of a film by defining its colours. They work with the Director and Director of Photography to decide the palette; whether it’s restrained or hyper-coloured, whether it uses milky colours or primary ones. Colourists are able to contribute to these looks by changing the luminance levels (brightness) and chroma (colour).

Film and TV dramas are usually shot on digital cameras in a raw format, which means the information about the colour is captured in the data but can’t be seen until the colour is applied. If shooting on film, the rushes are taken to the lab where they are processed and then scanned into a digital workflow. It’s the job of the Colourist to perfect the way in which the colour is put into the picture. This is known as grading.

When Colourists receive the files in the edit, they stylize the colour in line with the vision of the director and director of photography. They match the shots, balancing colour saturation and luminance to maintain a consistent look from shot to shot. . They also offer creative solutions to picture-related problems. They might know what to do with under-or over-exposed images, or provide day for night corrections, for example.

Colourists are also responsible for ensuring the film complies with the scientific law and theory around luminance levels and chroma.

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What's a Colourist good at?
  • Understanding colour

    Know how to use colour to enhance a story, appreciate the psychological effect of colour, have a good eye, know what look fits the style of the drama

  • Knowledge of digital and film process

    Understand how best to get the creative look from the raw camera negative

  • Knowledge of film production

    Be aware of the whole process of making a film or TV drama

  • Using software

    Adept at using colour editing software, such as Adobe Premiere, Baselight or Davinci Studio, keep up-to-date with software developments and know the best tools for the job

  • Communication

    Work well with the director, understand the vision of the director of photography, share the process with the edit assistants and the script supervisor

  • Attention to detail

    Be patient, work with tiny changes in colour and tone, keep attending to detail when under pressure

Who does a Colourist work with?

The Colourist works closely with the Editor, Director and Director of Photography. It’s quite a solitary job as much of the detailed work is done alone.

How do I become a Colourist?

Programs in post-production for film or media are available. You can also develop your workflow and build your portfolio by working on small-budget or passion projects in your area. Learn how to use colour-grading software, while studying colour theory and cinematography, which will teach you about how light and colour are related. A background in art or photography is helpful. Most Colourists start out as post-production edit or tech assistants or runners and get to know the post-production process well over several years.

Here are some more tips:

Get a degree: It’s not essential, but having some experience in post-production or editing software from film programs can be helpful when searching for a job position.

Build a portfolio: This is essential for impressing collaborators and people in the film industry. It’s also one of the best ways to learn about editing, seeing what works and what doesn’t.

Look for post-production companies: Try to connect with post-production companies to gain a network and possibly find some with entry-level positions.

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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Video Post Production

A Colourist works in the Video Post Production Department

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Job Profile Design by Dave Gray. Based on an original concept by Ian Murphy/Allan Burrell.

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Editor

Also known as: Picture Editor

What does an Editor do?

An Editor is in charge of “cutting” and assembling the raw footage of the film into a cohesive final product. Films tend not to be shot in the order in which the story unfolds, so Editors might be working on scenes from the end of the film before the beginning is even filmed.

Their job is to take scenes in non-story order, analyze every shot (which sometimes means hundreds of hours of footage), and meticulously select and assemble the takes that will achieve the desired emotional and thematic impact of a film.

In pre-production, Editors work closely with the Director to decide how to make the most of the script. Once filming starts, they look at the dailies each day, checking technical standards and the emerging sense of story and performance and editing it into a series of scenes. By the time the film wraps, Editors will have spent hours reworking scenes and cutting them together to create a rough assembly.

During post-production, the Editor and Director will work closely to refine the assembly edit into a Director’s cut, which must be approved by Producers, until they achieve the final cut, (also known as “picture lock”). After that, the music and sound are added to the mix, a process that Editors will oversee.

When it comes to Editors in the animation realm, the planning process is more labor intensive as no footage is produced that hasn’t been precisely planned. In live-action, Editors work with existing footage in post-production, choosing between a variety of shots. In animation, the whole film, including each of its scenes and their order, is planned out beforehand. So essentially, in animation, the editing happens first.

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What's an Editor good at?
  • Storytelling

    Understand how to use pictures, rhythm, pace and tension to tell a tale

  • Visual awareness

    Have a good eye, know what look fits the style of the film

  • Using edit software

    Be adept with tools like Avid Media Composer, Adobe Premier, Final Cut and Lightworks

  • Communication

    Work well with the director, and share the process with the edit assistants and the script supervisor

  • Attention to detail

    Be patient, show attention to detail and good organizational skills, often under pressure

Who does an Editor work with?

Assistant Editor
Assistant Editors take charge of the day-to-day running of the cutting room, leaving the editor free to concentrate on editing the film. Their primary task is to communicate with other departments, like production, camera and sound. They check camera sheets when the rushes arrive and note any technical problems. Sometimes the editor asks the first assistant to do an assembly cut.

Second assistant editor, third assistant editor and edit assistants
First assistant editors might be helped by several assistants, depending on the size of the production. The assistants label files and do simple cutting, editing and sound syncing. They read oscilloscopes and audio meters, TV and video signals, are familiar with technical specifications for different broadcasters, and understand compression.

Sound Editor
Sound Editors are responsible for all sound post-production. They are the picture Editor’s main point of contact for everything concerning the production soundtracks.

ADR Recordist
The ADR Recordists have a close working relationship with the picture Editors due to script changes and replacement dialogue with the actors.

Colourist
Colourists contribute to the mood and look of a film by defining its colors. They work with the director and director of photography to decide the palette.

How do I become an Editor?

The traditional route to becoming an Editor is to start as a Production Assistant and go on to become an assistant editor. It’s common to work as an Assistant Editor in lower budget productions before moving into feature films.
Here are some more tips:

Educational Requirements: A program in Media or Film studies, concentrating on post-production, is useful. Experience using editing software is key, as is working on small projects to build your portfolio.

Get an internship: Internships are jobs with training, so they’re a great opportunity to earn while you learn. Before taking any apprenticeship, check what you’ll be learning with your prospective employer and college, so you can be sure it will be giving you the skills you want.

Edit: Make videos. Set up a YouTube channel showing off your work.

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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Video Post Production

An editor works in the Video Post Production Department

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Job Profile Design by Dave Gray. Based on an original concept by Ian Murphy/Allan Burrell.

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Foley Artist

What does a Foley Artist do?

Foley Artists come up with creative ways to reproduce sounds to match the visual scene in a film. Foley is the reproduction of everyday sounds, which are then added to films during post-production. It can be challenging to record every small sound that happens in a scene while you’re actually on set (keys rattling in a door, footsteps, a spoon clinking inside a cup, someone typing on their keyboard, etc). Sometimes, these sounds have to be recreated or included after the fact. For example, when actors do a fight scene, they aren’t really hitting each other, so there are no punching sounds to record! The job of a Foley Artist is to find something that can sound convincingly like a real fight to the audience (while avoiding real violence, of course!)

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What's a Foley Artist good at?
  • Creativity & Storytelling

    Be able to recreate everyday sounds to enhance the storytelling

  • Using software

    Record sound, have extensive knowledge of ProTools and other audio design software

  • Communication

    Understand the Director’s vision and be able to articulate creative and technical ideas, have productive discussions and address constructive feedback, work closely with the dialogues and always keep the sound in mind

  • Organization

    Be able to work to tight deadlines in post-production

Who does a Foley Artist work with?

Foley Artists work closely with the Director and Editor. They might also work with the following people:

Sound Editor
Sound Editors work directly with the filmmakers to structure and advise on schedules and creative styles. They liaise closely with the picture Editor. They build the team of editors responsible for creating the film’s soundtrack. Sound Editors organize the effects (FX) and Foley recording sessions. They provide creative input during the mix and ensure the final mix and various versions are delivered.

Sound Effects Editor
Sound Effects Editors work closely with the Sound Designer and supervisor. They create backgrounds using specific sounds, such as clocks, wind, birdsong, and cars passing. They create an ambience that can be altered to work with the dialogue and music.

Sound Designer
Sound Designers combine all the elements (music, background noises, dialogue, effects, and other atmospheric sounds) into one unified soundscape that forms the sonic backdrop for a film.

How do I become a Foley Artist?

Foley Artists typically have a college education with a diploma in sound and/or recording arts plus knowledge and experience in post-production. A good place to start is as an intern or runner in a post-production audio facility. This gives you a thorough grounding in the technical aspects of recording sound, including knowledge of electronics and training in acoustics.

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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Audio Post Production

A Foley Artist works in the Audio Post Production Department

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Job Profile Design by Dave Gray. Based on an original concept by Ian Murphy/Allan Burrell.

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Sound Designer

What does a Sound Designer do?

Sound Designers combine all the elements (music, background noises, dialogue, effects, and other atmospheric sounds) into one unified soundscape that forms the sonic backdrop for a film.

Sound design commonly involves performing and editing of previously composed or recorded audio, such as sound effects and dialogue, but it can also involve creating sounds from scratch through synthesizers or other instruments.

In animation, Sound Designers create the soundscape. In animation, there are no natural sounds to work with (as there would be when filming live action) so everything in sound in animation is created from scratch by Sound Designers.

Sound Designers decide which sounds to use to create the right atmosphere and communicate the story and characters to the audience. They discuss with the director the kind of effect they want and then find creative ways to achieve this.

Most Sound Designers are experienced sound editors who may even supervise the work of the entire sound post-production process, in addition to having a specialized creative role in putting together the entire sonic aspect of the production.

Good communication skills are needed, along with imagination and creative flair to produce original sound elements and effects.

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What's a Sound Designer good at?
  • Creativity

    Be able to imagine a soundscape that doesn’t exist yet, translate ideas into sound, create bespoke sounds to enhance the storytelling

  • Storytelling

    Have a good understanding of the characters and the story and design sounds which communicate these well, understand the importance of timing, when sound design is necessary and when not

  • Using software

    Record sound, have extensive knowledge of ProTools and other audio design software

  • Communication

    Understand the director’s vision and be able to articulate creative and technical ideas, have productive discussions and address constructive feedback, work closely with the dialogues and always keep the music in mind

  • Organization

    Be able to work to tight deadlines in post-production

Who does a Sound Designer work with?

Sound Designers work closely with the Director and Editor. They might also work with the following people:

Supervising Sound Editor
Supervising Sound Editors work directly with the filmmakers to structure and advise on schedules and creative styles. They liaise closely with the picture editor. They build the team of editors responsible for creating the film’s soundtrack. Supervising Sound Editors organize the effects (FX) and Foley recording sessions. They provide the creative input during the mix and ensure the final mix and various versions are delivered.

Sound Effects Editor
Sound Effects Editors work closely with the Sound Designer and Supervisor. They create backgrounds using specific sounds, such as clocks, wind, birdsong, cars passing. They create the ambience that can be altered to work with the dialogue and music.

Dialogue Editor
Dialogue Editors are responsible for editing the recordings of the script and synchronizing this with the animation.

Foley Artists
Bigger studios might have specific Foley Artists who create everyday sounds which are then added to films during post-production. It can be challenging to record every small sound that happens in a scene while you’re actually on set (keys rattling in a door, footsteps, a spoon clinking inside a cup, someone typing on their keyboard, etc). Sometimes, these sounds have to be recreated or included after the fact. For example, when actors do a fight scene, they aren’t really hitting each other, so there are no punching sounds to record! The job of a foley artist is to find something that can sound convincingly like a real fight to the audience (while avoiding real violence, of course!)

Music Editor
Music Editors determine where music is needed in the film and the style and purpose of the music. Sound Designers will collaborate with them to make sure their sound effects work well with the music being written by the Composer.

How do I become a Sound Designer?

Most Sound Designers begin as Production Assistants in post-production or audio post-production houses. They work their way up to Assistant, Mixer or Sound Editor and spend many years perfecting their craft.

Educational requirements: Education options range from 1-year diploma programs to bachelor’s, post-graduate, and master’s degrees in sound design. Art schools, film schools and universities offer programs in the industry.

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Audio Post Production

A Sound Designer works in the Audio Post Production Department

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Music Supervisor

What does a Music Supervisor do?

Music Supervisors are a key creative voice in film and television post-production. They will watch the rough cut of the film or television show in what is called a “spotting” session, where they will write notes about where music is needed. They research the right songs and music to complement the scenes’ story and tone. They make suggestions and confer with the Director over the right choices for the project.

Once the music has been selected, Music Supervisors will then research the rights holders and contact them to gain the rights and licenses for the use of the music. They sometimes have to negotiate the price of some songs since they can be very expensive. Once the rights are obtained the Music Supervisor will keep track of the rights and make sure the royalties and credits are distributed properly using “cue cards” in the end credits.

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What's a Music Supervisor good at?
  • Knowledge and passion for Music and Music History

    Music Supervisors have to have a vast knowledge of the music landscape as well as the history of music. This helps them have a good idea of what songs should be used for certain scenes

  • Rights and License knowledge

    Music Supervisors need to know the copyright laws and the different rights and licenses needed in Canada to acquire a song

  • Knowledge of film-making

    Be able to understand the production process, particularly the post-production sound process

  • Communication

    Be able to work with multiple people on the production and communicate your music ideas to the Director. You will also need to speak to a number of different song rights holders and negotiate with them

  • Organization

    Work within the sound budget, keep clear notes on the music suggestions for the film and keep records of all the royalties and credits of the songs

Who does a Music Supervisor work with?

Director
The Director is the one whose creative vision everyone is helping to execute. They have an overall look and feel they want for the film. They want to convey the story in a certain way and need the help of a lot of people to accomplish it. Directors are good leaders and visionaries being able to convey their ideas to the entire crew.

Sound Designer
Sound Designers are most commonly involved in the performing and editing of previously composed or recorded audio, such as sound effects and dialogue, but it can also involve creating sounds from scratch through synthesizers or other instruments. They add and create the soundscape for the film since not all of the sound you hear in movies is recorded on set.

Editor
The Editor watches all of the recorded footage, selecting which takes to use and then using digital editing software to assemble that footage into a completed feature film. They must analyze every shot (which sometimes means hundreds of hours of footage), meticulously selecting the takes that will achieve the desired emotional and thematic impact of a film.

How do I become a Music Supervisor?

Music Supervisors should have some experience in the music industry or music-related fields. Then you need to develop contacts in the film and TV drama industry to get experience working on film sets. Look into becoming a part of a post-production sound team on smaller productions and providing your knowledge of music.

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Audio Post Production

A Music Supervisor works in the Audio Post Production Department

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Composer

What does a Composer do?

Composers write original music that reflects and communicates the atmosphere, character’s emotions, and story. A film score has to work with the film, rather than as a standalone piece of music.

Composers are usually given a scope of work at the start of the project. This happens at the stage where storyboards are edited in time with the soundtrack. They then can create a full score for the final film. Composers rewrite their score according to feedback from the Director, Producer, and Editor. A section of music might need to be a different length, highlight a different onscreen moment, or have a different feel to it.

Composers need to be aware of the genre they are composing for. For works such as feature-length musicals, or TV shows with a theme song, the composer might be involved with writing these. Or this might fall to a different musician, with the Composer sometimes scoring the backing for the songs.

On big-budget productions, Composers prepare the score, usually on midi files, for the orchestrator and copyist. In most TV and lower-budget films, Composers do their own orchestration. They also prepare the score’s electronic aspects for the recording sessions and deliver the score to the Producer, together with all recordable media. Composers often need strong music production, recording, and performance skills in order to realize their works for projects as music budgets are generally tight. They are freelancers and usually work from their own home or office.

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What's a Composer good at?
  • Music

    Have a high level of technical musical skill and be able to compose and notate original, high-quality scores with interesting and distinctive musical ideas that fit the style of the animation

  • Storytelling

    Be able to communicate a story and reflect its themes through music

  • Music production

    Have good recording and production skills to create demos and professional-level scores, be able to use music composition software and music editing software such as Avid ProTools

  • Communication

    Be able to work to a brief, act on constructive feedback, and compose music to contribute to the Director's overall vision, build extensive contacts with musicians who can contribute to your work

  • Business management skills

    Understand legal and contractual aspects of the job as a freelancer contributing your work to a different project

Who does a Composer work with?

Composers work closely with the Director, Producer, and Music Editor (if there is one), as well as communicating with the Sound Designer and Editor.

How do I become a Composer?

Composers get jobs based on their portfolio. You need a high level of musical knowledge and technical skill, so generally, all Composers are formally trained in music. Some have specific degrees in composing for film and television. The most important thing, however, is that you have a strong body of work to demonstrate your skill and personal style. You also need to make connections with filmmakers and musicians. Even if you are working on live-action films rather than animations, it will give you invaluable experience insights into the process of adding sound to film.

Here are some more tips:

Watch a lot of films and listen to music: Watch as many films and television shows as you can and pay attention to how the music is scored. Get a feel for how music interacts with the film and musical styles vary between genres.

Build a portfolio: Start writing your own music. Learn music composition and notation software. Find filmmakers who need someone to write the music for their film and collaborate with them, or you can practice and add to your portfolio by writing your own new scores for existing films. Building your portfolio is essential.

Look outside the industry: Composers are needed in lots of industries – aside from live-action film and TV and games, there are also composing jobs in advertising and theatre. See if you can get a job in one of these fields and gain experience that you can later use to compose for animation.

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Audio Post Production

A Composer works in the Audio Post Production Department

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Producer

What does a Producer do?

Producers are generally the people “in charge” of a film or TV production. They’re responsible for developing a project from the beginning, raising and managing the money, assembling the team and supervising all aspects of pre-production, production and post-production. They are often the first to get involved, spotting the creative opportunity and commercial viability of a production. They continue as the driving force right through to distribution. Producers are the overall decision makers. They will come up with story ideas and hire Screenwriters or choose and secure rights to a script. This is known as ‘optioning’ a script.

They decide on the scale and budget of the film and source financing from investors, studios and distributors. They hire all the “above-the-line” team members such as Line Producer and Director. They then work with creative ideas from the Director, often making creative decisions, and then approve production costs. Producers spot and solve potential problems throughout the production process.

They approve locations and hire a team of staff for the production, delegating certain responsibilities to a Line Producer or the Production Manager. It’s their job to create a good working environment and they constantly communicate with everyone to make everything run smoothly. They have ultimate legal responsibilities for the health and safety of the crew on set and delivery of a completed film at the end of the production process.

Producers need to be good communicators to ensure everyone is working towards the same end and are responsible for creating a good working environment and smooth production.

Are there different levels to being a producer?

Yes! There are different levels of involvement from different producer positions, depending on the needs of the production. These different roles have different aspects of involvement and responsibility but all require you to have the same skill-set of being a producer. The lead producer receives a simple “Producer” credit. While there are other credits (such as Executive Producer) that might sound more senior, the Producer is the one in charge.

Associate Producer
An Associate Producer (often called an Assistant Producer, or simply the AP) is a junior Producer who works closely with the Lead Producer in putting together a television show or film project. The goal of an AP is to eventually become a lead Producer and so they must be trained in every aspect of production. Associate Producers report directly to the lead Producer.

Executive Producer
Executive Producers give high-level contributions so the project can be created. These could include providing funding, developing the project for a studio, making key introductions, providing resources, or mentoring. EPs usually don’t participate in the creative process or day-to-day production management, aside from advice they may offer. Some EPs are the first point of contact in the production workflow—optioning a script or greenlighting a film – but they then pass the responsibility on to the Producer(s). They are the silent partner, or a leader in the film and television industry and require being a producer first.

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What's a Producer good at?
  • Film and TV production

    Have extensive knowledge of all the creative processes of making a film or TV programme including screenwriting, directing, and editing

  • Storytelling

    Know how to tell a story, make and approve creative decisions to help do this well

  • Commercial awareness

    Understand what makes a successful film, be able to market it to distributors and to the public

  • Leadership

    Motivate and communicate well with everyone throughout the project, take responsibility for decisions and outcomes, create a good working atmosphere and adhere to legal workplace regulations, be a figure head

  • Adaptability

    Work well in challenging and changeable environments, problem solve on the go, make quick effective decisions and be able to prioritise

  • Organization

    Be on top of the whole project, prepare schedules and a production budget using financial skills to secure funding and negotiate salaries

  • Knowledge of the industry

    Have extensive knowledge of and a passion for TV drama, appreciate trends in viewing, predict what will be popular

  • Creativity

    Generate new and exciting ideas, recognize new and exciting script ideas in others, have an entrepreneurial spirit

  • Negotiation

    Have a good business head, be good at selling, persuading, and striking a financial deal

Who does a Producer work with?

Everyone. Producers lead and communicate with the whole production team as well as distribution and marketing teams. They sometimes answer to Executive Producers in television production who serve as the overseeing face of the film studio, financiers, or who are the overall leads on a series.

How do I become a Producer?

While producing is something that can be learned in school, usually one gains experience elsewhere in the production department, such as working up from a Production Assistant, to a Production Coordinator, Production Manager or Line Producer. They do not necessarily attend a film school. You’ll need a combination of business skills and creative vision for this job and an understanding of both sides of the industry.

Build a portfolio: Create a showreel that you can show off to collaborators and financiers.

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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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Above the Line

A Producer works in the Above the Line Department

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Director

Also known as: Filmmaker

What does a Director do?

Directors are the creative leads of the film. They control a film‘s artistic and dramatic aspects and visualize the screenplay (or script) while guiding the technical crew and actors from pre-production through to the final edit in the fulfillment of that vision.

They are employed by the Executive Producer or Producer, who is ultimately in charge of a production. Directors start with a script, and work with a Screenwriter and sometimes a script editing team such as Story Editor. It’s not uncommon for the Director to be the Screenwriter as well.
It is the job of a Director to imagine the script in a visual form. As soon as a production has raised the cash it needs , they work closely with the Producers to appoint the heads of department, such as the Director of Photography, 1st Assistant Director and Production Designer.

They then work with Producers and Casting Directors to select the actors and with the Director of Photography to develop the filming style, including notes about camera shots and script changes. Some Directors rehearse actors ahead of shooting, though not all do. They ‘block’ the performance with the actors before filming begins, meaning they choreograph where actors are positioned in relation to the camera, where they and the camera will move to over the course of a shot, and how they will deliver their dialogue.

At the same time, a Director will also be instructing other members of the crew, especially lighting, wardrobe, and make-up supervisors. Directors work to get the best performance out of the actors but also need to ensure that all technical aspects are in place to get a great scene filmed.

After filming, they lead the editing of a film, preparing a ‘director’s cut’. That cut will be reviewed by Producers, Distributors, and other collaborators before the final cut is completed.

What's a Director good at?
  • Leadership

    Share the vision of the film with a range of people from different departments, inspire them to do their best work, manage the cast and crew, make creative decisions

  • Imagination

    Envisage the film they want to make, see it, hear it, create the vision and execute it

  • Arts knowledge

    Have a passion for and deep knowledge of film and TV drama, appreciate all genres of art, so as to be able to draw ideas from a range of sources

  • Production

    Understand the film or TV drama production process from start to finish, from both technical and creative points of view

  • Staying calm under pressure

    Work methodically within a high-stress environment, make creative decisions when things don’t go to plan

Who does a Director work with?

Directors hold the creative vision for the whole production, so they have relationships with every department head. In pre-production, they work particularly closely with the Producers, Casting Directors and the production designer. During production, they have close on-set relationships with the Director of Photography and the First Assistant Director. In post-production, Directors work with the Picture Editor and Sound Editor to ‘cut’ the film or programme to create a desirable final product.

How do I become a Director?

There are many pathways to becoming a film Director. Some start as Screenwriters, Cinematographers, Producers, film Editors or actors. Others go to film school and start by making their own independent short films before “graduating” to feature-length works.

Whatever the route, this is a role that requires extensive knowledge of the film or TV drama production process. It’s worth starting your career by getting work as a Production Assistant on set or in a production office before working your way up through entry-level positions

Here are some more tips:

Training: Training is always a good idea. In Canada, there are tons of courses at college or university. Also lots of stand-alone courses. Both extended and short-term. You can also plunge in, try to get on-set, and gain the experience. Here’s a list of uni & college programmes.

Build a portfolio: Create work that you can show off to employers. Direct your own short film, maybe using your smartphone, and edit it. This process is very helpful.

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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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Above the Line

A Director works in the Above the Line Department

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Screenwriter

Also known as: Screenplay Writer, Scriptwriter, Writer

What does a Screenwriter do?

Screenwriters write and develop screenplays for film or TV drama. They do this either by basing it on an original idea, by adapting an existing story into a screenplay or by joining an existing project (TV).

Screenwriters prepare their script in a way that enables readers to envisage the setting, emotion, and the way it will work on screen. They collaborate with Producers, Directors and Actors to draft and redraft their scripts, often working to tight deadlines.

Screenwriters are almost always freelancers. In many cases, a Screenwriter shops their feature-length script around through their Agent, or through competitions until it garners interest from a Producer. The Producer (or production company) then “options” the screenplay for a starter fee which can be as low as $1. This means the Producer has the right to try and produce the screenplay for a certain length of time. If the Producer is successful they then pay the Screenwriter a pre-negotiated sum for the screenplay rights. If they are unsuccessful the screenplay rights return to the Screenwriter. Alternatively, a Screenwriter may be commissioned by a Producer or production company to create a screenplay. Once a screenplay is picked up by a production company, more Screenwriters may be brought in to work with a Story Editor to get it ready for production. In this case, any new Screenwriter may share a credit with the original Screenwriter, or they may be credited for additional dialogue, or as a story consultant. In some cases, the original Screenwriter may be replaced entirely by another Screenwriter.

Television Screenwriters generally work as part of a team of Writers, led by a Story Editor or Supervising Producer. The Screenwriter pitches their ideas for stories/episodes and works through the storylines with the Story Editor (and writing team) to create a polished script that fits the continuity of the episodic television show.

Animation Writers develop story ideas and present them in the form of scripts. Their scripts are used by Storyboard Artists and Directors to work out the visual art style of a project.

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What's a Screenwriter good at?
  • Knowledge of screenwriting

    Understand all the features of a great screenplay, know how to improve and amend one

  • Creativity

    Write well and innovatively, express your ideas effectively in screenplay-form

  • Arts knowledge

    Have a deep and wide knowledge of all genres of art, so as to be able to source ideas from a range of sources and understand the cultural context

  • Watching film and TV drama

    Have a passion for the genre and a love of the industry

  • Freelancing

    Find work opportunities for yourself and manage your finances, be self-motivated

Who does a Screenwriter work with?

Screenwriters work with Development Executives, Producers, Directors, and their assistants. They are sometimes assisted by Researchers, who provide information to allow for screenplays to be fact-checked. Screenwriters may have their screenplays overseen by Story Editors, who, in turn, may be supported by Assistant Story Editors.

How do I become a Screenwriter?

Write your own screenplays as soon as possible. Practising the form is essential. A degree is not a prerequisite to become a Screenwriter, but having relevant education, whether that be in English or screenwriting subjects, is very useful.

Read and write: Practise writing screenplays in a professional format. Read existing screenplays online to familiarize yourself with the form.

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Above the Line

A Screenwriter works in the Above the Line Department

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Job Profile Design by Dave Gray. Based on an original concept by Ian Murphy/Allan Burrell.

Makeup Artist

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Makeup Artist

Also known as: Key Makeup Artist

What does a Makeup Artist do?

A Makeup Artist is responsible for transforming people’s appearance via makeup, paint, and other substances (putty, silicon, fake blood, etc.)

The Makeup Artist usually works with Directors and performers in order to determine the desired appearance of each character. They often examine sketches, photographs, and other references from Concept Artists to get inspiration for the desired look. They read and analyze scripts in order to determine the necessary makeup and changes depending on different scenes and settings.

Some Makeup Artists also specialize in doing Special FX Makeup, which can include everything from putting a prosthetic nose on an actor’s face to creating fake wounds or a ghoulish monster mask.

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What's a Makeup Artist good at?
  • Communication

    Be clear with clients regarding specific requirements and concerns.

  • Drawing

    Be able to sketch design ideas.

  • Teamwork

    Make sure all members of the makeup team are on the same page creatively.

  • Visual Perception

    Keep in mind lighting, colors, and the photographic process.

  • Health and Safety

    Maintain an awareness of health and safety guidelines that need to be followed.

  • Research

    You’ll want to stay on top of the latest kits, products, and tools.

  • Time management

    Make sure your work is done on time so that the production can meet deadlines.

Who does a Makeup Artist work with?

The Makeup Artist works closely with the Costume Designer, Production Designer and Director in order to create a look for each actor that best captures the character.

How do I become a Makeup Artist?

Here are some tips:

Take a makeup course: Improving your skills means getting an education. This is where beauty school comes in – there, you’ll learn the skills and techniques necessary to be successful in the beauty industry.

Build your portfolio with makeup photos and other visual effects: Like any artist, your portfolio shows what you’re capable of. Use attractive visual effects to highlight all the things you can do. For a high-quality, professional look, be sure to take the best photos.

Learn new makeup styles and trends: Stay curious and understand the latest trends and technologies, and practice them to enhance 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.

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Makeup Artist

Hair and Makeup

A Makeup Artist works in the Hair and Makeup Department

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Hair Stylist

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Hair Stylist

What does a Hair Stylist do?

The Hair Stylist is part of the Hair & Make-up department and reports directly to the Key Hair Stylist. The Key Hair Stylist is the head of the hair department and collaborates with the Director, Production Designer, and Key Make-up Artist to create unique designs that complement the overall look of the film.

They begin working full-time on designs long before the film begins production and before additional Hair Stylists are hired to join the crew on set. They may also be in charge of any wigs required & on a larger set, this is usually handled by the Hair Stylist specifically assigned to the wig-wearing actor. They are in charge of the hair look for everyone on screen, which can involve designing and execution, including hiring a hair team to cover every actor and extras.

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What's a Hair Stylist good at?
  • Hair

    Be adept in the craft of cutting and colouring, wigs, extensions, and beards.

  • Hair history

    Know the story of hair throughout the ages, be able to research.

  • Styling

    Understand the Director’s vision, know what that means for hair, have a good eye for the look.

  • Communication

    Share the vision of the style with team members, be the liaison between the Director and the rest of the team, put actors at ease.

  • Organization

    Break down a script into hair requirements, schedule the hair needs, manage the team, budget, and daily call sheet.

Who does a Hair Stylist work with?

The Hair Stylist will work closely with the Production Designer and the hair and makeup team to deliver on the Director’s vision.

How do I become a Hair Stylist?

Many colleges provide diploma programmes in hairstyling, where health and safety issues, professional ethics, communication skills, and entrepreneurial practices are taught alongside the skills of haircutting, styling, and colouring. Hairstyling is a skilled trade, so an apprenticeship is often required. There are always new styles and trends to follow, so keeping up-to-date is important too. Volunteering for small theatre or film productions in high school is a great way to start applying your skills in hairdressing within the setting of the performing arts.

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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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Hair Stylist

Hair and Makeup

A Hair Stylist works in the Hair and Makeup Department

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Job Profile Design by Dave Gray. Based on an original concept by Ian Murphy/Allan Burrell.

Special Effects Makeup Artist

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Special Effects Makeup Artist

Also known as: SFX Makeup Artist

What does a Special Effects Makeup Artist do?

A Special Effects Makeup Artist (SFX) is a specialized member of the Makeup team responsible for creating specialized makeup effects such as abrasions, bloody wounds, deformities, bruises, supernatural beings, zombies, etc. They use different materials to create prosthetics, which are fake additions to the actors body to make them appear this way. In some situations a SFX Makeup Artist might also be responsible for creating an “aged” look. Depending on the script, they estimate the time and cost of making prosthetics and create bald caps, prosthetic pieces, facial parts, and scars.

Mold-making, casting, applying and removing prosthetics, and working with common materials such as latex and silicone are their responsibilities. They must be skilled in procedures such as face and body aging, bald cap creation, and wound or scar creation. Normally, they will use make-up artists and assistants to apply the prosthetics to the actors themselves (which can take hours). They usually stay on set to make sure the prosthetic is in good working order.

They work closely with the rest of the Makeup team and the Prosthetics team to create these unique looks. They usually come equipped with their own kit.

What's a Special Effects Makeup Artist good at?
  • Makeup Techniques

    Must understand traditional makeup techniques, along with specialized makeup techniques.

  • Creativity

    A vivid imagination, as well as the ability to create and solve problems in novel ways, are required, along with the necessary technical skills and experience. Great design and interpretive skills, as well as the ability to comprehend a project's prosthetics requirements and implement them in both practical and imaginative ways.

  • Organization

    One SFX Makeup Artist might be responsible for dozens of looks on one production

  • Collaborating

    Works closely with several different departments to create a specific look

  • Research

    Must be able to research intricate details of wounds, abrasions and deformities in order to recreate the looks effectively

  • Working with materials

    Such as foam, latex, and silicone, as well as processes like mold-making and casting. Tattoos, false noses, wounds, and scars are all common prosthetics requirements.

Who does a Special Effects Makeup Artist work with?

A SFX Makeup Artist works closely with the Costume, Makeup and Hair departments to assemble a whole look. They may take suggestions from the Production Designer over the severity of a look to fit in with the whole design. SFX Makeup Artists work closely with talent as well. They also work directly with actors.

How do I become a Special Effects Makeup Artist?

SFX Makeup Artists are trained through college, usually Cosmetology school, but this is not necessarily the only route to becoming a SFX Makeup Artist. You can also apprentice under a senior SFX Makeup Artist and learn the techniques this way. Keep a portfolio of all your looks to show potential gigs.

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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Special Effects Makeup Artist

Hair and Makeup

A Special Effects Makeup Artist works in the Hair and Makeup department

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Previsualization Artist

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Previsualisation (Previs) Artist

Also known as: Previs Animator, Previs Lead, Previs Modeller

What does a Previsualisation Artist do?

Previsualization (Previs) Artists help to plan out what a film is going to look like. Previs is the process of visualizing a scene before creating it.

Previs Artists generally takes the form of a 3D animatics, namely a rough version of a scene or scenes. Previs Artists usually start with a 2D storyboard from a Concept Artist. They create draft versions of the different moving image sequences and they put it all together using their compositing and editing skills.

The previs process is used to plan shots, work out the scale and timing and to show roughly where the characters are going to move. It’s used to map out how the visual effects (VFX) will fit into an otherwise live-action scene. Creating previs can save films and television series and shows valuable time and money on set or in post-production.

Once a film is in production, Previs Artists help the other VFX Artists maintain a consistent style in their work.

Previs Artists are either employed by VFX studios or they work as freelancers.

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What's a Previsualisation Artist good at?
  • Cinematography

    Have a good artistic eye for composition, particularly for camera shots and movements

  • Creativity

    Be able to tell a story in the previs work that you produce, come up with original ideas for what the shots should look like and spark the director’s imagination

  • 3D software

    Have a high level of skill using 3D animation and VFX software and a strong understanding of form and volume (the way that objects exist and move in 3D), coding skills are also useful

  • Basic editing skills

    Have basic video editing skills as well as some knowledge of rendering and compositing, which you can use to create animatics

  • Organization

    Have excellent organizational skills, stick to production schedules and budgets, be on top of your data management

  • Communication

    Work well within a team, understand and help to achieve the director’s vision

Who does a Previsualisation Artist work with?

Previs Artists work closely with the Director. They also communicate regularly with the production management team to ensure the project meets its deadlines. They usually report to the VFX Supervisor.

How do I become a Previsualisation Artist?

To become a Previs Artist, you need to understand the VFX production pipeline and have a high level of skill in using 3D software. You might progress to this role by first becoming an Assistant Technical Director. Or, you might go the route of becoming an Environment Artist and later transferring your skills to previs. Previs Artists often obtain a degree in animation, computer science, film production, or a related discipline. The most important thing to do is to develop a strong portfolio which demonstrates a talent for cinematography and visual storytelling.

Build a portfolio: Learn how to use, and then experiment with, VFX programs and create a showreel that you can show to admissions tutors or employers. It’s really important to develop your appreciation for VFX. Make sure you’re familiar with what’s out there.

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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Previsualization Artist

Effects Department

A Previsualisation Artist works in the Effects Department

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Job Profile Design by Dave Gray. Based on an original concept by Ian Murphy/Allan Burrell.

Career: Production Designer

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.

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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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Career: Production Designer

Art Department

A Production Designer works in the Art Department

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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.

Career: Costume Designer

Reel Opportunities

Costume Designer

What does a Costume Designer do?

A Costume Designer is a person who designs the look of the costumes and wardrobe for all of the cast on a film or TV show.

Costume is at the core of a film or TV production. As well as contributing to the overall look, specific clothing helps actors feel emotionally connected to the character they are playing.

Costume Designers design and create or purchase all costumes for the cast. The role of the Costume Designer is to create the characters’ outfits and balance the scenes using texture and colour. They may sew and construct the costumes from scratch, or source existing clothing that suits the look of the film. The Costume Designer may also collaborate with the hair and makeup departments.

They start by working with Directors, Producers, Writers, the Production Designer, and hair and makeup departments to help give the production a look that supports the storytelling. They research, sketch, and draw mood boards of characters and clothes to communicate the style.

They then break down the script, working out what they need to create or acquire. Working within tight budgets and deadlines, they recruit a team, organize a schedule of purchases and ensure the costumes are created on time for fittings. With the help of the team they schedule fittings and take photographs. These are then approved by the Producer and Director. They are also responsible for ensuring all materials used in the development or creation of the various costumes meet safety standards (for example, breakaway materials for easy on and off) and are within budget.

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What's a Costume Designer good at?
  • Dressmaking and Tailoring

    Draw, sew, make and source clothes, including fabrics and accessories

  • Styling

    Understand the director’s vision, know what that means for the costumes, know what styles suit different people best and create the right looks with flair and creativity, have an eye for detail

  • Costume History

    Know contemporary fashion and clothing design through the ages, be able to research using books, museums and the internet

  • Storytelling

    Understand how a story can be told through garments and colour palette

  • Making Clothes

    Have an in-depth knowledge of all aspects of garment production

  • Organization

    Break down a script into costume requirements, schedule the costume production, manage the team and the budget

  • Communication

    Share the vision of the costume design with team members, listen to actors and respond to their needs, be trusted, and have good relationships with designers, PR (public relations), and brands who may supply clothing in current styles, as well as hair and make-up artists

Who does a Costume Designer work with?

Costume Supervisor or Background Costume Supervisor
Supervisors oversee the day-to-day use of the wardrobe on set and plan for the coming days or weeks. This includes organizing schedules, transport and checking continuity. They may be required to organize and arrange costume purchases. A very important role of the costume supervisor is to oversee the washing and repair of the costumes, as they are often heavily used throughout the day and start to wear and tear. Costume Designers spend most of their time in their own department, creating, sourcing, adjusting and maintaining outfits.

Costume Design Assistant
Costume Design Assistants work with Costume Designers to break down the script and assess the costume needs of every character. They research costume styles, designs and construction methods using the internet, archives and museums. They work on the department budget, estimating costs of staff and resources, can be involved in sourcing and buying costumes, accessories and fabric swatches. They may oversee fittings or be given responsibilities for taking specific actors’ measurements. They may also be in charge of costuming the supporting artists under the guidance of the costume designer.

Costume Maker/Sewer
Costume Makers create the garments. Starting with the designer’s specifications, Costume Makers cut the fabric and sew the costumes. Sometimes they make a rough version first. It’s a creative role because it involves interpreting the vision. Costume makers also fit the costumes on the actors and alter the garments as required.

How do I become a Costume Designer?

Costume designers typically start as costume trainees and work their way up through the ranks of the department outlined above. Some have experience working with costumiers and others come from theatre or dressmaking.

Get an internship: Internships are jobs with training, so they are a great opportunity to earn as you learn. It might be worth looking for a job as an apprentice in an industry that uses similar skills, such as being a tailor for a clothing designer or tailoring company.

Build a portfolio: Create a portfolio of the work you have done. This could include design sketches, photos of costumes you made, or past work experience in the field. This will be used to show off your work to new job opportunities.

Meet people in the industry: Reach out into the industry and express your interest. You can meet some people you could potentially shadow and create a working relationship with.

More tips

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

Learn More
Career: Costume Designer

Wardrobe Department

A Costume Designer works in the Wardrobe Department

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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.

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