Prop master/prop mistress

A prop master/prop mistress runs the property department which makes, stores and transports the props as well as preps the props for each day’s shoot. A prop, or property, is any moveable item that can be seen on a film. It could be a hat, gun, cushion, wine glass, lightsaber, carpet, kitchen unit, tree or aircraft.

Prop masters/prop mistresses work with production designers, set decorators and art directors to work out what props are needed. They do research and then draw up properties lists, deciding which are to be hired and which are to be made. They create a ‘set and strike’ schedule to share with location and construction departments

Where props are to be made, prop masters/mistresses recruit the carpenters, artists and prop makers and manage the schedule for production. Where they are hired, they work with the production buyers to source them.

Prop masters/mistresses cooperate with road crew to unload, set up and prepare the props. During a performance they position props, hand them over or take them back from the actors. When shooting is finished, they return of all hired props and organize the sale or safe disposal of everything else.

Prop masters/mistresses are responsible for a production’s prop before, during and right after filming.. Typically, they start working up to five weeks before a production’s principal photography starts. Their duties include, but are not limited to:

• Evaluating the script and its prop requirements with production designers and art directors
• Attending production meetings to discuss prop needs
• Researching props to ensure production’s props are realistic and appropriate
• Creating props list with prop tables for use during production
• Selecting which items from the props list to buy, hire, and create
• Creating budgets for prop purchase, hire, and creation

• Liaising with prop makers and artisans who are creating props for the production
• Designing and adapting props
• Monitoring prop budgets

• Assessing and deciding prop locations
• Ensuring production buyers and props storemen record their prop purchases and hire suppliers
• Ensuring actors can access relevant props

• Teaching actors how to safely handle and care for props
• Attending rehearsals to monitor prop use and placement and any relevant production changes
• Organizing and storing props until required
• Discussing prop loading, transport, and storage with props storemen

• Ensuring props and standby props are in place for actors
• Monitoring prop continuity between takes
• Caring for animal actors, if production doesn’t have an animal vendor
• Styling food, if production doesn’t have a food stylist
• Working with team members to meet production schedule deadlines

• Overseeing prop return to hiring companies
• Organizing the sale, storage, or disposal of owned props

Prop masters/mistresses usually work in offices for production companies, or freelance for multiple organization, and report to production designers, managers, and directors.

When they are engaged in production, prop masters/mistresses work full time. However, their schedules may change depending on the production’s needs. They may also have periods of time between productions when they do not have to work.

Prop masters/mistresses spend most of their time in offices with access to a desk with a computer, internet, and a phone. They also work in scene and costume shops, rehearsal spaces, and on set. According to prop professional Joanna Tillman, the job often involves long hours browsing the internet for the right props.

The following job titles also refer to a prop master/prop mistress:

prop mistress
prop master/prop mistress
prop coordinator
property mistress
prop technician
property coordinator
prop master/mistress assistant
prop assistant
property master
property technician
prop master

Working as a prop master/prop mistress is not an entry-level role. While they don’t need specific qualifications, an associate’s degree or higher in art and design, photography, theater, film, graphic design or graphic communication is recommended to start as a prop master.. They also need a full driver’s license to transport props from supplier to rehearsal spaces and sets.

In some cases, prop masters/mistresses should also gain firearm certification, to safely work with guns and other weapons, and teach their skills to actors and stunt people

ISCO skill level is defined as a function of the complexity and range of tasks and duties to be performed in an occupation. It is measured on a scale from 1 to 4, with 1 the lowest level and 4 the highest, by considering:

• the nature of the work performed in an occupation in relation to the characteristic tasks and duties
• the level of formal education required for competent performance of the tasks and duties involved and
• the amount of informal on-the-job training and/or previous experience in a related occupation required for competent performance of these tasks and duties.

Prop master/prop mistress is a Skill level 3 occupation.

These occupations, although different, require a lot of knowledge and skills similar to those of a prop master/prop mistress.

dresser
followspot operator
prop maker
scenery technician
video technician

These occupations require some skills and knowledge of a prop master/prop mistress. They also require other skills and knowledge, but at a higher ISCO skill level, meaning these occupations are accessible from a position of prop master/prop mistress with a significant experience and/or extensive training.

mask maker
video designer
puppet designer
front of house manager
technical director

These skills are necessary for the role of prop master/prop mistress.

• Work ergonomically: Apply ergonomy principles in the organisation of the workplace while manually handling equipment and materials.
• Understand artistic concepts: Interpret an artist’s explanation or demonstration of their artistic concepts, inceptions and processes and strive to share their vision.
• Safeguard artistic quality of performance: Observe the show, anticipate and react to possible technical problems, ensuring optimal artistic quality.
• Change over props: Set, remove, or move props on a stage during a changeover.
• Adapt props: Adapt existing props for use in a specific production.
• Design props: Draw prop sketches and define prop materials and building methods
• Build devices into props: Build mechanical or electrical devices into props.
• Develop prop effects: Work with creative personnel to design special effects involving props using mechanical or electrical devices. Advise on feasibility and develop the needed prop effects.
• Work safely with machines: Check and safely operate machines and equipment required for your work according to manuals and instructions.
• Manage stage effects: Prepare and operate stage effects, preset and changeover the props during rehearsals and live performances.
• Use personal protection equipment: Make use of protection equipment according to training, instruction and manuals. Inspect the equipment and use it consistently.
• Adapt to artists’ creative demands: Work with artists, striving to understand the creative vision and adapting to it. Make full use of your talents and skills to reach the best possible result.
• Prevent fire in a performance environment: Take steps to prevent fire in a performance environment. Make sure the space complies with fire safety rules, with sprinklers and fire extinguishers installed where necessary. Make sure staff are aware of fire prevention measures.
• Prepare stage effects: Prepare stage food, blood and other effects.
• Prepare personal work environment: Correct settings or positions for your working instruments and adjust them before starting operations.
• Translate artistic concepts to technical designs: Cooperate with the artistic team in order to facilitate the transition from the creative vision and its artistic concepts to a technical design.
• Set up props in a timely manner: Make sure props are set up on the stage or set according to the time schedule.
• Preset props: Arrange props on the stage in preparation of a performance.
• Organise resources for artistic production: Coordinate human, material and capital resources within artistic productions, based on the given documentation e.g. scripts.
• Define prop building methods: Decide on how to build the necessary props and document the process.
• Manage personal professional development: Take responsibility for lifelong learning and continuous professional development. Engage in learning to support and update professional competence. Identify priority areas for professional development based on reflection about own practice and through contact with peers and stakeholders. Pursue a cycle of self-improvement and develop credible career plans.
• Work safely with mobile electrical systems under supervision: Take the necessary precautions while providing temporary power distribution for performance and art facility purposes under supervision.
• Work with respect for own safety: Apply the safety rules according to training and instruction and based on a solid understanding of the prevention measures and risks to your own personal health and safety.
• Maintain props: Check, maintain and repair props.
• Use technical documentation: Understand and use technical documentation in the overall technical process.
• Ensure visual quality of the set: Inspect and amend the scenery and set-dressing to make sure the visual quality is optimal with in constraints of time, budget and manpower.

These skills and competences are sometimes, but not always, required for the role of prop master/prop mistress. However, mastering these skills and competences allows you to have more opportunities for career development.

• Draw prop sketches: Make sketches of envisioned props to help develop the concept and to share with others.
• Manage consumables stock: Manage and monitor consumables stock to ensure that the production demands and deadlines can be met at all times.
• Plan pyrotechnical effects: Plan the pyrotechnical effects for a performance. Develop an artistic vision into a plan, taking safety into account.
• Obtain pyrotechnic permits: Obtain the appropriate administrative permits and licenses for use and transport of pyrotechnics and weapons.
• Purchase props: Buy the required props for a performance.
• Perform first fire intervention: Intervene in the case of a fire in order to extinguish the fire or limit the effects pending the arrival of emergency services according to training and procedures.
• Ensure safety of mobile electrical systems: Take the necessary precautions while providing temporary power distribution independently. Measure and power up an installation.
• Purchase stage weapons: Acquire weapon props to be used for live performances.
• Assemble performance equipment: Set up sound, light and video equipment on stage before performance event according to specifications.
• Maintain stage weapons: Check, maintain and repair stage weapons.
• Advise client on technical possibilities: Recommend technical solutions, including systems, to the client within the framework of a project.
• Store stage weapons: Safely and systematically store weapon props.
• Work safely with chemicals: Take the necessary precautions for storing, using and disposing chemical products.
• Prepare stage weapons: Prepare stage weapons for use on stage.
• Keep personal administration: File and organise personal administration documents comprehensively.
• Promote yourself: Market one’s own strengths in terms of skills and knowledge.
• Assemble scenic elements on stage: Assemble scenic elements, dance and stage floors and stage cloths, based on written documents
• Plan weapon use on stage: Prepare a plan of how weapon props will be used during a live performance.
• Develop professional network: Reach out to and meet up with people in a professional context. Find common ground and use your contacts for mutual benefit. Keep track of the people in your personal professional network and stay up to date on their activities.
• Operate pyrotechnical control: Take the necessary steps to operate pyrotechnical effects during a performance.
• Mark the information from the ground plans on the stage area: Interpret the designs and other scenic drawings to clearly mark the information from the ground plans to the stage area.
• Modify scenic elements during performance: Change-over of scenic elements during performance, and follow the relevant documentation during performance.
• Document your own practice: Documenting your own work practice for different purposes like assessment, time management, job application etc.
• Store performance equipment: Dismantle sound, light and video equipment after a performance event and store in a safe place.
• Store pyrotechnical materials: Safely store materials used for pyrotechnical stage effects.
• Work safely with stage weapons: Take necessary precautions while preparing, transporting, storing, training and operating stage weapons (stabbing weapons, shooting weapons, etc).
• Obtain stage weapon permits: Obtain and administrate permits and licences for use and transport weapons on stage.
• Define prop materials: Decide what materials the props will be made from, and document the conclusions.

3435 – Other artistic and cultural associate professionals

---

References

ESCO

Prop Master, Everything you need to know – NFI

U.S. Bureau of Labor Statistics