Film Career as a Set Painter
Set Painter Jobs
Being a set painter is not being a painter of army paint sets. Though kids young and old enjoy the hobby of painting a whole regiment of army paint battlefields set, this is a real job on a film set design. When hired, you arrive with your paint set and paint the set or standby in case they need a quick touch up while filming a scene.
Consider Being a Set Painter
If you are a professional painter or you like to paint houses, buildings, fences and want to branch out career-wise, consider being a set painter for the film industry. You meet talented people from all over the world. Not to mention the pay is great, the benefits are great, and you are working in a very creative environment.
Painting Imaginary Places
Listening to her talk in the video about being creative on the set of Peter Jackson's movie Mortal Engines is an inspiration. It so true when she mentions working for hours and not noticing you've worked for hours is the kind of job to have.
Mortal Engines - Painting Sets
“Runaway productions” is a term used to describe films produced outside of Hollywood on location. It’s coined from the idea that the production ran away from Hollywood to be produced outside of the big studios to save money. This is not good for Hollywood but it is good for you if you live outside of Hollywood and want to get a job in a film production as a set painter.
Certain cities encourage runaway productions because the city is beautiful, like Seattle or San Francisco, or because the state or city offer credit or tax incentives, like Massachusetts or Georgia, to save the film production money.
Cold Call Film Offices
Pull out your yellow pages phone book and start calling film commission offices to see if you can be added to their list of set painters available for work. The idea is to get a set painter job on a film production that comes to town or within a 100-mile radius. Work the production to start developing your resume—film credit.
Start as a set painter on a film as a non-union member. Build your contacts—have business cards—to procure more work after the film is a wrap.
Become the Lead Painter
Discover how quickly you will advance to another production. You might even get a gig as the head painter or standby painter. The secret to doing this is getting to know the production designer of each job you get on a film production. Say something like, and mean it, “I really want to work with you again.” It can escalate from there.
Carve a little niche for yourself as the only painter in 100-mile radius who works for films, television, and commercials.
Work within 100-mile Radius
Establish yourself as the lead painter in this 100-mile radius. What will happen is your reputation will lead you to more work. One production designer will tell another production designer who will tell another production designer and well you do the math—that’s a lot of painting gigs.
Keep in mind that word of mouth has a great deal of impact on whether you work or not in this industry.
Steve is a scenic artist and head painter. He paints movie sets. He makes wood look like metal, metal looks like wood and the old look new, and so on. On Don Juan Demarco the crew painted the whole town while he put moss in the fountains with dark green auto paint on water.
How did Steve get his first job? He told a carpenter that he was working with who was going on to a show that if they needed any painters have them give him a call. They did and he went to work in the paint department.
Steve says that films are a team project. If you get the reputation of being hard to work with or self-centered, the word will get around. It is most important to be able to deal with high pressure, short time frames and last-minute changes.
Steve studied art in high school. He worked as a construction draftsman and illustrator in the Army. Went to the Art Institute in Chicago for a year. He has been working in television designing and painting sets for fifteen years.
He joined the union in 1988. He got into the Seattle IA local 15. It was not doing what the members needed for working in film. So, Steve pitched in and helped form Local 488, a studio mechanics local. After he moved to L.A. he joined 729 the painters local but kept his membership in 488.
Fees vary by location of each union in each city. The LA Local 729 is the best union to contact for more information.
Feature Films in Various Cities
Steve says the union has helped him get work for just being a member. But those in my position at my level get our own jobs.
Besides working in Seattle and Portland. Steve has done features in Minneapolis, Memphis, Cincinnati, Salt Lake, Hong Kong, and Twin Falls. Then, of course, there are the shows that he has done in Los Angeles the whole time even before he moved there.
Questions & Answers
How much does it cost to join the union?
Local #729 requires an overall membership fee ($4500), application fee ($100), and first quarter dues ($280.00). The cost is roughly $5000. There are several speculations that allow someone to join the union. The main speculation is 30 days of work on a film production on one given year. Local #729 is transparent and available to answer anyone's questions. I recommend, if you are serious about joining the union, to call them and get all the details on how to become a member of the union.Helpful 3
© 2017 Kenna McHugh