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Growing up, I've always been interested in anything that involves being creative. Recently I've been drawn to production design and have been fascinated how production design plays such a huge part in film. I believe that I have an eye for design and am really good at graphic design which can be useful in production design. I also work well with others as I would be apart of a team when it comes to the film. Overall, I know I have a lot to learn and would be so grateful if you were to guide me in pursuing a successful career in production design.

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Want to become a film production designer? In this quick guide we look at the basic job role, training, education and expected salary.

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How To Become A Production Designer

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Without the production designer, actors would not have worlds to inhabit.

A future that looks disturbingly close to our own. An impossible cube of deadly traps. Period perfect Victorian London.

A far off land of dragons and wizards, or a modern day Los Angeles where people spontaneously break into song.

Learn more about how production designers do their magic, and how you to can build worlds.

What is a Production Designer?

If you're already working in the art department, you may think you already know the answer to that question. The production designer is your boss.

The person who decides the look of the film, who approves (or rejects) your designs. Sometimes they're called the art director. Sometimes the art director works for the production designer.

But if you want to sit in their chair, you really need to understand the production designer and the art director's job description.

Pre-Production

Before the production designer hires a single other member of the art department, they meet with the director, cinematographer, and other major department heads in multiple pre-production meetings.

The goal of these meetings is to translate the director's stated vision into the visual look of the film. Everyone will have opinions on this matter, and they might not necessarily agree.

Once that visual look has been agreed and decided upon, however, everyone will be turning to you to put that vision to paper.

Like a crumbling manor house.

To a boarding school that never existed or even something as relatively "simple" as taking us back to the year 1865.

You will be responsible for producing reams and reams of sketches until a "look" that everyone can agree is finally discovered.

Now it's time to take those sketches and turn them into actual reality. And you're not going to do that alone.

Assembling a Team

What is a production designer? A production designer is a department head. And like every department head, they're responsible for hiring their team.

This starts with the art director, if the shoot is large enough to justify one. Or two or three if you're taking a truly monumental task.

Once those key positions have been hired, the production designer and art director (or art directors) have to fill a roster of set designers, property masters, draftspersons, and other artists and technicians.

A good production designer has a rolodex of people they know they can trust, but they also find new talent posting on job boards like Production Beast.

Aside from the strength of an applicant's portfolio and resume, the art director and production designer have to determine if the potential teammate understands the vision behind the film.

Sometimes this is obvious -- someone without any historical knowledge is probably a bad fit for a period piece.

Other times, it's more subtle, which is where the interview process is especially important. Everyone knows Batman, certainly, but does this person understand this version of Batman?

Production

One the team is assembled, the production designer gets into the weeds of, well, designing the production.

That sounds fun, but this isn't just creative work.

The production designer has to work within the constraints of the budget the line producer has assigned to them. They have to maintain the schedule so sets and props are ready in time for their upcoming shoot dates.

A good production designer fights for the needs of their art department, but also pushes back when their artists ask for the impossible..

They liason with the other departments -- the cinematographer and his crew will want to know where on set they can set up their equipment.

The costume designer's work must much the general feel of the sets those characters will be inhabiting.

Depending on the film, the actor themself may be brought into consult. Don't view this as pandering to a star. How a character lives will tell the audience a lot about them, and the actor is probably closer to the character than anyone.

The production designer must do all of this while also overseeing every creative decision made by the art department.

If this sounds like a lot of work, it is. It's why the art director is there.

Production Designer vs. Art Director

For a long time, running the art department was actually the film art director's job description.

Then, in 1938, Hollywood legend David O. Selznick hired William Cameron Menzies to work on Gone With the Wind. Selznick sent a memo to everyone on set that "Menzies is the final word" on everything related to the look of the film.

In order to make it clear exactly where he was on the food chain, Menzies gave himself a new title: production designer.

Since then, the names are sometimes used interchangeably. Particularly on small sets, the production designer will simply be called the "art director".

On larger shoots, though, the art director's description is similar to the 1st AD.

They run the show, taking over the bulk of the administrative duties -- keeping an eye on the budget and the calendar -- so the production designer can focus on their creative duties.

When the production designer can't be there, the art director acts in their stead. It's not fun, but it's the reason the art director's salary is higher.

If you're interested in becoming an art director (and if you want to be a production designer, it is often a necessary step), the good news is that it's the same path.

How to Become a Production Designer

Production designers have a lot of ground they have to cover. They're managers, but also creative visionaries, whose portfolio is vast. It's not just set design, it's props, hair, makeup, almost everything.

If you're looking to level up your career, there are steps you can follow to reach your destination. Your journey starts in the classroom.

Become a Master

If you're already working in the art department, chances are that you already have an arts degree. Architecture, theater, and interior design are all popular choices.

That arts degree may serve you well in your particular field, but the production designer needs to think bigger picture. While you can learn a lot from your fellow art department workers, it might be a good idea to go back to school.

Several film schools offer specialized Master's degree programs in production design, including UCLA, USC, and NYU.

They will give you a deeper understanding of every part of the art department. They will also give you a chance to take the lead on designing a production's look.

There is a world of difference between following creative orders and forming a creative vision. You can't just focus on your own specialty.

The entire film is your specialty, and you have to pay attention to even the tiniest detail.

Work Small to Build Your Portfolio

Even with a production designer degree and a decade of art department experience, it's unlikely that you'll be working production design for an HBO series right out of the gate.

You may have been looking forward to pulling down an art director's salary, or even a production designer's salary.

But in film and television, you often have to work for nothing to prove you're worth something.

Fortunately, the explosion of streaming video has made it easier than ever to find a low budget project to get your start on. Your trusted network of contacts might clue you into them, or you can search for open assignments and new shoots onjob boards.

As you add more experience to your resume, you should also be adding footage of your work to your video portfolio. ProductionBeast allows you to upload your video portfolio straight to your profile -- keep your work front and center.

As always with low budget shoots, we encourage you to do your due diligence and make sure everyone is on the up and up.

Depending on your relationship with the Art Director's Guild and your own personal work history, your hands may be tied in regards to what jobs you can take.

That's okay -- the Local 800 has it's own resources to help their members. Contact your guild rep, explain your situation, and see what can be done.

Learn to Budget, Learn to Schedule

Most production designers for large scale studio shoots have done some time as art directors. That is, the art directors who work for production designers.

Not the art directors who actually do production design. Yes, we know it's confusing. The film industry has lots of confusing nomenclature.

The key element in how to become an art director is being able to get things done.

Learn the basics of scheduling and budgeting. Not just so you can manage your own cash flow and timeline, but so you can negotiate with line producer for more time and money when you need it.

Develop your negotiation skills, while we're on the subject -- you'll need them to negotiate your salary, but you'll also need them to convince the line producer to dip into the contingency fund.

Seek out line producers and bribe them with beer and coffee so you may learn their secrets.

Especially when you're overseeing a larger art department, communication is king. You do the director no favors by telling them a set will be done in time when it won't.

You do your crew an equal disservice by not being open with them about how much money and time they should spend on this project.

Find Collaborators

These are all keys in how to become an art director and production designer. Follow these steps, and you will find yourself pulling down an art director's salary in no time.

But if you want to become a great production designer, a famous production designer, the kind that earns the Academy Award for Best Production Design; there's one more crucial step.

You have to find collaborators.

The greatest film directors like to work with the same teams. If they appear to be geniuses, it's only because they surround themselves with geniuses.

It's not just a matter of talent, it's a matter of rapport. If you find a brilliant director with whom you just click, keep in touch with them. Work with them whenever you can.

Nathan Crowley has run Christopher Nolan's art department for every film save Memento and Inception, after earning his art director's salary on films like "Braveheart" and "Dangerous Game".

In 2006, he won the Academy Award for Best Production Design for "The Prestige" -- not bad, all things considered.

What works for directors can also work for you. Great production designers are great because they work with amazing teams who understand them.

ProductionBeast's networking tools allow you to keep track of everyone you've worked with. These people won't just help you find jobs, they'll be the ones you call on for help when you land the job.

Making a Living on a Production Designer's Salary

Now that you know how to become an art director or a production designer, it's time to learn how to make it a career.

There are hundreds of people out there with the artistic talent and vision to be great production designers. Unfortunately, there are only so many jobs to go around.

And while your passion may be to the craft, your landlord probably wants the rent paid in actual money.

Work as a Freelancer

Like most other film jobs, art directors and production designers are freelancers, hired for each specific shoot. As such, they charge a day rate based on their level of experience and the complexity of the shoot.

Your day rate will increase as you grow in your career. If you decide to join the Art Director's Guild, your minimum rates are pre-negotiated for you. You can argue for a higher salary, but never a lower.

You should always be looking for your next job. Keep your portfolio as fresh as possible, set job alerts on Production Beast, and let your friends know when you'll be available for new work.

Eventually you might even consider seeking representation at a below-the-line talent agency -- but finding an agent is a discussion all its own.

Find Steady Work in Television

Television presents a unique opportunity to turn your art director's salary or your production designer's salary into steadier income.

Production designers and art directors are often hired in the long term for TV shows. Get work on a breakout hit, and you've got steady work for years.

The grind is a great deal more intense on a television show of course, but that's the price you pay for being able to collect an art director's salary without thinking about the job after this one.

What is an Art Director's Salary?

The salaries for production designers and art directors are, like many other on set jobs, incredibly variable.

Production designers are department heads and are paid similarly to other department heads, while art directors are counted as "Key" positions and paid accordingly. This rate can change depending on the size of the production and your experience.

Sometimes it's worth it to ask for a lower rate if you believe in the production, or if you think it can lead to better things.

Final Touches

Now that you have a better idea of the production designer and art director's job description as well as how to become a working production designer, it's time to put this knowledge into practice.

The world is waiting to see those amazing designs you keep locked up in your head.

Production designers and art directors -- did we miss anything important? What movie (or TV show) has the best production design that no one notices? Start a conversation in the comments below.

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How to Become a Working Production Designer

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Without the production designer, actors would not have worlds to inhabit. A future that looks disturbingly close to our own. An impossible cube of deadly traps. Period perfect Victorian London. A far off land of dragons and wizards, or a modern day Los Angeles where people spontaneously break into song.

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So, you want to learn how to become a production designer? We don't blame you-overseeing the visuals on movie and TV show sets and in theatre productions is a pretty cool gig. Plus, production design is also an attention-grabbing addition to your online art portfolio or online design portfolio!

If you're unsure how to break into the industry, we've got you covered with our guide on how to become a production designer. We'll cover the production designer job description and production designer responsibilities (and the difference between a production designer vs. an art director), production design education requirements, production designer salary, production designer unions, and how to create an amazing production designer portfolio.

Let's get started by outlining what the production designer's role looks like!

What is the Production Designer Job Description?

Production designers are responsible for working with the director to create the visual concept of a film, television, or theatre production. The production designer job description includes overseeing the overall look of the film and managing the art department that scouts locations, and creates the sets, graphics, and props. The production designer role also entails working with the cinematographer (to ensure the sets will look great in the shot), and the costume, hair, and make-up department (so that every actor fits in with their vision).

What is the Difference Between a Production Designer vs. an Art Director?

Production designer vs art director: what's the deal there? Here's the difference. The production designer is at the head of the art department and is in charge of the overall visual look of the film.

An art director works for the production designer-usually in more specialized areas.

The production designer discusses the direction of the film and its visuals with the director, and the art director delegates specific tasks to the crew so that the production designer's vision becomes a reality.

What Skills are Required for the Production Designer Role?

Being a production designer requires managing a large team and executing a huge vision, so strong communication, multitasking, teamwork, and time management skills are a must.

Attention to detail is also paramount in production design-any little mistake on a prop or set can throw off the whole scene!

Experience in AutoCAD, Photoshop, and InDesign is a great asset, too, since you'll most likely need to produce images and visual designs to share your vision with the team.

What Kind of Production Design Education Do I Need?

The good news: you don't need to go to school for production design to become a successful production designer. It's a creative field, and like most creative fields, your own hustle, creative abilities, and networking skills will be what lands you a job at the end of the day.

It is a good idea, however, to have a bachelor's degree in graphic design, theatre, architecture, or art, as this 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 connections who may end up in the film, TV, or theatre worlds and can hook you up with gigs.

Another smart production design education option? Take some courses in woodwork and set construction at your local college.

What are Some of the Best Production Design Schools?

These are some of the most well-respected production design education institutions:

Tuition: $59,348 (first year), $61,425 (second year).

Notable Alumni: Todd Cherniawsky ( Star Wars: The Last Jedi), Sharon Seymour ( Argo).

At the AFI Conservatory in Los Angeles, students can register for a two-year MFA that focuses in production design. The curriculum is designed by industry specialists, and students enjoy small classes that encourages them to embrace deep narrative storytelling as well as computer design skills. Students also get the chance to present at the school's annual production design showcase to well-known film and TV production designers in the industry.

Tuition: $56,924 (undergrad), $58,000 (grad).

Notable Alumni: Howard Cummings ( Westworld), Dan Bishop ( Mad Men).

A three-year BFA or three-year MFA is available. Being located in New York City means you have plenty of chances during your undergrad to make industry connections and even start working on your first few productions.

Tuition: $22,640 (undergrad).

Notable Alumni: Tony Fanning ( Ocean's Thirteen), Michael Ward ( Passengers).

The School of the Arts at the University of North Carolina gives its production design students a wide range of skills, and a deep understanding of all things filmmaking. Classes on everything from set construction to historical architecture are available-there's even one on furniture history (perfect for set design!).

Here are a few more of the best production design schools you can look into:

Do I Need to Join a Production Designer Union?

Joining a production designer union usually ensures higher pay and, often, more regular work. Most high-profile film and TV productions require their staff to be in a production union of some kind, so it's smart to investigate which union you'd need to get into, depending on your location and job, and what the requirements are.

What Kind of Production Designer Salary Can I Expect?

The production designer salary is depends on a variety of factors, including where you work, what projects you're involved with (i.e. budget), and your experience level. It's also important to note that your salary can depend on whether you're in a production designer union or not.

According to LinkedIn, the average base salary for production designers is around $54,000 (with a range of $34,400 and $84,000). It can also go as high as $90,000, as per Careers in Film.

How Do I Get Started in Becoming a Production Designer?

Production designers can come from all kinds of different backgrounds, whether it's decorating, costume design, architecture, photography, or fine art. Once you've got whatever production design education you feel you need under your belt, it's time to start reaching out to industry folks to offer your production design services.

Start small! Connect with student filmmakers, local YouTubers, and regional theatres to see if they need help putting together their productions. When you're first starting out, you may also want to seek out some internships or apprenticeships with more established production designers so you can get some hands-on experience ASAP. This will also help you bolster your CV so you can eventually get into the production designer union.

The film, TV, and theatre industries are, more than most industries, all about who you know. Stay in touch with your production design classmates and everyone you ever meet or work with who is even remotely connected to the industry-you never know when they may have a gig for you!

You can also try and get your art into a movie or TV show as a way to start making connects.

Most importantly, make sure your online production design portfolio is always up-to-date, so that any productions looking into your work will be impressed!

Ready to build a production design portfolio website that captures clients' attention? We've got you covered. Start your free trial with Format today!

What Should I Include in My Production Designer Portfolio?

Don't have a production designer portfolio yet? No sweat-use a website builder to make one in a few minutes. Pick one with cool templates, to show off your work as beautifully as possible, and video embedding, so you can feature movie, TV, and theatre clips showcasing your production design.

Another important tip: keep it tight! Be very selective and only select the very best images for your portfolio.

If you're new to the game and don't have that much production design to fill the pages of your production designer portfolio, there are still other things you can add. You could include a production design blog where you blog about your favourite production design work in eighties movies, or do a production design recap of every episode of a hot TV show. Or you could make a YouTube video offering a production design tutorial. You could even write a case study reviewing how you put together a production design project, so prospective clients can get a sense of your aesthetic and design process.

With such an amazing production designer portfolio, you're sure to start racking up fancy credits-and that sweet production designer salary-in no time!
Want some more career guidance?
Why This Key & Peele Production Designer Says Yes to Everything
Well-Designed Career Advice for Design Graduates
5 Designers Reveal How to Get Clients with Your Portfolio

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So, you want to learn how to become a production designer? We don't blame you-overseeing the visuals on movie and TV show sets and in theatre productions is a pretty cool gig. Plus, production design is also an attention-grabbing addition to your online art portfolio or online design portfolio!

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To train for the position, you must be aware that the job requires managing a large team and executing a huge vision, so strong communication, multitasking, teamwork, and time management skills. Attention to detail is also paramount in production design, any mistake on a prop or set can throw off the whole scene. Experience in AutoCAD, photoshop, and Indesign is a great asset too since you'll most likely need to produce images and visual designs to share your vision with the team. You technically don't need to go to school for production design to become a successful production designer, but it doesn't hurt to have background in graphic design, theatre, architecture, or art.

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Features, Films, News

Guest Post: The Production Designer Gender Gap

Guest Post by Molly Hughes
The Land of Oz. Wayne Manor. The Overlook Hotel. The Bates Motel. Hogwarts School for Witchcraft and Wizardry. These iconic sets have imprinted themselves on our collective cinematic imagination, and all of them are manifestations of collaborations between directors and production designers. On the eve of another Oscars ceremony at which women are yet again underrepresented below the line, I want to call attention to my field. Production designers serve a pivotal role in filmmaking, but we often get overlooked when it comes to discussions about gender equality in the industry.

For the uninitiated: Production designers are responsible for creating the overall look of the film with the input of the director and cinematographer. We're often the first hire the director makes on a film, and his or her contribution to the look, feel, and mood of the film forms the psychological backbone of the viewer's experience.

This year no women have been nominated in the production design category at the Academy Awards. While the set decorators with whom designers share these awards are often women, the production designers who oversee the overall look are not. Four women have won the award in the Oscars' 89-year history (including Catherine Martin, who has won twice for her work on her husband's films). Since the first woman was finally nominated (and won) in 1983 - Ana Asp for "Fanny and Alexander" - there have been 170 Production Design nominees, and of those only 16 percent have been women.

As we know, the problem is not simply the awards nominations - it's the production culture specifically surrounding big studio films. The Art Directors Guild awards, which showcase the talents of designers across television, film, music videos, and commercials each year, have shown signs of a slow and steady increase in female nominees across every category in recent years except for their "Fantasy Film" category. This specific award, created in 2006 with the increase in high-concept, huge-budget comic book and fantasy films, remains men-only. No woman has been nominated in the 10-year history of this award. While women designers are sometimes hired for costume or period dramas, they are rarely hired by directors to design larger budget, high-concept productions. Of the 200 largest budget films from 2000 to 2015, none were designed by women.

So how do we change this?

For those of us who have the opportunity to work on studio films and films of a significant size and technical weight, it is our responsibility as designers and art directors, both male and female, to nurture young female talent in our field to be prepared for the big projects in their future; we must feel obligated to train young women to be ready to take on the technical demands of collaboration with the many departments on these larger films so they cannot fail under the scrutiny they will likely face as women doing the job most often given to men.

In the UK, things are looking more positive for women than in the U.S. I worked for production designer Stuart Craig and art director - now production designer - Neil Lamont on six "Harry Potter" films through the birth and young years of my two children. Their support and acceptance of young mothers in our award-winning art department sparked a cultural shift across the art departments of the British film industry.

There is now more support by male designers and art directors staffing their art departments of highly technical and design-heavy films with women with young children - an acknowledgement that flexibility doesn't mean less productivity and job sharing can work successfully among female draftsmen and art directors. This mindset means that young women don't have to leave the industry when they start having children, which is typically right around the age when they should be sharpening their technical skills and preparing to move up the art department ladder.

But we have to carry this mindset across to the U.S., and with projects now shooting wherever they can catch a good tax credit, it's up to producers to support women with families on the road and those female crew members living in these tax credit hubs (Georgia, Canada, etc.) so they can be empowered to do their best work. There are excellent female designers and art department crew members out there who are great collaborators and communicators and would be a welcomed asset to any film, but they aren't able to throw their names into the ring if they don't feel like they have the support of the studio or production to help them balance their work and family lives.

Disney just announced Niki Caro will direct their live-action "Mulan," making her the fourth female director to cross the $100 million threshold. Ava DuVernay, who has spoken out about her commitment to hiring a female crew, was the third with "A Wrinkle in Time," and she hired Naomi Shohan, a female designer, for that project. While this is a positive sign, female directors still make up less than 10 percent of the population of directors in Hollywood and those numbers are even bleaker for studio films. So the likelihood of other female directors being able to make the same commitment as DuVernay to support women below the line is challenging.

We need the help of young male directors to remain loyal to their female designers as they break through to bigger budgets. So far in 2017, two films set in the Marvel Universe with young male directors attached to direct have female designers, a first for comic book films. Thanks to the loyalty of young directors with whom they've worked, and a willingness for studios to take a chance on a female designer the way they'll take a chance on their young male director, this is a huge step forward. This could mean things are beginning to shift in our direction.

So let's nurture young talent, set young women in our field up to succeed, and keep the momentum going.
Production designer Molly Hughes spent a decade as an art director, most notably in London on six of the "Harry Potter" franchise films with production designer Stuart Craig. She also served as an art director on Steven Spielberg's "Warhorse," and as supervising art director on Tony Gilroy's "The Bourne Legacy." Since making the leap to production designer in 2012 with director Max Nichols, she has worked with documentary filmmaker Amy Berg on her first scripted feature "Every Secret Thing," Oscar winner Charlie Kaufman on his TV directorial debut "How and Why," and with the renowned Norwegian director Joachim Trier on his first English language film, "Louder Than Bombs." Hughes designed the hugely successful Josh Boone-directed film "The Fault In Our Stars" and is currently in preparation with Boone on his next film, "X-Men: The New Mutants," for Twentieth Century Fox.

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Guest Post: The Production Designer Gender Gap

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Molly Hughes Guest Post by Molly Hughes The Land of Oz. Wayne Manor. The Overlook Hotel. The Bates Motel. Hogwarts School for Witchcraft and Wizardry. These iconic sets have imprinted themselves on our collective cinematic imagination, and all of them are manifestations of collaborations between directors and production designers.

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The average employee age for production designers is 37 years. The production designer workforce reached a whopping 61,440 in 2020!

Among production designers, we discovered that 42.7% of them are women, while 52.7% are men. The most common race/ethnicity among production designers is White, which makes up 75.0% of all production designers. Comparatively, there are 10.3% of the Hispanic or Latino ethnicity and 8.3% of the Asian ethnicity. The majority of production designers are located in NY, New York and CA, Los Angeles.

Production designers are more likely to work at private companies in comparison to public companies. Taking it a step further, production designers are more likely to find a job in the retail industry. Looking at production designer statistics, we found was that California, Oregon, Virginia, Massachusetts and Washington are where production designers find the highest salaries.

From where do we know all information about production designer demographics? We analyzed 3,577 production designers resumes to find out what the average demographics are for the job position. Just to be clear, by demographics we mean the study of population-based factors like age, race, and sex. On top of scouring through resumes, we also took note of job proposals from employers and Census Bureau data. And guess what? We found some pretty interesting information.

Production Designer Diversity

From race to gender and even age, we found the average demographic information on those who work as production designers. Keep reading to find out what the results for production designers were.

Production Designer Gender Ratio

Among production designers, 42.7% of them are women compared to 52.7% which are men.

Production Designer Ethnic Breakdown

The most common ethnicity among production designers is White, which makes up 75.0% of all production designers. Comparatively, there are 10.3% of the Hispanic or Latino ethnicity and 8.3% of the Asian ethnicity.

Foreign Languages Spoken By Production Designers

The chart below shows that 48.4% of production designers speak Spanish. The second-most popular foreign language spoken is French at 10.2% and Italian is the third-most popular at 7.6%.

Age Based On Ethnicity And Gender

We determined the average age of production designers based on ethnicity and gender.

Black or African American

Number Of Years On The Job For Production Designer

By looking over 3,577 production designers resumes, we figured out that the average production designer enjoys staying at their job for Less than 1 year for a percentage of 33%.

Production Designer Age Breakdown

This chart breaks down the ages of production designer employees. Interestingly enough, the average age of production designers is 40+ years old, which represents 40% of the population.

Comparing The Gender Ratio of Production Designers with Other Job Titles

We compared this job title with other job titles to see how gender percentages varied. As you can see, senior industrial designer and level designer have the biggest difference in gender.

Comparing The LGBT Ratio of Production Designers with Other Job Titles

After finding the gender ratio, we wondered if the percentages of LGBT persons were different as well. Using the data below, you can see how other job titles compare to production designers.

Apprentice, Painter, Landscape

How Much Do Women Make Compared To Man As Production Designer?

Production Designer Income By Gender And Race/Ethnicity

We found interesting that Black or African American men and Asian men make more money compared to others.

Production Designer Income By Race/Ethnicity And Education

This chart shows the impact that education has on the income level of different ethnicities.

Production Designer Income By Race/Ethnicity And Education

This chart shows the impact that education has on the income level of different ethnicities.

Black or African American

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The average employee age for production designers is 37 years. The production designer workforce reached a whopping 61,440 in 2020! Among production designers, we discovered that 42.7% of them are women, while 52.7% are men. The most common race/ethnicity among production designers is White, which makes up 75.0% of all production designers.

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There are over 61,440 production designers currently employed in the United States. 42.7% of those production designers are women, and 52.7% are men. The average age of an employed production designer is 37 years old. 75% are White, 10.3% are Hispanic or Latino, and 8.3% are Asian. In 2021, women earned 94% of what men earned. More women are entering the film industry breaking these demographic status quo.

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I was always a crafty kid. I enjoyed decorating and redecorating my bedroom over and over again. I used to design and build forts in our living room when I was little, and I spent more time in church staring at the ceiling wondering how it was constructed and analyzing the stained glass windows than I did actually listening to mass.

I became interested in film in my first year of high school and never looked back. I wanted to be a writer/director, but I continued to excel in my fine arts and theatre classes, which always made me truly happy. I didn't know then that I would one day be able to merge my skills and interests by working in film and television production design.

Lo and behold years later I was able to volunteer on my very first show as a production assistant on a non-union feature film and their art department and set dec team was woefully understaffed, so I ended up working with them a lot.

I asked a lot of questions and learned quickly what the art department, set dec, and props teams do. I knew immediately during production that the art department was where I needed to be. I couldn't believe it was a real job and I was mesmerized. Putting my innate fine arts creativity to good use while also working in the film industry felt like the most natural thing I could possibly do with my life.

Did You attend Film School?

I did not attend film school. I studied art history and philosophy with a bit of film theory in college. I thought I was going to be a writer, so I wanted to explore things I could write about and have a greater perspective on the world before I dived into filmmaking.

At eighteen, I knew I didn't know anything, so I needed to study something else. It ended up being a good mix of disciplines for what I do as a production designer, but I still wish I had gone to school for architecture or interior design. Studying art history ultimately had the most impact on me within my career. I use concepts and principles I learned in high school and college all the time.

As long as you dedicate yourself to learning everything you can, then you can still make it without a formal education in film production. On-the-job training is invaluable in addition to learning software and theory on your own. I don't regret not going to film school. Film production would have been great to meet people and create a bond with a group of filmmakers to take into my career but ultimately it wasn't necessary, and I don't feel I missed out on much.

As long as you dedicate yourself to learning everything you can then you can still make it without a formal education in film production

How Did You Get Your First Paid Job In Film?

I worked for free a lot at the beginning, which was typical at the time. Given that I didn't go to film school I knew I was going to have to spend some time learning the ropes and that I likely wouldn't get paid right away, so I kept some flexible part-time jobs on the side.

I don't actually remember what my first paid job was since my early years in film have now blended together a bit. However, I do remember my first paid job in the union.

I had been working in the independent film world in the art department for about five years when one day I got a call from a production designer I had worked with on a short film I volunteered for. He told me that he was set designing a new show called Covert Affairs, and they needed an art department coordinator right away. The deal was that if I could drop everything, I could join the union and get on the show by that following Monday. So I did and never looked back.

It was on that show that I really learned a lot about the craft. I again asked every question I could when people weren't busy and really tried to learn as much as possible. I was a sponge, and I truly appreciated the opportunity. After that, it was much easier to gain proper, paid, consistent work to further learn my craft.

I had been working in the independent film world in the art department for about five years when one day I got a call from a production designer I had worked with on a short film I volunteered for

Can You Breakdown The Work Process Of A Production Designer?

I wish I could say there is one way that it is done as it would make my job easier. It differs based on the show and the needs of the production. I think every production designer has their own unique process that gets them from A to Z.

In an ideal world, I am one of the first creatives brought on the project after the show is greenlit, which is how it is done most of the time, but I have certainly experienced exceptions. I've learned to adapt my workflow based on the amount of time I can sit with the script. The more time, the better.

Once I am given a script, I read it once without making a single note so I can understand the story the way the audience will and I try to make mental notes of my emotions during that first read. After that, I reread it, this time making what I call my 'first thoughts' notes. Then I read it again, this time I start making my set list. How many sets are there? Where are they? What year? How much time will each set be on-screen? Then I read it yet again highlighting and breaking down the script detail by detail so by the end of it, I have all of my various art department breakdowns- everything from graphics to picture vehicles. This is a lengthy process.

While the art director and various art department members are responsible for creating these breakdowns, I try to do my own when time permits so that I know the script forwards and backwards. If I take the time to know every single detail in the script, I can adapt far faster and more efficiently when the inevitable changes to production arise. It's an essential step in my process and something I try to protect. I feel I owe it to the director, writer(s) and producer(s) to soak in their script as much as I possibly can so I'm always making the best decision for their story and the characters who inhabit them.

My goal is to be honest to the story and the characters. I aim to know their world as well as I know my own.

After my script phase (and sometimes during), I go into my research phase and begin mainlining visual imagery into my bloodstream so that I can link images with moments and feelings. My goal is to be honest to the story and the characters. I aim to know their world as well as I know my own.

During this process, I am also hiring my art department team and my set decorator. First, I employ an art director who will manage my art department and then a set decorator who will lead my set decoration department.

Together with the art director, the rest of the art department is hired which can include more art directors, a graphic designer(s), set designer(s), an art department coordinator, and an art department assistant(s).

Once I am into my research phase, I can collaborate more readily with the director, director of photography, and producers to find the look, mood, tone, and colour scheme for the project together. This often requires hours of conversation, watching of films, looking at concept art my team has created, as well as the images and references that we have collected until we land on a look that works perfectly for the project.

This is then followed by loads of meetings, location scouts, set designing- the presentation and alteration of blueprints and pre-vis models, graphic designing, and eventually a tech survey with the film crew to make sure we're all on the same page and know what we're about to get ourselves into.

During this process, various budgets and designs are being approved so they can be built and dressed in time to be camera ready on day one of the shoot.

Then it's off to the races to create the project we have planned and built for the last several weeks plus a whole lot more designing, budgeting, building, and dressing. It never ends until they call wrap on that last bittersweet day.

What advice would you give to students interested in pursuing a career in the film art department?

Devote yourself to learning as much as possible. Know that the learning never ends no matter what stage you're at. You will never learn it all, and hopefully, that challenges and excites you.

Travel and observe. Inspiration will come to you at the strangest times, so be ready to take it in. Photograph everything. It might literally be the way the rust falls under a barn doornail which has sat outside for 137 years or the look of wallpaper from 1988 with a few bubbles under the surface which doesn't quite line up to the pattern beside it, but somehow it inspires your next set.

Devote yourself to learning as much as possible. Know that the learning never ends no matter what stage you're at.

The best practical advice I can give is to hire slowly and trust your gut. Every time I haven't trusted my instincts, I have deeply regretted it. Hiring your team is one of the most important things you will do as a production designer, so you need to be able to trust their taste, skill, experience, and work ethic. Knowing they're there for the same reasons you are, to create the best project possible, is half the battle.

If you need any further advice on production design and the art department, please visit my website, Art Departmental. I have devoted the majority of my off-time to helping people understand production design. I never want you to feel alone on your journey into the film and television industry.

Rose's Blog - Art Departmental | Rose's Personal Website Social Media - Instagram | Twitter | Pinterest | Facebook

I also wrote a guide about the film art department - Find Here﻿

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Interview with Production Designer - Rose Lagace - Amy Clarke Films

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I was always a crafty kid. I enjoyed decorating and redecorating my bedroom over and over again. I used to design and build forts in our living room when I was little, and I spent more time in church staring at the ceiling wondering how it was constructed and analyzing the stained glass windows than I did actually listening to mass.

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Chris Crane: Of course! As a production designer, I am responsible for the overall look of the project. By working with the director's vision, what the script dictates, what the cinematographer needs and requests, as well as practical locations and/or set builds I come up with how and what the final project looks like. Sometimes this is very planned out and sometimes we work on the fly and come up with solutions to problems. It is incredibly creative but also all about organization, management and problem-solving.

There are several emotionally charged scenes in the recently released political thriller Run This Town, for which you were the production designer. This portrayal of heightened emotions comes through on various levels in the film - pace of editing, music, lighting, the actors and of course in the writing itself...
How do the set design and setting harmonize, or even bring out, the emotional quality of the scene at hand?
Chris: In Run This Town we had the opportunity to recreate some real spaces, such as the Toronto City Hall Mayor's outer office and Mayor Rob Ford's office circa 2013. In those cases it was more about having lighting options for the cinematographer, Nick Haight, so he could have things like practical desk lighting on hand to create different moods for different scenes.

For things like our fictional 'The Record' newspaper offices, Director Ricky Tollman and I went through different options of logos for the newspaper (created by Art Director Joël Guzman) and that led to going into different options of the colour for the space. Once we had our location, we did walkthroughs to figure out the layout and what scenes would happen where.

That way we could create spaces that portray clutter, or lots of space to move for tracking shots, or which areas we would focus on using windows and which areas we would try not to. It was a mix of planning certain things out as well as giving the various office spaces enough visual interest that there were more shooting options on the day.

Ben Platt as Bram, from 'Run This Town'

Chris: Every aspect of film should really intertwine with production design. The costume designer needs to know what colours we are using so they can compliment or stay away from them when putting together character outfits. The cinematographer needs to know set and location layouts as well as what types of practical lighting we can provide. Actors have ideas about what might be in their characters space to help with performance.

I even need to know where gear might need to be stored in a location so the set decorator does not dress that area or which walls need to be able to fly out in a set build so camera and lighting can set up for certain camera angles. It is a very collaborative process - you can never have or give out too much information. The more everyone is on the same page the better.

Chris: I started out wanting to be an actor and filmmaker in high school. I ended up getting into photography and then window display. I started helping some film friends that I met in my one year for photography at Ryerson University with their short films and small projects with finding props and set dressing and building some basic sets. That kind of is what eventually lead me into working in film.

Chris: The sooner I am involved in location scouting the better! Along with the director and cinematographer, it usually takes the three of us to agree on a location. It might work for shooting but seem plain to me (so we figure out what we would need to do with it to make it work) or I could love the look of the space but the director worries it might be a bit too small.

Nina Dobrev (center) as Ashley, with Mena Massoud (right) as Kamal-from 'Run This Town'

The process can vary a bit. Sometimes we head out to a bunch of random locations that the Location Manager thinks might work. From there we tell them what we like/don't like. This helps them figure out if they are going in the right direction or not. Other times we go through images from location scouts first and narrow down which ones we all want to look at.

Sometimes cost can be a factor and the thing everyone loves ends up being something we cannot afford or is not available when we need it. Then we either start all over or look at past options and find a runner up. Sometimes the best locations end up being the ones that you don't really love right away but find creative design solutions to make them work.

Chris: It really depends. Actual locations offer up things that you could never imagine or dream up. While constructed sets can give you exactly what you want and allow more space for crew (you can remove walls, ceilings, control sound, and light better). What you can lose in built sets is sometimes that extra layer of realism for actors and crew; you kind of 'live' in an actual space and that can make things feel more heightened and real.

I like both. Creating a set from scratch is incredibly creative and exciting, but walking into an actual location that is exactly what you pictured in your head when you first read the script is pretty incredible too.

Ben Platt as Bram in 'Run This Town' as the story gains momentum

Chris: An open and collaborative atmosphere really excites me. The only thing I love more than coming up with ideas is listening to someone else's. I love bouncing ideas off people and hearing what someone has to say.

Sometimes I even like when someone thinks something I want to do is not going to work out; and then proving them wrong by knocking it out of the park. Other times I might be going about something the hard way and someone offers up a simpler way to get there. Film is all about working with a bunch of people, who are all very different, with the same end goal of getting the project to the finish line.

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Production Design in Cinema, an Interview with Chris Crane

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Chris Crane: Of course! As a production designer, I am responsible for the overall look of the project. By working with the director's vision, what the script dictates, what the cinematographer needs and requests, as well as practical locations and/or set builds I come up with how and what the final project looks like.

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"Working directly with the director, cinematographer, and producer, production designers have a key creative role in the creation of motion pictures and television. The term production designer was coined by William Cameron Menzies while he was working on the film Gone with the Wind. Production designers are commonly confused with art directors as the roles have similar responsibilities. Production designers decide the visual concept and deal with the many and varied logistics of filmmaking including, schedules, budgets, and staffing. Art directors manage the process of making the visuals, which is done by concept artists, graphic designers, set designers, costume designers, lighting designers, etc. The production designer and the art director lead a team of individuals to assist with the visual component of the film. Depending on the size of the production the rest of the team can include set decorators, buyers, dressers, runners, graphic designers, drafts people, drafts people, props makers, and set builders." Wikipedia

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In film and television, the production designer is the individual responsible for the overall aesthetic of the story. The production design gives the viewers a sense of the time period, the plot location, and character actions and feelings. Working directly with the director, cinematographer, and producer, production designers have a key creative role in the creation of motion pictures and television. The term production designer was coined by William Cameron Menzies while he was working on the film Gone with the Wind. Production designers are commonly confused with art directors as the roles have similar responsibilities. Production designers decide the visual concept and deal with the many and varied logistics of filmmaking including, schedules, budgets, and staffing. Art directors manage the process of making the visuals, which is done by concept artists, graphic designers, set designers, costume designers, lighting designers, etc. The production designer and the art director lead a team of individuals to assist with the visual component of the film. Depending on the size of the production the rest of the team can include set decorators, buyers, dressers, runners, graphic designers, drafts people, props makers, and set builders.

1. The production designer will read the script and allocate categories based on the required visual components such as interior, exterior, location, graphic, vehicles, etc. Discussion with the director is essential in the beginning of the production design process. In this discussion, the production designer will clarify the approach and focus required for the visual design of each scene.

2. The production designer will move to researching which is important in every design process. They will use mood board which consists of images, sketches, inspiration, color swatches, photos, textiles, etc. that help with the ideation. Learning about the time period, the place and the culture also assists with coming up with an idea. Moreover, the PD has to plan to create a convincing space within a budget, therefore, it is important that the space can speak about the character or enhance the flow of the story, rather than being filled with unnecessary decoration. Additionally, it also affects the location of filming, whether it is in a studio or at a specific location.

3. The production designer will ensure that all visual components of the film are complete in all stages of the production process. [clarify ]

Production design plays an essential role in storytelling, for instance, in the movie , when the characters Jack and Rose are in the cold water after the ship sank, we know that they are cold because of the setting: it is nighttime and there is ice on their hair. A more specific example is The Wizard of Oz, in which we know the story takes place on a farm because of the bale of hay Dorothy leans on and the animals around, as well as the typical wooden fence. In the scene in which Dorothy's dog is taken away, we know that it happens in her aunt and uncle's house, which adds more tension because her beloved friend, Toto is not killed, lost or kidnapped on the street, but is forced to leave by an outsider, Ms. Gulch, who enters Dorothy's private and safe zone (her home). Jane Barnwell states that the place the characters exist in gives information about them and enhances the fluency of the narrative (175). Imagine Dorothy's home was dirty and everyone in her house were dressed untidily, the viewer would have supported the outsider instead, perhaps thinking that the outsider in a way, rescued the dog from an unhealthy environment. Additionally, the characters' clothing, especially that of Ms. Gulch, makes the description "own half the county" more reliable in portraying Ms. Gulch, and also supports the reason why Dorothy cannot rebel against Ms. Gulch by making the dog stay. However, this does not mean that the setting or costume should be extremely detailed and cluttered with information. The goal is to not let the viewer notice these elements, which, however, is how production design works. Jon Boorstin states in his book, Making Movies Work Thinking Like a Filmmaker, that the background, the camera motion or even the sound effect is considered well-done if the viewer does not notice their appearance.

In the United States and British Columbia, production designers are represented by several local unions of the International Alliance of Theatrical Stage Employees (IATSE). Local 800, the Art Directors Guild, represents production designers in the U.S., with the exception of New York City and its vicinity. Those members are represented by Local 829, the United Scenic Artists. In the rest of Canada, production designers are represented by the Director's Guild of Canada. In the United Kingdom, members of the art department are represented by the non-union British Film Designers Guild.

The production design credit must be requested by a film's producer, prior to completion of photography, and submitted to the Art Directors Guild Board of Directors for the credit approval.

Bibliography

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In film and television, the production designer is the individual responsible for the overall aesthetic of the story. The production design gives the viewers a sense of the time period, the plot location, and character actions and feelings. Working directly with the director, cinematographer, and producer, production designers have a key creative role in the creation of motion pictures and television.

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"In film and television, the production designer is the individual responsible for the overall aesthetic of the story. The production design gives the viewers a sense of the time period, the plot location, and character actions and feelings." Wikipedia

# data[].attributes.attachment_link.readable_text
In film and television, the production designer is the individual responsible for the overall aesthetic of the story. The production design gives the viewers a sense of the time period, the plot location, and character actions and feelings. Working directly with the director, cinematographer, and producer, production designers have a key creative role in the creation of motion pictures and television. The term production designer was coined by William Cameron Menzies while he was working on the film Gone with the Wind. Production designers are commonly confused with art directors as the roles have similar responsibilities. Production designers decide the visual concept and deal with the many and varied logistics of filmmaking including, schedules, budgets, and staffing. Art directors manage the process of making the visuals, which is done by concept artists, graphic designers, set designers, costume designers, lighting designers, etc. The production designer and the art director lead a team of individuals to assist with the visual component of the film. Depending on the size of the production the rest of the team can include set decorators, buyers, dressers, runners, graphic designers, drafts people, props makers, and set builders.

1. The production designer will read the script and allocate categories based on the required visual components such as interior, exterior, location, graphic, vehicles, etc. Discussion with the director is essential in the beginning of the production design process. In this discussion, the production designer will clarify the approach and focus required for the visual design of each scene.

2. The production designer will move to researching which is important in every design process. They will use mood board which consists of images, sketches, inspiration, color swatches, photos, textiles, etc. that help with the ideation. Learning about the time period, the place and the culture also assists with coming up with an idea. Moreover, the PD has to plan to create a convincing space within a budget, therefore, it is important that the space can speak about the character or enhance the flow of the story, rather than being filled with unnecessary decoration. Additionally, it also affects the location of filming, whether it is in a studio or at a specific location.

3. The production designer will ensure that all visual components of the film are complete in all stages of the production process. [clarify ]

Production design plays an essential role in storytelling, for instance, in the movie , when the characters Jack and Rose are in the cold water after the ship sank, we know that they are cold because of the setting: it is nighttime and there is ice on their hair. A more specific example is The Wizard of Oz, in which we know the story takes place on a farm because of the bale of hay Dorothy leans on and the animals around, as well as the typical wooden fence. In the scene in which Dorothy's dog is taken away, we know that it happens in her aunt and uncle's house, which adds more tension because her beloved friend, Toto is not killed, lost or kidnapped on the street, but is forced to leave by an outsider, Ms. Gulch, who enters Dorothy's private and safe zone (her home). Jane Barnwell states that the place the characters exist in gives information about them and enhances the fluency of the narrative (175). Imagine Dorothy's home was dirty and everyone in her house were dressed untidily, the viewer would have supported the outsider instead, perhaps thinking that the outsider in a way, rescued the dog from an unhealthy environment. Additionally, the characters' clothing, especially that of Ms. Gulch, makes the description "own half the county" more reliable in portraying Ms. Gulch, and also supports the reason why Dorothy cannot rebel against Ms. Gulch by making the dog stay. However, this does not mean that the setting or costume should be extremely detailed and cluttered with information. The goal is to not let the viewer notice these elements, which, however, is how production design works. Jon Boorstin states in his book, Making Movies Work Thinking Like a Filmmaker, that the background, the camera motion or even the sound effect is considered well-done if the viewer does not notice their appearance.

In the United States and British Columbia, production designers are represented by several local unions of the International Alliance of Theatrical Stage Employees (IATSE). Local 800, the Art Directors Guild, represents production designers in the U.S., with the exception of New York City and its vicinity. Those members are represented by Local 829, the United Scenic Artists. In the rest of Canada, production designers are represented by the Director's Guild of Canada. In the United Kingdom, members of the art department are represented by the non-union British Film Designers Guild.

The production design credit must be requested by a film's producer, prior to completion of photography, and submitted to the Art Directors Guild Board of Directors for the credit approval.

Bibliography

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In film and television, the production designer is the individual responsible for the overall aesthetic of the story. The production design gives the viewers a sense of the time period, the plot location, and character actions and feelings. Working directly with the director, cinematographer, and producer, production designers have a key creative role in the creation of motion pictures and television.

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The Academy of Television Arts & Sciences Foundation Presents

02:26

Tabs

Highlights

Roy Christopher on advice to aspiring production designers

Bob Mackie on production design for the Academy Awards

John J. Lloyd on his production design style

Charles Lisanby on the differences between an art director and a production designer

Joseph Jennings on his production style

Who talked about this profession

Roy Christopher on the addition of "production designer" as a title in television and what the profession entails

Roy Christopher on the limitations of color shades when he started in the 1960s and 1970s

Roy Christopher on dealing with changing fashions and styles over the years in production design

Roy Christopher on styles in the then-present (2006)

Roy Christopher on his style

Roy Christopher on advice to aspiring production designers

Albert Heschong on art directors location scouting

Joseph Jennings on the difference between a production designer and an art director

Charles Lisanby on his advice to aspiring art directors and production designers

Charles Lisanby on his approach to production design

John J. Lloyd on his production design style

Bob Mackie on production design for the Academy Awards

Keith Raywood on ways in which he presents music on television, including the Eagles Hell Freezes Over special on MTV

Keith Raywood on how the production design department works with other departments

Keith Raywood on the tools he uses in his work as a production designer

Keith Raywood on working within a budget

Keith Raywood on considering different shooting formats when planning a production design

Keith Raywood on what has changed about being a production designer since he started, and on the advancing technology

Keith Raywood on what he enjoys about production design

Keith Raywood on his signature style

Keith Raywood on advice to aspiring production designers

Jac Venza on re-designing the news set for CBS news

Who worked in this profession

About

"The design world is vast. You never know where it will take you. If you're a fine artist, a graphic artist, an architect, an interior designer, a painter - it can all be used. There's not one way to do it." - Roy Christopher, Production Designer

"Production Designers create and develop the overall look, atmosphere and emotion that move the story. As visual artists and story tellers, the Production Designer consults primarily with the Director through the conception and creation of stage sets and the selection and alteration of practical locations and backgrounds. Production Designers also collaborate with the Visual Effects team, and provide the designs necessary to maintain a coherent blend between the look of the production, cinematography, and the post-production visual effects footage."- Art Directors Guild

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The Academy of Television Arts & Sciences Foundation Presents 02:26 Highlights Roy Christopher on advice to aspiring production designers Bob Mackie on production design for the Academy Awards John J.

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1. You don't necessarily need to go to film school to be a production designer but it is useful to make connections.
2. In the beginning of your career, you'll most likely will be working for free.
3. Every production designer has their own unique process when it comes to production design.
4. There are loads of meetings with the rest of the team so that everyone is on the same page.
5. Sometimes it can be very planned out and sometimes you have to work on the fly and come up with solutions to problems.