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Assistant to Producers

What does an Assistant to Producers do?

Assistant to Producers is an administrative role in the filmmaking process, similar to that of an Executive Assistant in business. The Assistant to Producers works closely with the Producer from pre-production through production, post-production, and is even involved in the distribution of the film. The tasks vary with each production and Producer. The Assistant to Producers will have a good overview of the entire production process and be one of the hands of the Producer.

The tasks may vary but there are many tasks an Assistant to Producers is responsible for. Some involve writing coverage on scripts, draft letters, making and managing phone calls, assisting with any on-set duties, and being a liaison between the producers and the post-production team. You have to be a jack of all trades to support the Producers and address the needs of the production.

What’s an Assistant to Producers good at?
  • Organization

    Managing a Producer’s schedule, meetings, tasks, contacts and duties during all stages of production

  • Administration

    Good with computers and software such as MS Office, Movie Magic and other film-related programs

  • Communication

    Able to communicate the needs of the Producer to key creatives and the rest of the crew, and vice versa

Who does an Assistant to Producers work with?

Assistant to Producers work closely with the Producer throughout the entire production. They also work with a multitude of the crew from pre-production to post-production. They will be communicating with the crew on the behalf of the Producer.

How do I become an Assistant to Producers?

Assistant to Producers need to have a fundamental understanding of the needs of a production. They can begin as Production Assistants and then become a personal assistant to one of the crew members. They will perform the same duties for the one individual. You can establish yourself as a good assistant and, with the understanding of the production process, be able to offer your services to Producers.

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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Production Management

An Assistant to Producers works in the Production Management 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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3rd Assistant Director (3rd AD)

Also known as: Thirds

What does a 3rd Assistant Director (3rd AD) do?

Thirds are the 1st AD’s right-hand on set. They are responsible for coordinating extras, preparing and cueing them, as well as sometimes directing them in any required background action. They may have to keep members of the public out of shot, or off the set and/or the location, and will liaise with the Location Manager regarding the security and tidying up of studios and locations after filming.

The 3rd AD reports directly to the 2nd AD. The 3rd AD’s key responsibilities include moving actors from point A to point B, organizing extras, and supervising Production Assistants. The individual may also serve as the set messenger, conveying information between cast and crew members – usually by radio.

Because the responsibilities of 2nd and 3rd AD overlap, the specific function on-set may vary from film to film. However, it will most likely include things like keeping the public out of the Director’s shots so that they don’t disrupt the expensive production schedule, locking up a studio, and securing a location when filming is completed. There may even be some directing involved – cueing extras and drivers of on-set vehicles and generally coordinating the background action.

What’s a 3rd Assistant Director (3rd AD) good at?
  • Multi-tasking

    Pay close attention to what is happening in one shot while getting ready for the next one

  • Attention to detail

    Ensure everything is on screen as it should be - cueing extras and even directing

  • Communication

    Able to let a wide range of people know exactly what is required of them and get them to work together, ability to listen to the director

  • Organization

    Plan, multi-task, work calmly under pressure

Who does a 3rd Assistant Director (3rd AD) work with?

The 3rd AD reports directly to the 2nd AD and on set works closely with the 1st AD.

How do I become a 3rd Assistant Director (3rd AD)?

Like many roles in film and TV, there are many routes to becoming a 3rd AD. From getting degrees, diplomas, certificates, internships, apprenticeships, or even freelancing and volunteer work, there is no standard recipe. Training on-set is also a great route, and there are lots of ways to do it, both extended and short-term.

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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Production Management

A 3rd Assistant Director (3rd AD) works in the Production Management Department

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2nd Assistant Director (2nd AD)

What is a 2nd Assistant Director (2nd AD)?
What does a 2nd Assistant Director (2nd AD) do?

The 2nd Assistant Director is the right-hand man of the First Assistant Director (1st AD). The main responsibility of the 2nd AD is to ensure that all of the 1st AD’s orders and directions are followed. Under the supervision of the 1st, the 2nd AD’s prepare and draw up the ‘call sheet,’ which is the document that details daily filming logistics and is distributed to all cast and crew; they supervise all cast movements, ensuring that the principal actors are in makeup, wardrobe, or standing by on the set at the appropriate times.

The 2nd AD may also be in charge of finding and looking after background artists (extras) on smaller productions without a Third Assistant Director. The majority of 2nd ADs also assist the 1st AD in liaising between the set or location and the production office, keeping key personnel up to date on the shoot’s timings and progress.

The film’s 2nd Assistant Director reports directly to the 1st Assistant Director. The 2nd AD will typically use a headset and/or walkie-talkie to communicate with the film’s 1st Assistant Director at all times.

What’s a 2nd Assistant Director (2nd AD) good at?
  • Planning

    Co-ordinate the schedules of various departments including camera, make-up, hair, costume, design, and visual effects, think ahead and create call-sheets

  • Time-management

    Coordinate logistics, make arrangements, and draw up detailed plans for the 1st AD's review

  • Innovation

    Think of creative solutions under pressure when the unexpected happens

  • Communication

    Able to let a wide range of people know exactly what is required of them and get them to work together, ability to listen to the director

Who does a 2nd Assistant Director (2nd AD) work with?

The 2nd Assistant Director works directly with the 1st Assistant Director. They also manage the movements of the actors and work closely with the hair/makeup and wardrobe departments.

How do I become a 2nd Assistant Director (2nd AD)?

Like many roles in film and TV, there are many routes to becoming a 2nd Assistant Director. From getting degrees, diplomas, certificates, internships, apprenticeships, or even freelancing and volunteer work, there is no standard recipe. Training on-set is also a great route, and there are lots of ways to do it, both extended and short-term.

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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Production Management

A 2nd Assistant Director (2nd AD) works in the Production Management 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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Production Coordinator

What does a Production Coordinator do?

Production Coordinators help ensure a film or television project runs smoothly. Working under the Production Manager or Producer, they help to arrange the day-to-day running of the production office and the team to make sure everyone has the information they need to work effectively.

Production Coordinators can also be the key travel coordinators on small to mid-sized productions. They organize travel plans, book flights and hotel rooms, and they also acquire necessary travel visas for the cast and crew. Production Coordinators are also the main contact at the production office and usually are responsible for communications and document deliveries such as sending out schedules, scripts, script revisions, and call sheets.

Production Coordinators need to communicate well with everyone. They liaise with production and post-production. It’s their job to help to keep everyone informed and on target so the project is finished on time and on budget.

Read

What’s a Production Coordinator good at?
  • Communication

    Work within a team towards a shared goal, be able to communicate clearly with all team members

  • Organization

    Be good at managing projects and working to deadlines, be organized, show attention to detail, be able to multitask and prioritize

  • Software knowledge

    Be able to use database and scheduling software, be good at learning new software, understand common file formats and resolutions

  • Resilience

    Remain calm and confident under pressure, cope well with fast-paced environments and short deadlines, be adaptable, use initiative, have a positive attitude

Who does a Production Coordinator work with?

Production Coordinators work closely with office staff throughout production and post-production. They usually report to the Production Manager.

How do I become a Production Coordinator?

There are a few routes into becoming a Production Coordinator. You need to show you have very strong teamwork and organizational skills as well as a good understanding of the way a film is made. Entry level as a Production Assistant in the office is a great way to work your way up to Production Coordinator.

Here are some more tips:

Educational Requirements: You can take courses in business studies, film studies, media studies, English, math, and economics.

Get an Internship: Internships are jobs with training. They’re a great opportunity to earn while you learn. You might be able to get an internship as an Assistant Production Manager or project manager.

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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Production Management

A Production Coordinator works in the Production Management 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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Production Assistant

Also known as: PA

What does a Production Assistant do?

The PA does just about anything and everything, from getting coffee to making script copies to shuttling crew or equipment around town as necessary. How much a Production Assistant does depends on the budget of the production, as well as how much confidence their superiors have in their abilities. They get tasked with doing many of the small jobs – such as copying call sheets & scripts, taking breakfast orders – and go around distributing these items to the crew. This allows them to learn about various aspects of the production. They can also do general office jobs like answering the phone, filing paperwork and entering data. They manage a float, buy stationery and keep everyone stocked up with caffeine and snacks. PA’s are usually freelancers.

Starting out as a PA is a great way to get to know what life on set is like and figure out what career path you may want to choose within the film world. Most departments on set, such as Art or Locations, have their own Production Assistants that are given tasks specific to that department. Depending on the production, there may be more than one type of Production Assistant on a film or television set such as ones that work on set (Set PA), or after everything has been shot (Post-production PA).

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What’s a Production Assistant good at?
  • Taking instruction

    Listen carefully, do what’s asked quickly, stay calm under pressure

  • Taking initiative

    Have common sense, see what needs to be done in a situation, work without supervision

  • Multi-tasking

    Be able to be organized and prioritize when asked to do different things by different people at the same time

  • Watching film and TV drama

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

  • Learning by watching and asking

    Observe what’s happening and know when to ask about things you don’t understand

  • Reliability

    Get to set on time, be punctual

  • Communication

    Give clear and concise communication, learn the faces and names of all the senior crew members to excel in this position

  • Some items you might find helpful to take with you as part of your PA kit on set (especially on your first day) are

    Pen or Sharpie for taking notes & food or drink orders
    Flashlight for early morning or late night shifts
    Phone Charger
    Phone with map reading software
    Car mount for phone; it’s not essential but it’s very useful

Who does a Production Assistant work with?

Production Assistants work with almost everyone on the production team and crew. They are directly supervised by department heads and senior management such as the Production Manager. On a daily basis PAs interact with everyone involved. Being a PA is a great way to meet and network with crew members in the career path you are interested in.

How do I become a Production Assistant?

Educational Requirements: You might find courses in art and design, photography, drama and theatre, physics, psychology, English, graphic communication or business useful.

Make films: Learn how films are made by making films. This will help you learn the craft of film production and demonstrate your interest.

Learn to drive: It helps to get to film locations early in the morning and in out-of-the-way places.

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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Production Management

A Production Assistant works in the Production Management 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.
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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.

1st Assistant Director

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1st Assistant Director

Also known as: 1st AD, First, First AD, Assistant director, AD

What does a 1st Assistant Director do?

The 1st Assistant Director (AD) is the director’s right hand. They are directly responsible for running the set during production, and most of the main crew report to the 1st AD. 1st ADs plan the filming schedule, working with the Director, Production Manager, Director of Photography and other heads of department to ensure an efficient shoot.

In pre-production, 1st ADs break down the script, analysing it for what will be needed in terms of cast, locations, equipment and crew. Along with the Director, the 1st AD prepares the shooting script which identifies all the specific shots that will be taken during the shoot. Then they input the scripts into computer programs such as Movie Magic software, which helps them work out what to film and when, depending on the availability of cast and locations. They write the shooting schedule and work out how long each scene will take to film. Along with the 2nd AD, the 1st AD helps to prepare the daily “call sheet” and makes sure everyone stays on a schedule in accordance.

On many sets, at crew call, the 1st AD will prepare a safety and logistics meeting with the main crew. During filming 1st ADs manage the set, which leaves the Director free to focus on the actors and framing the shots. A 1st AD must have general knowledge of every department on a production and know how to delegate tasks to each department on behalf of the Director. Another task of the 1st AD during filming is to “call roll” which is when the 1st AD cues the heads of departments to ready themselves for filming. In many cases, the 1st AD may even call “action!” for the Director.

Watch

What’s a 1st Assistant Director good at?
  • Visualizing the script

    Read the script and know what this means in terms of cameras, locations and cast, understand the Director’s vision

  • Planning and Organization

    Analyze what is needed for a shoot, and co-ordinate the schedules of various departments including camera, make-up, hair, costume, design and visual effects, think ahead

  • Multi-tasking

    Pay close attention to what is happening in one shot while getting ready for the next one

  • Innovation

    Think of creative solutions under pressure when the unexpected happens

  • Communication

    Able to let a wide range of people know exactly what is required of them and get them to work together, ability to listen to the Director

Who does a 1st Assistant Director work with?

1st Assistant Directors work closely with the Production Manager, who supervises the production expenditures and arrangements as a whole. They also work closely with the 2nd Assistant Director, who is the main off-set contact with other departments and prepares the call sheet, as well as the 3rd Assistant Director, who is the 1st Assistant Director’s right-hand on set.

How do I become a 1st Assistant Director?

This is a senior role that requires many years of experience. Most 1st Assistant Directors start out as PA’s and work their way up. Here are some more tips:

Network online: Create a LinkedIn profile. See if there are Facebook pages or other social media groups for people making films or TV in your area. There might even be groups for Production Assistants and other entry-level roles.. Join them. Find a film office near you and get connected. If you do sign up to paid sites, make sure they specialize in the areas in which you’re interested.

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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1st Assistant Director

Production Management

A 1st Assistant Director works in the Production Management Department

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

Boom Operator

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Boom Operator

What is a Boom Operator?
What does a Boom Operator do?

A Boom Operator’s primary responsibility is to capture sound on a film or TV production through the use of a microphone on a long pole or arm called a boom pole. The Boom Operator stands beside the Camera Operator and holds the boom pole above the heads of the performers keeping the pole and its shadow out of the shot. In a moving shot, the Boom Operator must follow the action while remaining unseen.

On larger productions, the Boom Operators’ sole job is to hold the boom pole. They report directly to the Sound Recordist or Sound Mixer. On smaller productions, the Boom Operator may also be responsible for affixing body mics known as ‘lavs’ or placing other mics throughout the location. In these cases, the Boom Operator and the Sound Mixer may be one and the same.

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What's a Boom Operator good at?
  • Communication

    Have great people skills, put cast members at ease when fitting personal mics and be able to collaborate effectively with other team members to ensure the sound fits with the visuals.

  • Problem-solving

    Be resourceful and find effective solutions to technical problems and recording challenges.

  • Technical knowledge

    Be able to operate, maintain and repair sound equipment, keep up-to-date and use innovations.

  • Knowledge of the production and post-production process

    Have a good understanding of all crew roles and aspects of how a programme is made from pre- through to post-production.

  • Physical fitness

    The film industry is characterized by very long filming days, which means that boom operators often have to hold up the boom mic consistently throughout an entire day—for many days in a row. This can cause a lot of strain on your arms, shoulders, and back.

Who does a Boom Operator work with?

Boom Operators work intimately with all on-screen talent and contributors, fitting personal mics and monitoring their sound output. They communicate with all members of the production and crew, especially Camera Operators and Directors. The Boom Operator reports to the Production Sound Mixer, the senior-most sound crew member on set. On lower-budget films, the Boom Operator and the production’s Sound Mixer are often just one person, referred to as the “Sound Recordist.”

How do I become a Boom Operator?

Though there is no formal requirement, the basic skills common to all successful Boom Operators include cursory knowledge of electronics and sound recording equipment, excellent aural skills, strength and dexterity, memorization skills, good timing, attention to detail, and the ability to work in teams.

More tips

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Boom Operator

Sound Department

A Boom Operator works in the sound department

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

Special FX Supervisor

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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).

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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.

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

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Line Producer

Also known as: Co-producer, Unit production manager (UPM)

What does a Line Producer do?

Line Producers (LP) are at the heart of the production, hiring the crew, allocating the money, and making sure the filming is done safely, creatively, on budget, and on time. They are typically the most senior member of the production team, second only to the Producers.
Working closely with heads of departments, they decide how the money gets spent, delivering the best possible product to the Producer or series producer while offering the Director and heads of department enough money to realize the vision.

Line Producers are ultimately responsible for all the crew and all the contracts. They hire crew, heads of department, caterers, and studio facilities, overseeing all the deals and paperwork. Some of these tasks may be delegated to the Production Manager who reports directly to the Line Producer. LPs understand the artistry of film-making, foresee pitfalls and disasters and never let the spending extend beyond the bottom line.

During production, Line Producers keep track of the budget and the filming process. They are on set and in the office, dealing with the unexpected and helping find creative solutions. At the end of the shoot, they oversee the wrap or winding down of the production and hand-over to the Post-production Supervisor.

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What's a Line Producer good at?
  • Communication

    Get on well with a wide range of people, be clear about contracts and expectations, ensure everyone understands what needs to happen and when and why to create a strong team

  • Film production

    Have an in-depth knowledge of how films are made, love of the process, good contacts in the industry

  • Organization

    Plan a production schedule, shooting schedule, budget, keep accounts and do the math

  • Negotiation

    Get the best deals for services, keep everyone happy, especially when there’s a gap between the director’s aspiration and what there is to spend

  • Innovation

    Think clearly when the unexpected happens, come up with good ideas even when under pressure

  • Knowledge of law

    Understand health and safety, insurance and personnel legislation

Who does a Line Producer work with?

Essentially all departments report to the Line Producer. All department heads create budgets for their departments and work closely with the Line Producer to know what they can and can’t have and have their costs approved. The LP reports directly to the lead Producers and directly oversees the Production Manager.

How do I become a Line Producer?

Line Producers generally start as Production Assistants or interns in the production office and work their way up to becoming Production Coordinators, then Production Managers, and then Line Producers. There’s a shortage of line producers, so if you’re good, you should be able to find work.

Here are some more tips:

Educational requirements: If you want to go to university, courses in film studies, media, or art, and design are relevant. As it’s a role that combines understanding film production with project management and accounting, subjects that develop your skills in that way are useful too. Combine film studies with business or business studies and math for a well-rounded skill set.

Get project management experience: While you are trying to break into film or TV drama, get management or project management experience. Any job that involves planning, organizing, and budgeting will help equip you 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.

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Production Management

A Line Producer works in the Production Management 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.

Reel Opportunities

Production Manager

Also known as: PM, Unit Production Manager (UPM)

What is a Production Manager?
What does a Production Manager do?

Production Managers (PM) act on the decisions that have been made by the Producer and Line Producer. They create the detailed schedule for the project, hire the crew, hire 3rd party contractors (such as equipment rentals or catering), prepare permits and contracts, oversee location management and look after the allocation of the budget. On most productions the Production Manager is the “foreman” of the crew and most heads of departments report directly to the PM.

Once shooting begins the PM is responsible for the daily reports which go to the Executive Producers and lead Producer. They account for any deviation in the budget or schedule.

A PM splits their time between the office and the set. On a smaller production, the role of the PM is often paired with the role of the Line Producer.

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What's a Production Manager good at?
  • Communication

    Keep in contact with the various departments on a production in order to inform them of their schedules, relate to your colleagues and explain yourself well

  • Organization

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

  • Anticipation

    Listen and be one step ahead of what’s going on, enable everyone to be able to get on with their job

  • Leadership

    Be confident in giving direction and leading a team, communicate well with everyone, create a positive atmosphere within the team

  • Relationships

    Maintain relationships with outside vendors such as equipment rental companies and keep an extensive contact list for crew hiring and replacing in emergencies

  • Knowledge of Laws and Regulations

    An in-depth knowledge of labour laws, insurances, health and safety, contract law and basic human resources is a must

Who does a Production Manager work with?

Production Managers work under the Line Producers, and sometimes directly under the Producers. They manage the Production Coordinators and must liaise with the heads of departments.

How do I become a Production Manager?

A good route to become a production manager is to start off as a Production Assistant, then gain enough experience to become a Production Coordinator, then Assistant Production Manager and then a Production Manager.

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

Production Management

A Production Manager Works in the Production Management Department

You might also be interested in…
All Careers

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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