Starting a career in the screen industry can be bewildering, especially for newcomers unfamiliar with its intricacies. Credits from any production reveal the multitude of roles involved in bringing a script to life. This resource is designed to assist those interested in the creative departments of Art, Costume, and Hair & Makeup in Australia, represented by the APDG.
This resource is made up of four key areas:
⦿ Brief “need to know” about the industry
⦿ Minimum requirements for work in the industry
Minimum requirements will differ between the departments, but when starting in entry level roles the following is essential:
Additional things that can help:
⦿ Breaking down the departments
A typical production consists of the following departments:
All of the departments above are in charge of their own key areas. More information on the broadness of roles can be found at:
PDF: APDG Manual for Screen Design Practices
AusFilm: Australian Screen Industry Roles Guides
⦿ An intro in to how a production runs
At the heart of everything we do are the scripts. Together with the Director/s, Producers and HODs (Heads of Department), a vision for the production is created. A lot of preliminary work is undertaken before a production starts, including script writing, budgeting, location scouting and eventually crewing when dates are locked in.
This leads to the official “pre-production” where most of the creative crew start. Varying in length, this could be a matter of weeks to a few months. During this time each department must prepare as much as possible, within all areas it manages to ensure they’re ready for filming.
A schedule is slowly put together over pre-production by the 1st AD (Assistant Director) that takes into consideration the various restrictions – such as actor availability, location availability and other department limitations.
Once pre-production is over the project moves into “shooting”. During this time, each department spends its time organising for the days ahead, as well as ensuring filming on set is going smoothly and they have everything they need. It’s extremely important that everything is ready for the shoot day, as any missing piece to the puzzle could cause delays on set – which is very costly and must be avoided.
Once shooting is over (typically 6-12 weeks, but can vary), the production moves into “post-production”. The shoot crew will finish at this point, but for Art Department/Costume/HMU (Hair and Makeup) there is a relatively quick pack up. This includes the return of all hires and the storing or selling of all purchased items.
At this point all main crew will have finished and the production moves into the editing studio, where the Director and Producers continue to work on the show. This can take a considerable amount of time, depending on VFX, sound, dialogue replacement, subtitles for various languages etc.
⦿ An intro to the Art/Costume/Hair & Makeup departments
The Art Department is in charge of most physical items seen on screen. As one of the largest departments on a production, they design the sets – overseeing all elements of construction builds, decorating the set (furniture, art, rugs, decorative ornaments – every little detail!), props, graphic design, vehicles, animals, armoury, SFX, clearance (to get approval for usage of artwork or products) plus much more. Most of which requires collaboration between the Art crew and other departments.
Everything they do is on the basis of a thorough understanding of the script – who the characters are and how they live. This understanding then helps to drive a lot of the decision making, with input from the Production Designer, Director and Producers. This then impacts what is organised, designed, purchased or custom made across all of the areas in Art Department. What you see on set and on screen in the end, is the final product of months worth of discussions and hard work to deliver the initial vision.
An example:
A newspaper is scripted in a flashback scene set in 1970 about a wanted man and specifically mentions the character “reading the front cover and then placing it on top of a coffee table”. First off, this is a prop on a piece of set dressing – and requires many people’s input. From the Production Designer (initial vision), Props Master (to be across the prop make and requirements), Graphic Designer (design of the prop itself), Photographer (to get the still required for the cover), to the Script Department (for the article text).
One single prop can raise many questions…
As you can see, a simple reference to a prop in the script can create a number of questions that need to be answered.
Typical roles in the Art Department include:
Production Designer, Art Director, Set Decorator, Props Master, Draftsperson, Art Department Coordinator, Buyer/Dressers, Graphic Designer, Standby Props, Swing Gang, Art Department Assistant and Runner.
Larger productions will have bigger departments and other roles, including Draftsperson, Concept Artist, Vehicle Wranglers and Assistants for the various areas, as well as additional departments, including Construction, SFX, Armoury, Animals and Vehicles.
Many more roles exist and can be found in our Screen Jobs Descriptions resource.
Costume plays a vital role in shaping the narrative of any film or TV show. It conveys essential details about a character’s persona, societal status, and the era portrayed in the story. Within a production, the costume department takes charge of designing, crafting, sourcing, and providing all attire for actors and extras. Every element, from shoes to jewellery, headpieces to undergarments, is meticulously considered and either purchased, hired or tailor-made, especially in the context of historical pieces.
Understanding the Operations of the Costume Department
The costume designer leads the costume department and is responsible for designing the look of all characters, including extras. The costume designer and costume supervisor start before other members of the department so they can research the production requirements, generate script breakdowns and begin the budget process.
The costume designer crafts a comprehensive visual reference with costume sketches, references, mood boards and breakdowns derived from their script analysis. These visual aids play a crucial role in attaining a unified aesthetic vision. They are pivotal in involving directors, production designers, hair and makeup artists, and actors in character development.
Meanwhile, the costume supervisor oversees the department’s financial aspects and operational logistics, including staff management, material procurement, and workflow coordination. Supporting the supervisor, the costume coordinator handles administrative tasks like paperwork and data entry, which are essential for budget control.
In large-scale projects, an Assistant Costume Designer (ACD) works closely with the Costume Designer, assisting in research, fittings, and conveying the consistent visual theme to team members. Custom-made costumes may be required based on project requirements. A costume workroom is set up to produce the costumes and duplicates needed for stunts and body doubles and to replicate costumes for action scenes or other special effects.
A skilled team of buyers, cutters, and sewers is engaged to produce the costumes, with additional artisans brought in for specialised costume work. For sizable productions, a workroom supervisor ensures timely costume production in a well-organised work environment.
Adhering to the shooting schedule, the costume supervisor coordinates the timely delivery of costumes on set, with the offset key costumer acting as a bridge between the design and supervisory teams. The offset key ensures that costumes are ready for fittings, alterations, and final touches before filming commences.
During filming, the onset key costumer oversees the on-set crew and the maintenance of main cast costumes. The standby team ensures each costume’s appearance and functionality on screen, managing continuity and facilitating special effects and stunts. They troubleshoot in real time, caring for the costumes and the actors’ comfort throughout the production.
Typical roles in the Costume Department:
A comprehensive list of positions in the department provides an insight into the entire department with detailed descriptions of each position and their responsibilities, which can be found on the Costume Department Role Descriptions for Screen resource.
Design Team: Costume designer, assistant costume designer (ACD), buyer, illustrator, textile artist, graphic designer, 3D artist.
Costume Office Management and Logistics: Costume supervisor, assistant costume supervisor, coordinator, office assistant, key offset costumer, costume runner.
Costume Workroom: Workroom supervisor, cutter, sewer, tailor, milliner, jeweller, shoemaker.
Speciality Costume: Lead speciality costume supervisor, sculptor, metal fabricator, mould maker, leather craftsperson, and costume props.
Art Finish: Key art finisher, art finisher, assistant art finisher.
On Set: Key on-set costumer, cast truck coordinator, principal cast standby, costume standby, assistant costume standby, on-set runner.
Background Extras: Crowd supervisor, crowd truck coordinator, crowd standby, standby dailies.
Stunt Costume: Stunt costume coordinator, stunt costume standby, assistant stunt costume standby.
Second Unit: Second unit truck coordinator, second unit standby.
Entry-level roles in the Costume Department:
Costume Design Team
Costume Office Management & Logistics
Workroom
On Set
The Hair & Makeup departments bring characters to life visually, and through the use of makeup, hair styling, wigs, prosthetics and special effects, the department contributes to the immersive experience for the audience by transforming an actor into their character. Makeup and hair can be used to age characters, create wounds or scars, or even completely transform an actor’s appearance, as well as convey information about a character’s personality, social status, or cultural background.
Roles within the department include:
Makeup & Hair Designer: The designer is responsible for creating the overall look, liaising closely with directors, costume designers, and actors to develop the appearance of each character. They consider factors such as the character’s personality, background, and the time period in which the story is set to create a visually authentic portrayal.
Makeup & Hair Supervisor / Coordinator: Looks after budget, paper work, contracts, accounts, orders, giving out calls, liaising with Production in regards to transport, accommodation etc. They are also responsible for managing the team, assigning tasks, providing guidance and overseeing the work to ensure it aligns with the Designer’s vision.
Crowd Room Supervisor: Working closely with the brief from the Designer, the Crowd Room Supervisor is responsible for leading the team of crowd room artists in doing the hair, makeup, wigs and prosthetics required for all of the background actors, extras and stunt performers.
Key Makeup Artist: The key artist possesses advanced skills in makeup application and hairstyling, and stay up-to-date on industry trends, products, and technologies, and they may be responsible for training or mentoring junior members of the team.
Hair & Makeup Artist: In charge of particular characters looks, based on the Designers brief. Often these will also be hairdressers, and be in charge of maintaining continuity of haircuts and colour of the actors, or transformations when a characters look changes through the script.
Wig Mistress/Master: Looks after the cleaning dressing, refronting and mending of wigs, buying and hiring of wigs, will often start later and work after wrap so crew can get their 10 hour turnaround, on a big show they could work overnight
Standby Hair & Makeup Artist: The standbys role is to be on set looking after the maintenance and the continuity of the hair and makeup looks on the characters.
Additional Hair & Makeup Artist/Crowd Room Dailies: Reporting to the Crowd Room Supervisor, an additional assists with doing the hair and makeup on the extras, background extras and stunt performers.
Makeup & Hair Assistant: They assist with paperwork, manage petty cash and purchase orders, handle makeup stock and supplies, and organise continuity for the department. Additionally, they help prepare cast and extras and may go to the set for on-set checks. Their role is to gain more experience and make administrative and on-set tasks run smoothly in the Hair and Makeup department.
Prosthetic Designer: Working closely with the Hair & Makeup Designer, the Prosthetics Designer is responsible for designing the looks for characters needing prosthetics, creature makeup/suits, special effects, gore and animatronics
Prosthetic Workshop roles: Prosthetics Supervisor, Prosthetics Coordinator, Sculptor, Animatronics, Mouldmaker, Foam & Silicone Runner, Fabricator, Hair Technician, Workshop Junior
Prosthetic On Set roles: Prosthetic Makeup Artist/Technician, Puppeteer, SFX technician
Depending on the role you’re interested in, one may choose education as a pathway. Study can be a great way to learn the tools of the trade and will vary in length depending on the course and institution.
When making a decision to study, it’s important to know you don’t need qualifications to start working in Screen. It’s helpful and you will learn a lot, but it’s not essential. A lot of people in the industry start at the bottom and work their way up through different roles. This is a great way to learn as you go and to find the niche you’re interested in.
It’s also important to know that even with years of study in a given area, it won’t necessarily lead to work in that area straightaway. With an established crew already working on projects and large amount of money on the line, it’s important to build up your CV with projects. This might mean student productions or starting in entry level roles on a production and eventually moving up, with the given area as the long term goal.
More information on the institutions that offer relevant degrees can be found on the APDG Design Courses resource. Design courses evolve and change each academic year and it is important that you research all the individual institutions and courses to suit your interests and potential career path.
Each production has a number of entry level roles such as a runner and various assistant positions. These roles require little to no industry experience. Starting at the bottom won’t hamper your career, work hard and it will likely lead to work with the same or other teams. Building experience is important before stepping up.
Previous experience in other industries or studies can be helpful when transferring to work in the screen industry. Roles such as graphic designer, construction, vehicle mechanic – are just a few roles roles that also exist in screen. Although there are different requirements in these roles to other industries, a lot of valuable experience can be brought to the job. It’s important to note that the screen industry is a different beast where hours, responsibilities and deadlines are likely to be greater than previously experienced.
⦿ How to find entry level roles
Getting your first opportunity in the industry might take some time. The first step is to work on your CV (more information on the below). When looking for work it’s important to be proactive as the work is rare, comes up quickly and isn’t regularly advertised. Some methods include:
Only select positions in each department hire crew. It’s best to reach out to (Art: Art Directors, Coordinators), (Costume: Costume Supervisors, Coordinators) or (Makeup: Designers, Supervisors). Keep it brief. Don’t feel bad if you don’t get a reply – these people are busy. Chances are if a job arises they’ll come back to your email. Don’t give up – keep trying.
Join the groups below in the resources where jobs are often advertised. Art Department is always on the hunt for casuals and people keen to get into the industry. Send your CV to Art Department Coordinators and Art Directors. People tend to start as a runner or helping to load trucks, dress sets etc – before moving into a different section within the department.
For effective networking with designers, consider visiting the APDG website. Students can access a variety of resources at a discounted membership rate. If you appreciate a designer’s work, introduce yourself, and while an immediate response is not guaranteed due to their busy schedules, reaching out carries no risk. The designers can be contacted through the website’s member directory. The site also provides attachment and job opportunities for exploration.
Roles in the Hair & Makeup department are usually found through word of mouth, recommendations from other artists, but sometimes when a CV is sent to a designer or supervisor. You usually start 1-3 hours before Crew Call and finish around 30 minutes to 1 hour after crew wrap making it a 12-14 hour day or night sometimes longer sometimes shorter depending on schedule. The busiest part of the day is usually the beginning and end of the day.
Depending on your position you are onset for most of the day taking care of your artists continuity and or prepping for the next scene or next day back at base if your artist has any down time. If in an exterior location be prepared for all weather conditions as they may keep the actors warm and dry but you will usually be out in the elements for extended periods of time.
You will be employed as a weekly if on the main team or a daily if in the crowd room – it is based on a 10 hour shoot day with 45 for lunch or “French hours” where you work 10 straight hours and have lunch brought to you and you eat on the run – Breakfast, Lunch and afternoon tea are provided by production as per the award.
Overtime is per the award and usually kicks in after 10 3/4 hrs or after 10 if French hours. After set wrap you will be required to help the actors, extras, stunts, clean up, remove wigs, prosthetics etc – this has to be done as quickly as possible as affects all call times for the next day based on 10 hour turnarounds – they can ask you to break these and compensate you financially.
⦿ State based & other initiatives
Most states have placement initiatives to place those with no to a small amount of experience into productions for a specific period of time.
NSW:
https://www.screen.nsw.gov.au/funding-support/crew-connects-placement-program
https://www.screen.nsw.gov.au/funding-support/attachment-register
QLD:
https://screenqueensland.com.au/investment-support/sq-attach/
VIC:
https://vicscreen.vic.gov.au/funding/skills-development
SA:
https://www.safilm.com.au/industry-and-skills/#professionalcrew
WA:
https://www.screenwest.com.au/funding-incentives/skills-business-support/
TAS:
https://www.screen.tas.gov.au/news/screen_tasmania_attachment_opportunities
SBS: (incs. high school work experience)
https://careers.sbs.com.au/working-at-sbs-2/
⦿ Film set etiquette
Being on set is a quite different to your typical workplace. Everyone has their own particular job, it’s busy – and there’s a lot of unwritten rules. Yamdu has collated a great list of rules to keep in mind when on set, which are generally for keeping yourself safe and reducing delays on set.
Source: https://yamdu.com/en/blog/the-nine-things-filmmakers-need-to-know-about-etiquette-on-set/
⦿ FAQs
Keep it brief – ideally to one page. Your name, contact info and website link if you have one, a list of your work experience, studies and references.
A website can be a great way of presenting your previous work. Just be sure not to post anything online before the project has aired.
A brief description about yourself can help if you have no industry experience, as well as explaining additional skills that could be a useful to the department.
Do your research, find head of department emails and get in touch. Keep it brief – explain you’re after entry level work, a bit about yourself, your availability. Attach your CV (better to attach it to the email rather than sending people a link to your website if you have one). Keep in mind these people are busy and it may take some time for them to get back to you.
If you have previous relevant work you can show – it doesn’t hurt to include some. It’s always good to see how creative people are and what skills they bring to the job.
Do you have any questions after reading this resource? Get in touch and let us know.
⦿ More resources
Other APDG resources:
Other external resources:
Networking Groups:
Have a great resource? Contact us here.
⦿ Credits
The APDG thanks those who contributed to this resource.