Production Designer Resume Examples & Writing Guide
The Bureau of Labor Statistics projects roughly 2,500 openings per year for set and exhibit designers (SOC 27-1027) through 2034, yet the median annual wage already sits at $66,280—with the top 10 percent earning above $129,420. Those numbers reflect a field where the barrier to entry is high and the competition for union-scale work is fierce: the Art Directors Guild (IATSE Local 800) requires 175 verified production days before a production designer can even apply for membership. If your resume does not communicate budget authority, departmental scope, and visual storytelling mastery in the first six seconds of a recruiter scan, you will not make it past the initial filter. This guide provides three complete resume examples at the entry, mid-career, and senior levels—each built with the quantified accomplishments, ATS-friendly keywords, and industry-specific language that hiring coordinators and line producers actually search for.
Table of Contents
- Why the Production Designer Role Matters
- Entry-Level Production Designer Resume Example
- Mid-Level Production Designer Resume Example
- Senior Production Designer Resume Example
- Key Skills & ATS Keywords
- Professional Summary Examples
- Common Resume Mistakes
- ATS Optimization Tips
- Frequently Asked Questions
- Citations & Sources
Why the Production Designer Role Matters
Production designers are the architects of visual storytelling. They translate a director's narrative vision into physical and digital environments—building the worlds audiences inhabit across film, television, theater, commercials, and live events. The role demands a rare intersection of artistic sensibility, technical drafting, construction knowledge, budgeting discipline, and people management. A production designer on a mid-budget feature film might oversee a 40-person art department, manage a $2.5 million construction budget, and coordinate with 8 or more department heads simultaneously. The BLS classifies production designers under "Set and Exhibit Designers" (SOC 27-1027), reporting a May 2024 median annual wage of $66,280. The lowest 10 percent earned below $35,990 while the highest 10 percent exceeded $129,420, reflecting the enormous pay variance between non-union independent projects and studio tentpole productions. Industry sources such as Glassdoor report averages closer to $74,597 when factoring in major-market production hubs, and union day rates through IATSE Local 800 contracts typically range from $450 to $2,000 per day depending on budget tier and production type. Employment growth is projected at 2 percent from 2024 to 2034—slower than average—but the real story is replacement demand. With roughly 2,500 annual openings driven by retirements and career transitions, plus the explosive growth of streaming content (Netflix, Apple TV+, Amazon MGM, and Max all expanded original production slates through 2025), qualified production designers with strong portfolios and union eligibility remain in high demand. The rise of virtual production using LED volumes and real-time rendering in Unreal Engine has further reshaped the role, creating a premium for designers fluent in both physical construction and digital visualization.
Entry-Level Production Designer Resume Example
**MAYA RICHARDSON** Los Angeles, CA 90028 | (323) 555-0147 | [email protected] | Portfolio: mayarichardsondesign.com
Professional Summary
Production designer with 3 years of art department experience across 12 independent film and commercial projects, including 2 Sundance-selected shorts. Skilled in SketchUp, Vectorworks, and Adobe Creative Suite with a BFA in Theatrical Design. Managed set construction budgets up to $85,000 and coordinated crews of 6–10 on compressed 4-week prep schedules. Seeking to leverage hands-on build experience and strong visual research skills on episodic television or feature productions.
Experience
**Production Designer** Moonlight Collective (Independent Production Company) — Los Angeles, CA June 2024 – Present - Designed 14 unique interior and exterior sets for 3 short films and 1 micro-budget feature ($250K total budget), delivering all environments 2 days ahead of principal photography start dates - Managed a $45,000 construction and dressing budget across 4 concurrent projects, finishing 8% under budget through strategic material sourcing from 3 salvage yards and 2 rental houses - Created 35+ concept boards, floor plans, and color palette presentations in SketchUp and Photoshop, reducing director revision rounds from an average of 4 to 2 per set - Supervised a 6-person art department including an art director, set dresser, props master, and 3 set construction PAs during a 22-day shoot schedule - Sourced and managed relationships with 5 location owners and 3 prop rental vendors, negotiating $4,200 in combined rental savings across productions **Art Department Assistant / Set Dresser** Ridgeline Studios — Burbank, CA August 2022 – May 2024 - Assisted the production designer on 7 commercial campaigns (clients included a national automotive brand and a CPG company) with combined budgets exceeding $1.8M - Drafted 50+ scaled floor plans and elevations in AutoCAD and Vectorworks, maintaining 100% on-time delivery to the construction coordinator - Coordinated procurement of 200+ set dressing items per project, tracking inventory across 3 warehouse locations using a custom spreadsheet system that reduced misplaced items by 40% - Built and dressed 9 studio sets across 2 sound stages, each within 3-day turnaround windows with zero missed call-time deadlines - Photographed and cataloged 1,500+ reference images across 12 location scouts, organizing them into director-ready research packages within 24 hours of each scout
Education
**Bachelor of Fine Arts, Theatrical Design & Technology** California Institute of the Arts (CalArts) — Valencia, CA Graduated May 2022 | GPA: 3.7/4.0 - Senior thesis: Designed a 4-set, 16-scene production of *The Tempest* with a $12,000 materials budget - Relevant coursework: Scenic Design, Drafting for the Stage, Color & Light Theory, History of Architecture, Digital Rendering
Technical Skills
SketchUp Pro, AutoCAD, Vectorworks, Adobe Photoshop, Adobe Illustrator, Adobe InDesign, Blender (3D modeling), Microsoft Excel (budgeting), Google Workspace, hand drafting and model building
Certifications & Training
- OSHA 10-Hour Construction Safety Certification (2023)
- ScreenSkills Set Safety Awareness (2024)
- Vectorworks Certified Professional (2023)
Mid-Level Production Designer Resume Example
**DANIEL OKAFOR** Brooklyn, NY 11201 | (917) 555-0283 | [email protected] | IMDB: imdb.me/danielokafor
Professional Summary
IATSE Local 800–eligible production designer with 8 years of art department experience spanning 22 film, television, and commercial projects. Led design for 2 network television pilots and a Tribeca Film Festival–selected feature. Managed art department budgets up to $1.2M, supervised crews of 25, and delivered on schedules as tight as 5-day episodic preps. Proficient in Vectorworks, Cinema 4D, and Unreal Engine virtual production workflows. Known for translating narrative ambiguity into precise, buildable design packages that keep construction on schedule and under budget.
Experience
**Production Designer** Ember & Oak Productions — New York, NY March 2022 – Present - Designed 38 sets across 2 network television pilots (CBS, NBC) with a combined art department budget of $1.2M, delivering all environments within 1% of original estimates - Led a 25-person art department including 2 art directors, 4 set designers, a graphic designer, 3 set decorators, and construction crews across 2 stages at Steiner Studios - Created virtual pre-visualization of 6 hero sets in Cinema 4D, enabling the director and DP to plan 72 camera setups before construction began, saving an estimated 3 shoot days ($180,000 in production costs) - Developed and maintained a master color and texture palette across 18 scripted locations for a period drama pilot, ensuring visual continuity between 4 New York boroughs and 2 upstate locations - Managed vendor relationships with 8 fabrication shops, 4 paint shops, and 3 prop houses, negotiating bulk rates that saved $47,000 across the pilot season **Art Director** Blackbird Media Group — New York, NY January 2019 – February 2022 - Served as art director on 9 feature films (budgets ranging from $500K to $5M) and 6 national commercial campaigns, translating production designer concepts into construction-ready drawings and specifications - Drafted 200+ construction drawings per project in Vectorworks, maintaining drafting turnaround of 48 hours or less from design approval to shop-ready documents - Supervised on-set art department operations for a 45-day principal photography schedule on a $3.8M independent feature, resolving an average of 12 design changes per week without schedule impact - Coordinated scenic painting for 22 backing drops and 15 aged/distressed interior walls, personally specifying 40+ custom paint formulas for period accuracy (1970s Bronx setting) - Trained and mentored 4 art department PAs, 2 of whom advanced to assistant art director roles within 18 months **Set Designer** Gramercy Park Studios — New York, NY September 2016 – December 2018 - Produced scaled construction drawings for 14 television episodes across 2 series (a police procedural and a legal drama), averaging 8 new sets per episode - Built 1:24 scale white models for 6 hero sets, enabling the production designer to present 3D concepts to directors and showrunners with 90% first-pass approval rates - Digitized the studio's legacy drawing archive of 3,000+ hand-drafted plans into AutoCAD format, creating a searchable database that reduced research time by 60%
Education
**Master of Fine Arts, Production Design for Film & Television** NYU Tisch School of the Arts — New York, NY Graduated May 2016 **Bachelor of Architecture (5-year program)** Cornell University — Ithaca, NY Graduated May 2014
Technical Skills
Vectorworks (advanced), Cinema 4D, AutoCAD, SketchUp Pro, Adobe Creative Suite (Photoshop, Illustrator, InDesign), Unreal Engine 5 (virtual production), Rhino 3D, hand drafting, scenic painting, model building, budgeting & scheduling (Movie Magic, Hot Budget)
Certifications & Professional Affiliations
- Art Directors Guild (IATSE Local 800) — Eligible, 190 qualifying days logged
- OSHA 30-Hour Construction Safety Certification (2020)
- Unreal Engine Virtual Production Certificate — Epic Games (2023)
- Member, Set Decorators Society of America (Associate)
Senior Production Designer Resume Example
**CATHERINE SOLANO** Los Angeles, CA 90046 | (310) 555-0391 | [email protected] | IMDB: imdb.me/catherinesolano | ADG Member
Professional Summary
Award-winning production designer and Art Directors Guild (IATSE Local 800) member with 16 years of experience across 45+ film, television, and streaming projects. Designed environments for 3 Emmy-nominated series and a $120M studio feature. Managed art department budgets exceeding $8M and supervised departments of 60+. Pioneered adoption of LED volume virtual production on 2 major series, reducing location shoot days by 35% while expanding the visual scope. Recognized for balancing bold creative vision with rigorous fiscal discipline, consistently delivering under budget and ahead of schedule.
Experience
**Production Designer** Apex Entertainment / Major Studio Projects — Los Angeles, CA January 2018 – Present - Served as production designer on a $120M studio action feature, managing an $8.2M art department budget across 62 scripted environments built on 5 sound stages and 11 practical locations over a 95-day shoot - Supervised a department of 65 crew members including 3 art directors, 8 set designers, a supervising art director, 6 set decorators, 2 graphic designers, and full construction and paint crews - Designed and oversaw construction of a 22,000-square-foot hero set (a period train station) that required 14 weeks of build time, 3,200 individual scenic elements, and coordination with VFX for a 40-foot digital set extension - Led the adoption of Unreal Engine virtual production for 2 streaming series (8 episodes each), utilizing a 270-degree LED volume stage to replace 28 planned location days, saving $1.4M in travel and logistics costs - Presented design concepts to studio executives and directors through 80+ visual pitch decks incorporating mood boards, concept art, 3D pre-viz renderings, and VR walkthroughs, achieving 85% first-round approval - Won the Art Directors Guild Excellence in Production Design Award (Television Movie/Limited Series) in 2023 for a 6-episode limited series set across 4 decades and 3 continents (47 distinct environments) **Production Designer** Waypoint Television — Los Angeles, CA / Atlanta, GA March 2014 – December 2017 - Designed 4 seasons (48 episodes) of a critically acclaimed cable drama, building and maintaining 12 standing sets and creating 130+ swing sets across a 4-year run - Managed annual art department budgets of $3.5M–$4.2M per season, delivering each season an average of 4.5% under budget while expanding the visual scope with 15% more unique environments per season - Coordinated relocation of production from Los Angeles to Atlanta in Season 2, overseeing the rebuild of all standing sets at Trilith Studios within a 6-week window with zero lost shoot days - Mentored 8 emerging art directors and set designers, 3 of whom went on to production designer credits on their own projects within 5 years - Collaborated with the VFX supervisor to develop a hybrid physical/digital workflow that reduced greenscreen usage by 50% in favor of in-camera practical effects, earning praise from the showrunner for "grounding the show's visual identity" **Art Director / Production Designer (Transition Period)** Strand Features — New York, NY June 2010 – February 2014 - Transitioned from art director to production designer across 6 independent features (budgets $800K–$4M), building a portfolio that earned ADG membership eligibility - Designed a Sundance Grand Jury Prize–nominated film's visual world across 23 locations in 4 states, managing a $340,000 art department budget that required creative solutions including 12 builds using reclaimed materials - Negotiated and managed contracts with 15+ fabrication vendors, scenic painters, and prop houses per project, maintaining a preferred vendor list of 40+ businesses across the NYC tri-state area - Created the art department's first digital asset management system, cataloging 12,000+ reference images and 800+ drawings with searchable metadata, reducing cross-project research time by 70%
Education
**Master of Fine Arts, Set Design** Yale School of Drama — New Haven, CT Graduated May 2010 **Bachelor of Arts, Architecture & Studio Art (Double Major)** University of Southern California — Los Angeles, CA Graduated May 2007
Technical Skills
Vectorworks (expert), AutoCAD (expert), SketchUp Pro, Cinema 4D, Unreal Engine 5 (virtual production & LED volume), Adobe Creative Suite, Rhino 3D, KeyShot (rendering), Movie Magic Budgeting, Hot Budget, Shotgrid (production tracking), hand drafting, scenic painting, model building, architectural photography
Awards & Recognition
- Art Directors Guild Excellence in Production Design Award — Television Movie/Limited Series (2023)
- Emmy Nomination — Outstanding Production Design for a Narrative Contemporary Program (2022)
- ADG Nominee — One-Hour Single-Camera Television Series (2020, 2021)
- Jury Special Mention, Production Design — Tribeca Film Festival (2016)
Professional Affiliations
- Art Directors Guild / IATSE Local 800 — Full Member since 2015
- Academy of Television Arts & Sciences (Television Academy) — Member
- Production Designers Collective — Founding Board Member
- Women in Film — Active Member
Key Skills & ATS Keywords
Technical Design Skills
- Set design and construction
- Scenic design and scenic painting
- Technical drafting (hand and digital)
- Scale model building
- Concept art and mood boards
- Color theory and color scripting
- Period-accurate research and design
- Location scouting and assessment
Software & Tools
- Vectorworks
- AutoCAD
- SketchUp Pro
- Cinema 4D
- Unreal Engine 5 (virtual production)
- Adobe Photoshop
- Adobe Illustrator
- Adobe InDesign
- Rhino 3D
- Blender
- KeyShot
- Movie Magic Budgeting / Hot Budget
- Shotgrid / ShotGrid (Autodesk)
Management & Production Skills
- Art department budget management
- Crew supervision (10–65+ person departments)
- Vendor negotiation and procurement
- Cross-departmental collaboration (VFX, cinematography, costume, locations)
- Production scheduling and prep coordination
- Script breakdown and visual script analysis
- Director and showrunner communication
- Studio executive presentations
Certifications & Credentials
- Art Directors Guild / IATSE Local 800 membership
- OSHA 10-Hour or 30-Hour Construction Safety
- Unreal Engine Virtual Production Certificate (Epic Games)
- Vectorworks Certified Professional
- LEED Green Associate (sustainable set design)
Professional Summary Examples
Entry-Level (1–3 Years)
Production designer with 3 years of hands-on art department experience across 12 independent and commercial projects. Holds a BFA in Theatrical Design from CalArts and Vectorworks Certified Professional credential. Managed construction budgets up to $85,000 and coordinated crews of 10 on compressed prep schedules. Combines strong hand-drafting fundamentals with proficiency in SketchUp, AutoCAD, and Photoshop to deliver concept-to-completion design packages that keep builds on time and under budget.
Mid-Level (5–10 Years)
IATSE Local 800–eligible production designer with 8 years of experience across 22 film, television, and commercial productions. Designed 38 sets for 2 network television pilots with budgets up to $1.2M and supervised 25-person art departments. Proficient in Vectorworks, Cinema 4D, and Unreal Engine virtual production, with a track record of saving productions an average of 12% on art department expenditures through strategic vendor negotiations and pre-visualization planning. MFA in Production Design from NYU Tisch.
Senior-Level (12+ Years)
ADG member and Emmy-nominated production designer with 16 years of experience across 45+ film, television, and streaming productions. Managed art department budgets exceeding $8M on studio features and supervised departments of 65+. Pioneered LED volume virtual production adoption on 2 major streaming series, reducing location costs by $1.4M combined. Won the ADG Excellence in Production Design Award (2023) and earned 3 additional Guild nominations. Known for mentoring emerging designers—8 protégés have gone on to production designer credits.
Common Resume Mistakes
1. Leading with Software Lists Instead of Design Accomplishments
Many production designers open their resumes with a block of software names (SketchUp, Vectorworks, Photoshop). Recruiters and line producers care first about what you built and what it cost. Lead every bullet with the outcome—"Designed 38 sets across 2 network pilots with a $1.2M budget"—then mention the tools in context.
2. Omitting Budget Figures and Crew Sizes
Production design is a management role as much as a creative one. A resume that says "Oversaw art department for feature film" tells the reader nothing about your scope. Was it a $200K indie or a $50M studio picture? Did you manage 4 people or 40? Every experience bullet should include at least one number: budget managed, crew size, number of sets, square footage built, or schedule duration.
3. Listing Projects Without Context
Writing "Production Designer — *Untitled Feature*" gives no information about scale, genre, or result. Include the production company, budget tier (micro-budget, low-budget, mid-budget, studio), distribution outcome (festival selections, network airing, streaming platform), and any notable collaborators when relevant. Context converts a title into a credential.
4. Ignoring Union Status and Eligibility
In an industry where union membership directly determines access to jobs, failing to mention your ADG/IATSE Local 800 status (or qualifying days toward eligibility) is a significant omission. If you are a full member, state it prominently. If you are roster-eligible or have logged qualifying days, specify the count. Line producers and UPMs filter for this.
5. Using Generic Action Verbs
"Responsible for set design" and "Helped with art department" are passive and vague. Use production-specific verbs: designed, drafted, fabricated, supervised, budgeted, sourced, negotiated, scouted, presented, coordinated, constructed, specified. Each verb should connect directly to a measurable outcome.
6. Neglecting the Portfolio Link
A production designer's resume without a portfolio link is incomplete. Your IMDB page, personal website, or Behance portfolio should appear in the header. Recruiters expect to see visual evidence—concept art, set photos, floor plans, before/after comparisons. If the link is buried at the bottom or missing entirely, you lose the reader.
7. Failing to Differentiate Art Director Work from Production Designer Work
If you transitioned from art director to production designer, make the distinction clear. Art directors execute; production designers conceive and lead. If your art director bullets read identically to your production designer bullets, the reader cannot see your growth. Art director bullets should emphasize drafting, on-set supervision, and departmental coordination. Production designer bullets should emphasize concept development, budget ownership, director collaboration, and department-wide leadership.
ATS Optimization Tips
1. Match the Exact Job Title in Your Header
If the posting says "Production Designer," use that exact phrase—not "Set Designer," "Scenic Designer," or "Art Department Head." ATS systems perform literal keyword matching. Place the title directly below your name or in your summary's first sentence.
2. Include Both Software Names and Abbreviations
Write "Vectorworks" in full and also mention "VW" if space allows. Write "Unreal Engine 5" and "UE5." Some ATS platforms search for abbreviations; others search for full names. Covering both ensures you match regardless of how the recruiter configured the search.
3. Spell Out Union and Guild Names
Write "Art Directors Guild (IATSE Local 800)" rather than just "ADG" or "Local 800." Include the full expansion at least once so the ATS catches both the abbreviation and the full name. Do the same for "International Alliance of Theatrical Stage Employees (IATSE)."
4. Use Standard Section Headers
ATS parsers are trained on common headings: "Experience," "Education," "Skills," "Certifications." Creative headers like "My Journey" or "What I Build" will confuse most parsers. Keep the structure conventional even if your work is anything but.
5. Quantify in Numerals, Not Words
Write "$1.2M budget" not "million-dollar budget." Write "25-person crew" not "large team." ATS keyword searches often look for numeric patterns associated with scale. Numerals also take less space and scan faster for human readers.
6. Include Industry-Specific Keywords Naturally
Weave terms like "script breakdown," "pre-visualization," "construction drawings," "set dressing," "scenic painting," "LED volume," "virtual production," and "location scout" into your bullet points rather than listing them in isolation. Contextual keyword usage scores higher with modern ATS algorithms that evaluate semantic relevance.
7. Submit as a .docx or PDF with Selectable Text
Avoid image-heavy portfolio-style resume formats for ATS submissions. The system cannot parse text embedded in images. Save your designed portfolio for follow-up; your ATS submission should be a clean, text-based document in .docx or PDF format with all text selectable.
Frequently Asked Questions
Do I need a degree to become a production designer?
No formal degree is legally required, but the competitive reality is that most working production designers hold at least a bachelor's degree in a relevant field—theatrical design, architecture, interior design, fine arts, or film production. Programs at institutions such as CalArts, NYU Tisch, Yale School of Drama, AFI, and USC are common on production designer resumes. The degree matters less than the portfolio and experience, but the training in drafting, color theory, architectural history, and construction methods that these programs provide is difficult to replicate on your own. The BLS notes that a bachelor's degree is the typical entry-level education for set and exhibit designers.
How important is Art Directors Guild (IATSE Local 800) membership?
For film and television work at the studio and network level, it is essential. Most major studio and streaming platform productions are signatory to IATSE contracts, meaning they must hire union production designers. ADG membership requires 175 verified production days as an art director or production designer. Until you reach that threshold, you can work on non-union projects or low-budget IATSE-waiver productions to build qualifying days. Your resume should clearly state your membership status or qualifying day count.
Should I include every project I have worked on?
No. Curate strategically. A production designer's resume should highlight 8–12 of your strongest, most recognizable, or highest-budget projects rather than listing every student film and favor you pulled. For each project, focus on scope (budget, crew size, number of sets) and outcome (festival selection, distribution deal, award nomination). If you have an extensive filmography, include your full IMDB link and note "Selected credits" above your experience section.
How do I handle gaps between projects on my resume?
Project-based gaps are normal and expected in the film industry. Recruiters understand that a production designer might work intensely for 6 months and then spend 2 months in prep development or between projects. Rather than trying to eliminate gaps, focus on what you did during downtime: portfolio development, software training (an Unreal Engine certificate, for example), location scouting, research trips, or spec design work. You can also list overlapping shorter projects (commercials, music videos) that fill gaps between major credits.
What is the difference between a production designer resume and a portfolio?
Your resume is a text-based, ATS-compatible document that communicates scope, scale, budget authority, and career trajectory through quantified accomplishments. It should be 1–2 pages. Your portfolio is the visual proof—concept art, set photography, floor plans, before-and-after comparisons, color scripts, and model photos. You need both. The resume gets you past the initial filter; the portfolio gets you the meeting. Link your portfolio prominently in your resume header and ensure it loads quickly and is organized by project with clear captions explaining your specific contribution.
Citations & Sources
- **U.S. Bureau of Labor Statistics** — "Set and Exhibit Designers: Occupational Outlook Handbook." May 2024 wage data: median $66,280; projected 2% growth 2024–2034; ~2,500 annual openings. https://www.bls.gov/ooh/arts-and-design/set-and-exhibit-designers.htm
- **U.S. Bureau of Labor Statistics** — "Occupational Employment and Wage Statistics: SOC 27-1027 (Set and Exhibit Designers)." May 2024 detailed wage percentiles. https://bls.gov/oes/current/oes271027.htm
- **Art Directors Guild / IATSE Local 800** — Membership eligibility requirements (175 days for Art Directors/Production Designers), Guild directory, and Production Design Initiative. https://adg.org/join/
- **Art Directors Guild / IATSE Local 800** — 2024–2027 Wage Schedules for Local 800 classifications. https://adg.org/the-guild/represented-by-iatse/
- **ScreenSkills (UK)** — "Production Designer in the Film and TV Drama Industries." Job profile covering skills, responsibilities, career path, and qualifications. https://www.screenskills.com/job-profiles/browse/film-and-tv-drama/craft/production-designer-film-and-tv-drama/
- **Glassdoor** — "Production Designer: Average Salary & Pay Trends 2026." Reports an average of approximately $74,597/year. https://www.glassdoor.com/Salaries/production-designer-salary-SRCH_KO0,19.htm
- **Salary.com** — "Production Designer Salary." Reports average of $57,904 with typical range of $54,161–$65,319 (November 2025). https://www.salary.com/research/salary/posting/production-designer-salary
- **Backstage** — "How to Become a Production Designer for Film, TV, and Theater." Career guide covering education, experience requirements, and industry entry paths. https://www.backstage.com/magazine/article/production-designer-70425/
- **Assemble** — "Day Rates for Film Crew 2024: A Comprehensive Guide." Production designer day rates ranging $450–$2,000 depending on budget tier. https://www.onassemble.com/blog/a-comprehensive-guide-to-day-rates-for-film-crew-2021
- **MasterClass** — "Film 101: What Is a Production Designer? Understanding the Role of a Production Designer." Overview of responsibilities and department structure. https://www.masterclass.com/articles/film-101-what-is-a-production-designer-understanding-the-role-of-a-production-designer