Prop makers are responsible for producing the objects (properties) that are used on stage in a theatre, or on a film or television set. They may also be involved in hiring, adapting or borrowing props.

Working to instructions or a design brief from the production designer, stage/set designer or props master, prop makers might create props from rough ideas or from other people's designs. Depending on the production, they may have to carry out historical, cultural or science fiction research in order to create accurate and realistic props.

Prop makers need a wide range of skills in areas including carpentry, sculpting, casting and moulding, upholstery, welding, technical drawing and computer-aided design. They use a range of hand and power tools to carry out their work - anything from needle and thread to welding equipment – and work with a variety of materials such as metal, latex, fibreglass, wood or fabric. They may have to create moving or illuminated models and props.

The Skillset website has more detailed information about specific job roles within the props, art and set construction departments in film and TV – see Further Information.

Hours and Environment

There are no set hours or standard environment for prop makers, but they normally work long hours, especially as a production deadline approaches. Many prop makers are freelance, although some may be attached to large theatre venues. Weekend and evening work is common.

Prop makers could work in studios or backstage, in prop rooms, or on film sets and on location. They may have to spend time away from the workshop, studio or stage while researching and finding props.

Conditions backstage may be cramped and prop makers may have to work with strong smelling adhesives and paints.

Skills and Interests

To be a prop maker you should have:

• technical and craft skills such as model-making, electronics, DIY or furniture making
• artistic ability
• an interest in the performing arts and in design, with artistic ability
• good communication skills
• the ability to show a high degree of attention to detail
• creative problem-solving skills and be able to work on your own initiative
• an understanding of materials and their capabilities
• the ability to work within a budget, and produce work to deadlines
• computing skills, for creating props using computer-aided design.

Entry

There are no set qualifications needed to become a prop maker, although many prop makers have taken an art-based college or university course.

You may find it helpful to take a degree, foundation degree or BTEC HND in set and props design, theatre crafts or prop making, or the BTEC National Diploma Performing Arts (Set Construction or Stage Design). Other useful degree subjects include art and design, fine art, 3-D design and model making.

Please check with colleges or universities for exact entry requirements.

Many prop makers have trained in the theatre. Several drama schools offer diploma courses accredited by the National Council for Drama Training (NCDT) in stage design, or courses combining stage management and technical theatre. See the NCDT website for further details of accredited courses.

You may also be able to get into prop making after training in related areas like graphic design, furniture making, model-making, or technical drawing. 

You will usually start in a junior position such as props assistant or art department trainee. The key to finding a trainee position is to gain relevant practical experience (for example, from student film or theatre productions, or from amateur theatre) and to make contact with set designers and other people in the industry. Throughout your career you should keep a portfolio or 'showreel' of your previous work to show to potential employers.

Training

Training is usually on the job with an experienced prop maker. New entrants can gain professional training through the apprenticeship-style schemes offered by Film and Television Freelance Training (FT2). The New Entrant Technical Training Schemes combine short course training with industry work placements and assessment, and cover a variety of roles including props assistants and art department assistants.

FT2 also operates set crafts apprenticeships, which are suitable for carpenters/joiners, plasterers or painters and decorators that have achieved CITB NVQ Level 2 in their respective profession. See FT2 website for further details.

Places on the schemes are strictly limited and the selection process is tough. You must show that you have tried to gain relevant work experience in the industry, be over 18 and be prepared to live in London. See website for further details.

The Association of British Theatre Technicians has training awards available for prop makers working in theatre. See website for further details.

In film and TV, short professional development and technical courses are available in areas like computer-aided design. Skillset provides a media course search database listing relevant courses - see website for more details.

Opportunities

Prop makers are usually self-employed and work on freelance contracts. The skills needed are similar for both film/TV and theatre, so prop makers can find work throughout the UK in:

• film studios - mainly in London and the south-east
• TV studios and production companies
• theatres in towns and cities around the country
• commercial theatre companies operating in London or touring the country
• theatre in education.

It is rare for theatres or film and television companies to have prop makers on their permanent staff, and most employ them on short-term contracts. Prop makers need to make contacts and then be recommended in order to move from one job to the next. There are also advertisements for prop makers in the trade press.

Annual Income

There are no set salary rates for prop makers. Most are self-employed and their income varies depending on their ability to get work, their reputation and contacts. Prop makers working in theatre are likely to earn less than prop makers in TV/film.

Freelance rates within the media vary widely and may be calculated on a daily or weekly basis. Fees can be negotiated individually or from guidelines provided by the Broadcasting Entertainment Cinematograph and Theatre Union (BECTU). Rates will vary depending on an individual's experience, the type of production and the budget available.

Further information

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