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Costume designers main job within the theatre is to work on the design, and often construction, of the costumes worn by actors on stage, including the ensemble and background characters.
They often will work as or with the Head of Wardrobe, who are responsible to make sure all the actors have costume and to know what everyone is wearing, alongside the Costume Tailors/Seamstresses who make the various costumes for each actor playing each role, including duplicates.

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Although the pay rate depends on the company, the demand of the job, how much costume is required, how many productions they work on in a year, etc. costume designers can expect to make around £16,000  - £18,000 a year, at least when starting off.
If they're more experienced with a higher reputation or involved with a significantly larger company, costume designers may make around £20,000 - £40,000 per year.

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Due to Costume Designers often being free-lance, a working week can often depend on many circumstances (such as how many shows they're designing for, what point the production is at, etc.)
Assuming the designer is working only on one show at a time and that the initial designs have been sketched out and approved of, costume designer will often spend their week taking performer's measurements, altering designs for specific actor's requirements, assisting in construction of costume, shopping for garments, shoes, fabrics, patterns, etc.
They tend to work odd hours and have to keep a flexible schedule open so that they can be available every time a new performer comes in, a costume gets damaged, or any other reason why they may need to come into the theatre.

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Costume designers will work closely with Head of Wardrobe, Tailors/Seamstresses, Hair and Makeup artists, Wig Designers, and other roles which work in dressing actors.
Alongside this, when sketching up the initial designs and learning about different factors of the show which can impact the costume (decade, setting, character status, themes in the show, etc.) the costume designers will work with the script writers, directors, and actors to really understand the character as a person and contribute the factors of a costume.

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Costume designers support the overall performance by giving the audience a major part of the visual value of the show. Costumes can reflect visually many different factors such as a character's status, sense of style, symbolism within the show, etc., and it can also help the actor get more into character.

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The main job of the choreographer is to work with the director and music director in order to create either dance or otherwise movement based sequences (i.e. fight scenes, stage positioning, round-by-through, etc.) in order to create more visual interest to the audience.
They often work alongside directors and music directors, however they may also work with costume designers, head of lighting, and the set designer in order to make sure the choreographer they design works well alongside all those other elements to make the movement as seamless as possible.

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Much like any other role within theatre production, this can highly vary depending on the scale of the production, the amount of work being done by the choreographer (for example, if they're doing an hour-long ballet sequence, they can expect to make more than if they were choreographing a 5 minute round-by-through sequence), however the average annual income of a choreographer in the UK is £44,200.

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Whilst it can highly vary depending on the scale of the job and at what point in the production it is, assuming that the production is still in rehearsal period, the choreographer will spend their set amount of hours working mostly with the actors, teaching them their choreography and making any needed adjustments or clean-ups of the movements. If it is earlier in the production, they will likely be talking with the director on a regular basis and making sure that their plans are in line with the director's vision.

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Choreographers will work closely with directors in order to make sure that whatever movement/dance they have planned can be properly and professionally performed and choreographed, but will spend most of their time working with the performers teaching and assisting in the choreographed sequences.

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Choreographers can play a vital role depending on the performance, as movement of any kind can provide so much visual interest for the audience and makes sure that the actors on stage have an understanding of where to go and how to move during any movement based sequences being performed.

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The set designer's main job is to work on creating a set for a production and being responsible for all that is going to be seen on stage. This can all highly vary depending on the production, some shows may use no background design and only have furniture or props on stage to indicate where they are, others may have painted or digital sets, etc., so they often have to be aware of all the different possibilities of options, alongside the more creative aspects such as creating the mood/atmosphere, visually explaining the setting, etc.

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The average pay rate for a set designer annually is £33,280 in the UK, although this may change depending on the scale of the job and the company.

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Often they'll be doing their main work early on in the production, working alongside the director and artistic director in order to visually bring any of their ideas to a realistic standard and set. This'll all be done by looking at the stage and getting an initial sketch drawn up, before then going shopping and/or working with construction in order to create the physical set. Throughout the rehearsal process, they're responsible for any changes made for the sake of practicality or changes within the performance.

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Set Designer will often work alongside directors and artistic directors primarily to make sure that the director's vision is being put on stage and that everything has been approved to be appropriate for the show. Alongside this, they may work alongside costume and prop designers in order to make sure certain aesthetic aspects are matching depending on the show.

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Set Designers play a highly vital role to most theatrical productions, the set can provide visual interest alongside tell the story and setting of the performance, alongside this they play a more practical role outside of the aesthetic in making sure that the performers on stage are able to perform to their best capability with the set provided around them not limiting them or their craft.

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Hair, Make-up and Wig designers' main responsibilities are to work with costume and the actors in order to design and style (and teach) the actors' face and hair. For makeup, the artists will often come up with a makeup design for the character and will apply the makeup onto the actors during dress rehearsals and the first performances of the show, however they will also teach it to the actors if the production is predicted for a longer production. Hairstylists work similarly, in which they will design a hairstyle for a character and if needed style the hair of the actor for them and teach them how to do it themselves. Wig designers are slightly different, as they're responsible for designing, making, and styling a wig for each actor wearing one and will often work with the actor during every performance with styling their hair into pin-curls and helping the actor into their wig, do the expensive and fragile nature of each custom wig made.

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Whilst the pay rates depend on the work being done and the prices charged by the make-up artist/wig designer depending on whether they're freelance or work for a company and their level of experience, on average in the UK a makeup artist may make between £15,004 - £64,520 annually, whilst a wig designer may make up to  £32,000.

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Theatrical hair and makeup artists will be doing most of their work during the rehearsal period of a production, working with the costume designers and actors to style the character's look and make sure it can be achieved by the actor before the performance in time. A wig designer will often work longer hours, during rehearsal and design period, they'll be working with actors in getting their head measurements and having the wigs made for each actor/character's specific requirements, alongside making sure that the wigs are well maintained and looked after when they are not on stage.

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Hair/Makeup/Wig designers will work closely with the costume designers and actors in order to make sure that everything they wear on their face/head is manageable for the actor and does not intervene with other elements such as costume and movement and that everything comes together well and that the overall look works for the character and is suited well.

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Much like costumes hair/wigs and make-up can provide visual interest to an audience and help convey the story, it's what completes a costume. Alongside this, hair and make-up on stage is always much bigger and, well, theatrical because it's supposed to draw attention and exaggerate an actor's features and help their expressions be seen from the audience.

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The main job of a lighting designer is to provide the stage with the appropriate lighting for the performance to be seen by the audience, but also to help portray visual interest with the types of lighting (softness/harshness, colour, etc.) which can all change the atmosphere of the scene alongside visually tell the story (i.e. using the lighting to show the time of day or setting), and provide any other visual interest to the audience.

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A lighting designer's wage, like any other job, would depend on the experience of the designer, if they're freelance or have a full time position at a company, among other factors, however the average salary of a lighting designer in the UK is  £27,531 annually.

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During every performance, the lighting designer and their team will be working during the performance to get each scene's lighting done correctly, making sure that at all appropriate times the appropriate lighting is going on. Alongside this, during rehearsal period they will be testing out different types of lighting before making a final decisions with the director as for their final choice of lighting.

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Lighting designers will work alongside the rest of the lighting team to make sure all the cues and work is done correctly, they will also work closely with the director and set designer in order to make sure everything is intentionally done and clear as to the right aesthetic needed at the time.

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Lighting design is one of the elements of production which effects both the practical and aesthetic purposes of the final performance, so lighting designers support the final project in multiple ways; not only do they offer a visual need to see what's going on at the time on stage, they also provide many elemental aspects which can help the aesthetic and visual interest of the final show to the audience.

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https://aact.org/lighting-designer
https://www.payscale.com/research/UK/Job=Lighting_Designer/Salary

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https://www.payscale.com/research/UK/Job=Makeup_Artist/Hourly_Rate
https://www.timeout.com/london/blog/quit-your-job-become-a-wig-maker-010816
https://www.youtube.com/watch?v=K0hsrNUUF_w
https://www.youtube.com/watch?v=5XsOMG6q860

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https://aact.org/set-designer
https://www.myworldofwork.co.uk/my-career-options/job-profiles/set-designer

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https://aact.org/choreographer
https://www.myworldofwork.co.uk/my-career-options/job-profiles/choreographer

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https://study.com/articles/Costume_Designer_Job_Description_Duties_and_Salary.html
https://www.planitplus.net/JobProfiles/View/42/19
https://www.youtube.com/watch?v=AUem4tE37Hw

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Visual Effects (VFX) artists within film and television work to create imagery and other effects for film through animation and CGI for when said imagery is either impractical or otherwise impossible to achieve through traditional means.
Often visual effects artists will work on a tight deadline between the finishing of filming and the theatrical debut, VFX artists are responsible for making sure the final film is completely finished in time for the premier whilst still looking seamless, meaning they have to be fast workers with high technical skill and knowledge.

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On average in the UK, with the right qualifications and after a few years in the industry, visual effects artists can expect to make between  £27,000 -  £38,000 annually, although this number may go up with more experience and qualifications.

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Visual Effects Artists are practically another version of editors, only more qualified in the specific field of CGI and visual effects, meaning that a typical working week is spent working among other VFX artists in an office or studio at a desk, editing with a computer. It's not uncommon to have to work overtime and spend a large amount of the day sat at a computer editing, so whilst the project may change, the typical working hours and situation tend to be quite similar for each job.

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VFX artists will work alongside editors closely, alongside other VFX artists, in order to keep updated on how far along the project is currently at. Alongside this, they'll often work with directors, producers, and artistical directors in order to get a clear idea and understanding of the project and what specifically each team would be working on at what given time.

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VFX artists can make a film/television show look far more cinematic and can help create anything impossible to film or made practically appear on screen, with the CGI technology getting more and more advanced as time goes on, VFX artists are able to create more and more realistic and lifelike visual effects on screen, helping create a more professional and finalised project.

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https://www.rasmussen.edu/degrees/design/blog/beginners-guide-to-becoming-visual-effects-artist/
https://www.prospects.ac.uk/job-profiles/vfx-artist

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Within film and television, a storyboard artist's main job is to sketch out and visualise a sequence or scene, assisted by the screenplay, in order to provide a visual representation of how the scene is to be filmed by the cinematographer during production and edited post-filming.

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Whilst the payrate of a storyboard artist can vary depending on the scale of the project and how much storyboard is used, and the scale of filming, in the UK the average storyboard artist can make between £16,000 to £20,000 annually.

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Early on in production is when the storyboard artist will be doing most of their work. This'll mostly consist of being in meetings with directors, screenwriters and cinematographers, discussing ideas and concepts. Once they have a clear idea, they'll sketch up the storyboard and refine all the details. This'll continue until the final storyboard has been drawn up and given the final approval by the director or producer.

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Storyboard artists will spend most of their time working by themselves or with other artists during the drawing processes, however they will work with editors, cinematographers, the director, and producers in order to get a clear idea and to work to their visions/possibilities as to what the final storyboard would be.

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Storyboard artists are what help the final project's pacing and aesthetic be decided upon. They support the project by early on presenting the final result before it's even been filmed in order to create a clear understanding of the final project and make sure that any mistakes or errors are fixed in theory before filming goes in place.

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https://www.planitplus.net/JobProfiles/View/836/20
https://www.telegraph.co.uk/finance/jobs/10672637/Britains-coolest-jobs-the-Hollywood-storyboard-artist.html

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The Casting Director's main role is to contact agents, put up casting calls, head-scout, etc. in order to find actors and performers to fill all the roles, including background/unspoken roles, within the production. Alongside this, the casting director may be responsible for holding auditions and assisting the final decisions recommending to the director who would be best for what role.

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Casting Directors are often freelance, so it's hard to say what exactly the average salary is for one, as they often have their own individual pay rates per person hourly, however if the casting director is part of a larger company, they may make annually between £24,449 - £45,000.

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A typical working week for a casting director can highly depend on the amount of productions they're working with at the time, however they often will spend a few times a week going to events/theatre/acting schools/etc. in order to scout out talent, whilst also regularly posting out casting calls and contacting agencies in order to find actors or performers best suited for whatever production they're working on at the time.

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Whilst casting directors tend to be more freelance and independently work, they'll often work with directors and possibly screenwriters to see what actors are needed for the final project, alongside other information such as the amount of cast needed, specific requirements (such as appearance, cast-type, skills, etc.) for actors in order to find exactly the right person to play the right part.

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Casting directors support the final project by bringing the actors and performers to project, without the casting directors there would be no performers to watch, they plat a rather vital role in making sure actors have jobs and that the end result has the correct cast.

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https://myjobsearch.com/careers/casting-director.html
https://www.totaljobs.com/salary-checker/average-casting-salary

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The main role of a prop master is to make sure any and all props being used in the project are supplied and on set when they need to be. They're responsible for making sure all props are maintained, made on time, and that they are in their correct locations. They're also responsible for making sure that any props that need to be remade are reported to the makers/buyers.

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Most prop masters are completely freelance, so their income can vary depending on their individual rates and the scale of the projects they're working on, however in the UK the average annual salary of a prop master can get to £60,800.

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An average week for a prop master, like any role in the production industry, depends on the current project/s they're work on at the time, however a typical week would consist of buying/commissioning/sourcing any props needed and presenting them to the director, once all the props are confirmed, they'll order as many as needed and be responsible for supplying them on set and maintaining them when they are not being used during filming.

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Prop Masters will work alongside the directors to hold all responsiblity for the props being used. They'll otherwise work closely alongside prop makers to commission or pay for any and all props they need for the project.

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Prop masters support the project by providing all the props being used in the production, this can range from the important plot-relevant props to even the simplest of background items that are used for nothing more than filling the space. They make the set come alive and feel filled, providing visual interest to the final filmed production.

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https://www.dummies.com/art-center/performing-arts/filmmaking/the-roles-in-a-filmmaking-production-team/
https://www.careermatch.com/job-prep/career-insights/profiles/prop-master/
https://www.glassdoor.co.uk/Salaries/props-manager-salary-SRCH_KO0,13.htm

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A location scout is someone who works finding various locations and sets for a filmed production, whilst this may include just renting out studios with a greenscreen, location scouts will often look out areas and properties to hire/rent which can be used to film in. They often have to have a good eye for finding spaces which are large enough to be filmed in, suit the aesthetic of the production, and are in safe condition for working purposes.

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The average annual salary of a location scout highly depends on the amount of work being done, the scale of the projects they're working on, etc., so it's hard to put a number to how much money is actually made per year, however with the right experience and jobs, they may make up to £1050 per week, so to over-estimate and say they work every week of the year with this exact amount, they may make up to £54,600 per year.

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Whilst a working week can depend on the amount of work being taken on and the scale of the projects of the location scout, the typical working week of a location scout would consist of having meetings or discussions with the director to get a clear idea of what the project is about and what types of locations are needed, before researching and exploring various locations that can be used for filming, alongside getting in contact with property owners or real-estate agencies to hire out the spaces.

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Location scouts will often work closely with directors, suggesting and showing areas they believe to be suited to the director's vision. They may also work alongside the prop and set department in order to make sure that the location is able to fit all that is needed for the final production.

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Location scouts support the project by finding the spaces to be filmed in, they're responsible for holding the permits and permissions to these areas and making sure that there's somewhere that the actors can perform, alongside this they support the project by making sure that the location they've selected is one appropriate for the final production and making sure that it suits all aesthetic and practical aspects.

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https://www.prospects.ac.uk/job-profiles/location-manager
https://www.productionbase.co.uk/ratesofpay.aspx