Production Designers are in charge of the visual look and feel of a production, which includes bringing the story world to life. They design and style the movie, TV show, or commercial’s overall visual look to reflect the story’s location, time period, and emotional tone.

Some examples of production design include:

• Sets
• Props
• Vehicles
• Costumes
• Color palette
• Creatures and character design
• Weather & environment

A Production Designer’s work takes place in the pre-production and principal photography stages of the filmmaking process, meaning that they should be hired once a project is given the green light to go into production.

Pre-production begins with the Production Designer reading the script and discussing with the Director what they think best serves visually the needs of the production.

The Production Designer then communicates the Director’s vision with the project’s Producer(s) and negotiates the budget required to achieve that vision. Once those elements are agreed upon, there is a research and design phase where the concepts discussed with the Director are refined and finalized.

Wes Anderson’s Production Designer, Adam Stockhausen, explains the production design process.

The Production Designer also discusses the lighting scheme for the project with the Director of Photography. Discussions are likewise had with the costume department and hair & makeup department about the project’s overall look and color palette.

With the script broken down and artistic ideas in place, it’s time to hire the crew and delegate jobs.

Once the production moves into principal photography, much of the Production Designer’s job becomes a juggling act of working with multiple split crews.

A segment of the art department will be on set to ensure that all visual elements are correct and in place for filming while another crew works on the next day’s environment. These include the Set Designers, who serve a similar but smaller function than the Production Designers. While the Production Designer oversees all design elements of a film or show, the Set Designer is limited to the set where they may implement the design elements created by the Production Designer.

It’s critical for the Production Designer to smoothly manage their crew at all times, as other departments are reliant on them. For instance, only once the art department dresses the set can the grip department begin its job of setting up the rigging equipment on the stage or location.

The Production Designer typically works on the next set to be shot but is in constant communication via walkie talkie with their Art Director. While some might confuse the two roles, a Production Designer is different from an Art Director in that the Art Director works for the Production Designer, making sure their vision is executed during the day-to-day of production. If there is an issue, the Production Designer needs to be able to return and fix it. However, much of the Production Designer’s job is about being proactive so no issues arise.

It’s this constant multitasking between the creative and management of crew that constitutes most of the Production Designer’s job while designing a project’s overall look. Their impact can be seen in any film, but some films and Production Designers in particular offer distinct and even iconic production design. Some famous examples of great production design are Alien, Blade Runner, and The Grand Budapest Hotel.

To learn how to become a Production Designer, we spoke with:

• Prerna Chawla (Gatlopp, Hold On, Shooting in Vain)
• Ashley Fenton (Master Gardener, The Card Counter, Together Together)
• Elisabeth Williams (The Handmaid’s Tale, Fargo, Channel Zero)

According to Salary.com, the average annual salary for a Production Designer living in Los Angeles is between $51,067 and $75,346. A Production Designer’s daily rate can be anywhere from $450 to $2,000, which can fluctuate depending on their experience and union status.

Estimating an average annual salary for Production Designers is challenging at best.

Income levels vary widely between nonunion and union Production Designers. Moreover, the nature of this career means that some weeks are fully scheduled, and others have no work at all.

“The project-based nature of our work makes for wildly uneven income across the calendar and reminds us often of the polar idiom: feast or famine,” says Fenton.

She goes on to explain,”Movies are often long enough projects that one or two larger ones can make for a great year… or you can spend a year in holding or chasing the next one. Episodic content often comes with longer schedules and more regularity.”

Whether a Production Designer works on a film, TV show, music video, or commercial, each project will demand a different scope of work and subsequent investment of time, which inevitably impacts the amount of money earned.

Professional Production Designers each give their take on what the job requires.

Freelance Production Designers set their own day rates based on their level of experience and the budget of the production. After joining the union, which is IATSE 800, they can expect to earn more based on the union’s established rates.

A great Production Designer can leave an indelible imprint on a project.

At the top of their field are individuals such as Rick Carter, Rick Heinrichs, and Bo Welch who were the Production Designers on Avatar, Captain America: The First Avenger, and Edward Scissorhands, respectively. As any movie fan can attest, each of these films immediately evokes a clear and memorable look, which all leads back to the Production Designer on it.

What makes a Production Designer someone who is in demand and continually working?

For one, they must have a keen grasp of the creativity that goes into world-building.

Whether they are creating that world from scratch on a sound stage, finding it via real locations around the globe, or a combination of the two, a Production Designer must be able to realize a world that is faithful to both the script and Director’s vision, and just as importantly, that makes sure audiences do not question it.

Without a single word, this clip demonstrates beautifully what production design is.

Two, as mentioned, a Production Designer must understand how to bring the Director’s vision to life.

That means knowing how to communicate well with not only the Director but also all those other creatives, including the Cinematographer and Art Director, who will be helping to realize that vision as well.

Three, they must have a good attitude on set, and work well with others. Especially on larger productions, Production Designers might have to communicate with and/or manage hundreds of people with varying personalities. While life on set can quickly get intense and exhausting, successful Production Designers are able to push through the stress.

Some Production Designers may establish a reputation based on a particular genre or niche. For instance, they become known as a “horror only” Production Designer.

However, most people in this career must be able to work with different types of scripts and projects if they want to remain employed. That means being open-minded to all the many options available for the look of a given project and not stuck on a single preferred style.

Aspiring Production Designers can kick off their careers while still in college if they choose to pursue higher education. Multiple schools including Chapman University, UCLA, USC, NYU, and AFI offer programs for students looking to become Production Designers.

College often provides the foundation of a career path for emerging Production Designers because of both the instruction offered and the opportunity to put those new-found skills to work on student films.

While still in school, aspiring Production Designers can also look to locally produced short films for additional experience.

It’s on these types of projects that emerging Production Designers can gain the type of expertise that will propel them to larger and higher-budgeted projects.

This video offers a comprehensive overview of why production design is important and how it comes together on a film.

Those who dream of becoming a Production Designer can also enter the industry as an Intern or Production Assistant on a production.

Since many jobs are found through referrals, it’s important that aspiring Production Designers make a point of forming professional connections and nurturing them throughout the course of their careers.

Other resources where entry-level jobs can be found are Facebook groups and sites like mandy.com or entertainmentcareers.net.

These types of jobs allow aspiring Production Designers to form relationships with the Art Directors and Set Dressers on set. Here they can hopefully maneuver for Intern or PA positions specific to the art department on future projects where they can further their experience and skill set.

Should they display a passion for the job, as well as a good attitude and strong work ethic, those new to the industry can eventually ascend to the level of Set Dresser, Art Director, and eventually Production Designer.

Once established in this role, Production Designers can continue to grow the scope of their expertise on bigger and more complex projects.

Polly Platt, the famed Production Designer on films such as The Last Picture Show, What’s Up, Doc? and Paper Moon had no formal training in the field.

Like many other specialties in the entertainment industry, the experience and skills needed to be a successful Production Designer can be learned on the job.

Whether learned in school or not, though, a Production Designer must have an understanding of how to translate both what is conveyed in a script and through a Director’s notes into what is eventually seen on screen.

Depending on the nature of the project, it might also mean in-depth study of a particular time or place, such as what Peter Lamont did to replicate the visuals of Titanic.

As mentioned, much of what a Production Designer does outside of the creative realm leans heavily into crew and time management. They must have extremely strong skills in terms of making sure their crew of a few people, a dozen people, or even a hundred people are doing exactly what they should be doing–and in the time allotted to them.

According to Chawla, these management skills are paramount. “Production Designers may try to do everything themselves but mentalities like that will only cripple a production,” she explains. “Adapting to new situations, discovering the opportunities built into problems, and trusting the crew are all great qualities to have.”

Williams expands on this sentiment, saying “One’s ego has to take a back seat. An Art Department is filled with talented, intelligent, creative people. A good idea is a good idea, no matter whose it is. And a bad idea, even if it is the Production Designer’s is just a bad idea. Humility allows creativity the space and the respect it deserves.”

Jade Healy, the Production Designer on Marriage Story, breaks down how she created each main space and what influenced each of them.

Experience is critical for an aspiring Production Designer, as it gives them the opportunity to hone not only the creative skills necessary to creating different locales and worlds, but also those administrative responsibilities that come with rising in the art department ranks.

That’s why emerging Production Designers are encouraged to take on whatever entry-level roles become available to them.

Even as an Intern or Production Assistant, an aspiring Production Designer can observe how the art department works. Just as importantly, they may make connections on set that translate into them securing their next job, thus allowing them once more the chance to learn and grow their skills.

Because so many colleges and universities offer courses specific to production design, it makes sense that many emerging Production Designers decide to go through film school to gain that preliminary experience and skillsets.

Because of the nature of the work, though, some Production Designers instead decide to pursue a degree in interior design or architecture, both of which can prove extremely useful in their careers as well.

Says Williams, “A Production Designer needs to know how to read drawings and how to express her/his vision of how things should look. Depending on the size of the show, it can be useful to know how to hand draw, use some of the technical drawing programs, some of the software like InDesign.”

Many emerging Production Designers may also form a mentor-mentee relationship with more established creatives in their field, which can allow them to learn on the job and continue rising through the ranks with each subsequent gig.

“I would encourage everyone interested in Production Design to reach out to their local union and get involved,” advises Fenton. “Take advantage of the apprenticeship programs, scholarships, and the like.”

As any veteran Production Designer will tell you, their education never ends.

No matter if you’re in the entertainment industry for two years or 20, there is always more to be learned and improved upon. Especially with the common occurrence of using CGI and animation in conjunction with practical sets and locations, Production Designers must continually sharpen their skills to keep up with the ever-evolving world of filmmaking.

The internet is your friend when it comes to exploring career resources for becoming a Production Designer.

Chawla notes, “There are various books and online resources that can be Googled. However, the best thing to do is contact the art department union. They have a year-long course that pairs individuals with big Production Designers to train them.

The course teaches how to be a professional Production Assistant. It’s a great way to make union contacts and become a Production Assistant on one of the big shows. That will provide a practical foundation that aspiring Production Designers can build off to start trying to make their own work through student films and shorts.”