PROPERTY MASTER
The Property Master is responsible for the design, selection, acquisition, placement and disposal of all Props required for a specific motion picture, television show or commercial production. Once the camera has rolled, the Property Master maintains the integrity of the set, with the intention of making the set function as efficiently as possible.
Definition of Prop. The term "Prop" can be defined as "anything which moves" or "anything which an actor handles." Props may be personal items associated with a character such as eyeglasses, a wristwatch, a cigarette lighter. They may be items an actor uses -- cell phones, hair dryers, firearms.
Items specifically identified in the script or by the Director are considered Props -- a newspaper clipping, a coffee grinder, a framed photograph, a handwritten note. Items not so identified can also be props, such as: live animals, weapons and ammunition, military combat equipment, saddle and tack, an artist's work-in-progress, tobacco products, food depicted as eaten, boutonnieres, bouquets and breakaways.
Automobile detailing such as license plates, antennae and light bars on police cars, and signs on the sides of delivery trucks are Props. When working outside the jurisdiction of Teamsters Transportation Local 399, acquisition of the vehicles themselves falls under the responsibilities of the Prop Master.
Other forms of transportation such as bicycles, small pleasure craft, wagons and stagecoaches are the responsibility of the Property Master.
Dummies used for stunts are also acquired by the Property Master.
Prop -vs- Set Dressing Item. The difference between a "Prop" and a piece of "Set Dressing" is an important distinction because the Property Master and the Set Decorator wish to respect each other's particular responsibilities.
However at times, an item which began as Set Dressing may turn into a Prop during the course of production. For example, the Set Decorator places a vase on a table. The Director, in a sudden flash of inspiration, says, "Scarlett, why don't you pick up that vase and hurl it against the wall?" It is now up to the Property Master to find or have manufactured duplicate breakaway vases to be thrown while shooting that scene.
In a less extreme example, an Actor might elect to handle a piece of Set Dressing in the midst of shooting a sequence, thus turning it into a Principal Prop. At that point, the Property Master is responsible for the item as long as it may be needed throughout production. It is up to him or her to make arrangements with the Set Decorator for the item's safe return.
Prop -vs- Wardrobe Item. A distinction exists between "Props" and "Wardrobe." Traditionally, the Wardrobe Department is responsible for supplying jewelry (earrings, brooches, necklaces) to the Female Principal Actors. If, however, the jewelry is an integral part of the plot, the Property Master is expected to supply that jewelry. The Property Master usually supplies all jewelry for the Male Principal Actors, as well. Watches and eyeglasses (including tinting and special coatings) are the Property Master's responsibility.
PROPERTY MASTER'S RESPONSIBILITIES. It has been said that the Property Master is the one craftsperson who isn't allowed to say, "It's not my job." While it is important to delineate production responsibilities, duties of the Property Master and his/her crew vary from project to project.
The Property Master upervises and staffs the Property Master Department. Responsible for the purchase, design, manufacture, and acquisition of all Props as indicated in the script, according to production demands, and in consultation with the Director and others.
• Breaks down script to determine which Props are needed.
• Determines a budget for those Props.
• Obtains Props by purchasing, renting, manufacturing and promoting (obtaining products directly from companies or through Product Placement Companies at no expense to the Production with the understanding that the product will be given favorable exposure).
• Oversees the placing and handling of the Props, documenting Prop continuity throughout filming.
• Instructs Actors on the correct and safe use of Props.
• Maintains a safe and secure environment when using firearms as Props, controlling weapons and their blank ammunition at all times (See "Safety Bulletin #1" included at the end of this section)
• Supplies safety equipment such as face and ear protection for hazardous situations.
• Returns or disposes of Props during and after production. Rented and promoted items are returned as soon as it is felt that the items are no longer needed. Purchased and manufactured items must be inventoried and boxed up at the end of filming to be warehoused or sold at the Producer's discretion.
• Prepares Cue Cards when needed.
• Oversees the acquisition of chairs for Director and Cast as required by the Producer.
• Possesses and maintains the appropriate tools and equipment necessary to facilitate in the performance of the above duties.
CREW RESPONSIBILITIES
Assistant Property Master. Carries out duties assigned by the Property Master. The position may be assigned to a member qualified as a Property Master or Property Person. Duties may include any combination of the following and more, as mandated by the production requirements:
• Assists in obtaining and returning Props.
• Helps to ensure Prop continuity during shooting.
• Maintains condition and security of Props.
Additional Staff. The Property Master may arrange for Property Persons to provide needed support in the Propmaster Department.
Occasionally, "Technical Advisors" are requested by Property Masters to assist with production. Since Property Masters are expected to instruct the Actor on the correct use of a Prop, they will use experts in any instance where a Prop falls outside of the Property Master's areas of expertise. The list is endless, but common examples include: Animal Handlers, Food Stylists, Bartenders, Mechanics (outside of Teamster 399 jurisdiction), Weapons Specialists, Computer Technicians, Medical Technicians, Law Enforcement and Military Advisors.
STAFFING CONSIDERATIONS. Requirements vary from production to production. Some more common scenarios are as follows:
• On large-scale productions, each shooting unit will be assigned a Property Master with one or more Assistant Property Masters. All Property Masters of additional units will maintain the continuity set by the Master on the First or Principal Photography Unit.
• Episodic television shows may staff a "Supervising" Property Master who directs separate Property Masters assigned to each episode.
DEPARTMENTAL INTERACTION. As television and filmmaking is a collaborative process, communication between departments is necessary. In the interest of maintaining a good working environment, a Property Master will generally confer with some or all of the following departments as well as others:
(listed in alphabetical order)
Art Director/Production Designer. To discuss the overall design concept for the project in order to select the appropriate Props.
Construction Coordinator. For special construction needs. For example, an Actor may need to feed a Prop key into a deadbolt to unlock a door -- the Construction Coordinator would need to know that the deadbolt must be functional, rather than simply a facade on the door.
Director. To clarify Director's needs in order to best support the Director's vision of the production.
Director of Photography. To discuss colors and practical lighting props (flashlights, flashbulbs, headlights, lights on electronic devices, et cetera) and their appropriateness.
Lighting Department. For technical discussions on how the use of any Props which supply their own lighting will be incorporated into the lighting plan. For any on-set electrical requirements which the Props may have.
Make-up. When blood is involved, or when the Actor uses an item of make-up -- such as lipstick, nail polish, or eyeliner -- as a Prop.
Production. For numbers of extras that need to be supplied with props, and for any details which would affect proper planning, scheduling and budgeting, or legal clearances.
Script Supervisor. To help maintain continuity for Props.
Set Decoration. To maintain integrity of the set as established by the Set Decorator. They discuss beforehand any special activities which might cause budgeting concerns, such as stunts and effects which might cause breakage of Props and Set Dressing. In the event that the Property Master and Set Decorator need to employ technical experts, as in the case of a medical show, they may share the services of the same experts in order to save money. Additionally, Property Masters must take responsibility for Set Dressing items which become Props during the course of shooting.
Special Effects. To build hand Props including rubber or breakaway and electronic action Props. To coordinate functional telephones they must operate.
Stunt Coordinator. To aid in obtaining stunt pads, boxes and other needs.
Transportation. To coordinate the number and dressing of picture cars.
Wardrobe. To ensure that personal Props, such as eyeglasses, purses, wristwatches, and jewelry, are coordinated with the clothing. For special wardrobe requirements which might be necessary to accommodate Props (a concealed weapon or other bulky Prop). To alert them to a possible need for multiple wardrobe items: if the Actor must eat messy food, will spill a drink, or is involved in a fight.
QUALIFICATIONS. A Property Master is recognized by Local 44 in one of two ways:
(1) Through traditional advancement from within the Union:
• A Property Person must have logged 2,500 work hours with IATSE signator employers as an Assistant Property Master as required by Contract Services Administration Trust Fund (CSATF); and
• He or she must pass a CSATF test which consists of a script breakdown and budgeting exercise; and
• The member must pay an adjusted balance now due for initiation fees and quarterly dues (since fees and dues increase as one's pay rate increases under the Standard Agreement).
- OR -
(2) Through the union organizing process:
• A non -union candidate is recognized by CSATF as having worked for 30 qualified days as a Property Master on a show which has been organized by IATSE; and
• He or she pays all required initiation fees and dues, and is sworn in by Local 44 as a member.
Licensing. While not required to possess licenses per se, Property Masters will need to have or arrange for an assistant who has necessary licenses for handling conventional firearms as well as those for short barrel shotguns and assault weapons. Scuba certification is necessary for underwater work.
MINIMUM PROFESSIONAL STANDARDS. In the interest of maintaining the high standards set by earlier generations of studio workers, a Property Master should possess and develop the following:
• Property resources -- a knowledge of where to go to obtain any style of Prop (period, contemporary, futuristic/fantasy), including a working knowledge of Prop Rental Facilities.
• Manufacturing resources, for replication of existing Props, and creation of imaginative or unavailable Props.
• Basic knowledge of the responsibilities of other department heads.
• Good rapport with Law Enforcement for information and advice on firearm and other equipment use, and in instances where Props are considered contraband.
• Ability to improvise and the initiative to handle any last-minute requests from the Director or needs required by Production.
• Competence in research skills.
• Communications skills with Director, Actors, and other Department Heads to establish needs.
• Accountability for large sums of money.
• Tactful diplomacy as he or she is in direct communication with sensitive artists and creators, as well as with a variety of personalities.
• Working knowledge of how colors will photograph, and how camera lenses will affect an image.
ETIQUETTE FOR PROPERTY MASTERS. The Property Master should:
• Alert Set Decorator or Lead Person as to what has been accomplished during the day's shooting and what is expected at the next call.
• Disseminate useful information to various departments. Often the Property Master learns of upcoming changes before other department heads do. By passing on this information, the Property Master gives the other departments an opportunity to anticipate and prepare for any possible changes.
• Investigate potential allergies Actors might have to specific Props -- food, perfume, cigarettes, smoke -- and seek out alternatives.
• Consider using computer software compatible with that of the Unit Production Manager and Assistant Director so as to make communication easier.
• Learn and respect the needs and jurisdictions of other departments.
PRODUCTION BREAKDOWN CHARTS. No specific format exists for breaking down a shooting script into the requirements of the Property Department. A variety of methods are helpful:
• Identify and list all required Props;
• List Props according to character;
• List Props according to scene;
• List Props according to set location;
• Break down Prop lists into time needs (How long will a Prop be needed over the course of shooting? When may the Prop be rented and when should it be returned?).