about propmaking
Prop making (or as it is known formally in the British film industry, prop modelling) can be a demanding but very fulfilling career. On this page I shall offer some insights and tips for developing a career in this exciting creative field.
What is prop making?
Props are any items on the set that aren’t strictly a part of the set or the costume, though occasionally these things may overlap: A Ghostbusters Proton Pack is worn by the actor and could be considered a part of the costume, but it is a complex solid object so falls to prop modellers to produce. Similarly, a cabinet may be considered a part of the set, but it may well be assigned to a maker in various circumstances. Prop modellers produce all the items that will appear in the production that cannot be readily or economically hired or purchased, and often work closely with electricians, painters or effects professionals.
Prop modellers, therefore, are hired to effectively manufacture almost anything the Director and Art Department might imagine in a production, from a 17th century table, to a futuristic laser gun, to a fictional plant or item of jewellery. That means that propmakers MUST ultimately must develop a vast array of differing skills so that items can be produced on time and on budget.
Depending on the circumstances, propmakers may have various levels of input into how a finished item will look. Often the Art Department will provide detailed designs and schematics of the item they want, but other times makers will be expected to understand the production well enough to create an asset from a rough description or napkin sketch.
IS prop making for you?
As you would imagine, prop modelling might suit those people who just love making things. We probably modelled in clay, made masks, assembled model trains or airplanes, painted, knitted, got into 3D printing, laser cutting, or worked with leather, wood or metals; and took those activities a bit more seriously than our peers. There is that twin appreciation for art/design and application of a developing skill.
Some upsides of applying such skills in the film and television industry are that the pay is good, you get to work as a part of a team of talented people to create something much bigger than we could do as individuals, and feel the satisfaction of seeing a made thing immortalised on a big or small screen. If you are the sort of person who is always interested in learning new things, acquiring new skills, and creating something new, prop modelling will most likely be very fulfilling. However long you are in the business, there will always be something new to learn.
Of course, prop making is a trade and it is rarely easy, airy and arty. Alongside the fun of making an iconic hero prop for a big glamorous franchise film, the job also consists of a lot of pretty tedious, repetitive labour. Expect, for example, to be doing a lot of sanding and finishing. You may find yourself sanding and finishing for days and weeks on end now and again, particularly when starting out.
Personality may be as equally important as technical skill. Prop makers may come from many different backgrounds and start out with vastly different skillsets; some will be extroverts and others introverts, but anyone who is going to make a career will have to work with the utmost professionalism, be incredibly reliable, and get along well with a crew of folk who are likely be quite different to you. Reputation is everything in the business, and late starts, lacklustre enthusiasm or grumbling attitudes can outweigh technical skills in a job where everyone is under a great deal of pressure to do an excellent job. ‘Time is money,’ they say, and the hours can be long and exhausting, and there can be a lot of pressure knowing that a multimillion dollar enterprise cannot be brought to a standstill because an item isn’t ready and perfect for the screen. On the other hand, you will rarely work alone and should always have the support of your department around you.
women in film — PROP MAKING
It is true that the industry was, like many, predominately male; but that has begun to change significantly over recent years. In my experience, Prop Masters need skilled people who they can rely on to do the work, and they will not tend to discriminate further than that. The better ones will have a native understanding that workshop diversity is practically positive asset to any job.
In this sense, working in film as a woman is likely to be similar to any other career; but because of the diverse nature of film ecosystems and the high value of reputation it is possible there may be a healthier space for women than in some other industries. Similarly, you will most likely work as a freelance contractor, and there are union pay scales that, while have some room for negotiation, are well-defined in terms of experience.
It is possible that workshops might be intimidating, particularly for some younger women. My strong advice to you would be to give it a chance, be prepared to speak up when you need to, and figuratively take up the space you need to do your job. It is increasingly very unlikely you will have jobs where you would be the only woman in the workshop.
Getting Started - Skills and Training
If you’ve read this far and haven’t been frightened away, there’s a good chance that this is the career for you, but how and where to start?
The single most important thing to do is to put together a portfolio of your made works. These may come from other related careers, school or university work, or quite simply the hobbies you have pursued. You may also create items simply to put them in your portfolio. The key ingredient to this kind of portfolio is a diversity of work in various materials. It is fantastic if you can weld together a park bench, wood turn the legs of a table, show a CAD drawing of a coffee cup, have cast a rubber hand from a plaster mould, or have recreated a Star Trek space ship with paper mâché. These are only illustrative however; no Prop Master will expect a trainee to be another Prop Master, or even have experience with every conceivable material or form. The trade is delightfully old-fashioned in the sense that if you have enthusiasm and a good work ethic you will effectively be an apprentice learning the skills you need, from other propmakers like me, as you go along.
Some individuals do enter the business primarily as experts at a particular skill; 3D drawing and printing has become a valuable tool in recent years, for example, but in practice it is likely to be much the same: Instil confidence you can work hard, and provide a varied portfolio.
Prop Masters tend to be practically-minded people with experience in their bones, so it may not be absolutely necessarily to have particular qualifications to make a start in the industry. I have known prop makers to make their start from next to nothing with hard work and a positive attitude. That said, a college or university course could be a good starting point if you want to broaden your skills, fill out a strong portfolio, strengthen your spirit and ideally make some early contacts within the industry: When Prop Masters are in need of a new trainee, they will reach out to associated schools. As to what particular areas you should study, it’s a highly individual choice. I started with Drama and Theatre studies and went onto Technical Theatre with specialisation in Prop Making. However, many areas adjacent to Art and Design or practical trade skills could be helpful to you.
Further advice to come shortly.
Working in Film
Coming soon.
