Organised, efficient and effective at producing at delivering work to the highest of standards. I am motivated and charismatic and use the skills developed in the film industry to make strong and lasting relationships with colleagues and others I come into contact with during production. I can use my creativity to harness and utilise these characteristics to support those around me to complete tasks to the highest end of professionalism. I am responsible and independent but relish inspiring and achieving success as part of a team. My skills and work ethic are admired and respected and am always seeking to further and widen my already diverse skill base.
CV
Key skills
Organisation
Communication
Prop sourcing
Creative thinking
Independence
Time management
Script breakdown
Budgeting
Prop house and prop maker relationships and knowledge
Prop fabrication
Research skills
Keen historical and media knowledge
Working under pressure
Film and television
Film and television
Down Cemetery Road (2025)
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Production design: Paul Cross
Action Prop Supervisor
As an Action Prop Supervisor, your role is pivotal in ensuring that the visual storytelling in film and television is both compelling and authentic. You will oversee the design, creation, and management of all props used during action sequences, collaborating closely with directors, production designers, and the art department to align with the artistic vision.
Key Responsibilities:
Proposal and Design: Collaborate with the creative team to develop prop concepts that enhance the narrative. This includes sketching ideas and sourcing materials that reflect historical and thematic accuracy.
Supervision of Prop Creation: Oversee the fabrication of props, ensuring they meet quality and safety standards. This includes coordinating with skilled craftsmen, including carpenters, metalworkers, and graphic designers.
Research and Development: Conduct thorough research to understand the functional aspects of props, particularly those used in action sequences, to ensure they can be safely and effectively used by performers.
Budget Management: Manage the budget allocated for props, ensuring optimal use of resources while maintaining high production values. Provide estimates and track expenses throughout the production process.
On-Set Operations: Act as a liaison on set during filming, overseeing the placement, use, and maintenance of props during action scenes. Ensure correct props are used for each shot and coordinate with the stunt team for safety.
Logistics Coordination: Organise the transportation, storage, and inventory of props, ensuring that all items are accounted for and in good condition.
Post-Production Review: Participate in post-production meetings to evaluate prop usage and effectiveness, providing insights for future projects.
Skills Required:
Exceptional attention to detail and a keen aesthetic sense.
Strong organisational and project management skills.
Ability to work collaboratively and maintain clear communication with diverse production teams.
Problem-solving capacity to address challenges that may arise during production.
Understanding of health and safety protocols related to prop use in action environments.
The role demands creativity, foresight, and technical aptitude. As an Action Prop Supervisor, you bind together the threads of design, functionality, and narrative, elevating each production to resonate with audiences.
Three Bags Full (2026)
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Prodcution design: Suzie Davis
Working closely with SFX, VFX and stunt teams. The action props help drive the story. In particular on this production we had to ensure our props would withstand various stunts and able to be used by the VFX department. This meant multiples of each key action props as well as ensuring the functionality needed for actors and VFX (sheep) alike.
Renegade Nell (2024)
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Production design: Anna Pritchard
Historical fantasy epic. Eye for historical accuracy and heavily researched to ensure accuracy for the era. Close work with the armoury team to ensure historical accuracy. A number of the props were worn by the actors so a lot of crossover with teh costume department. Because of the action scenes a large number of the props were to be used by the stunt teams so multiples and softs were needed for most of the fighting props.
Working with animals including horses, which involved the fabrication of horse armour - this meant working with prop makers and animal handlers.
Queen Charlotte: A Bridgerton Story (2023)
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Production design: Dave Arrowsmith
action props for historical romance. Fabrication of a number of bespoke prop makes including a large 18th century telescope which I saw through from concept to design to completion.
Working closely with horse and vehicle teams picking and choosing carriages and other animals.
Trigger Point (2022)
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Production design: Anna Pritchard
modern poilice drama. I worked closely with the police and military, including ex bomb disposal experts. Who taught and me how bombs would be made. I therefore became chief prop bomb maker and made all of the bombs that were seen on screen.
Close work with the armoury teams to ensure accuracy.
SAS: Rogue Heroes (2022)
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Production design: Richard Bullock
since I was young I had a fascination with World War Two especially the North African campaign where my Grandfather served. It was a great honour then to be part of SAS rogues.
I worked with experts, collectors manufacturers and makers of all things WW2. I worked with vehicles, weapons and all manor of experts in particular fields.
With any job it is important to be historically accurate, however, people who know and love ww2 really know and love it so it was doubly important to uphold this legacy.
Close to me (2021)
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Production design: Claire Kenny
The Last Letter from you Lover (2020)
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Production design: James Merifield
Blithe Spirit (2020)
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Production design: JP Kelly
The Courier (2020)
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Production design: Suzie Davis
The Personal History of David Copperfield (2019)
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Production design: Cristina Casali
A+M Prop Hire (2013 - 2018)
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I started my journey in the film industry at A+M prop hire where I worked from 2013 - 2018 as a prop booker. The work consisted predominantly of prop and antiques knowledge, prop requisition and antique restoration. Here, I built relationships with a great number of prop buyers, set decorators and designers. When the business unfortunately closed it’s doors in 2018 I used the relationships I had built over the years to gain and maintain these relations and step up through the industry.
Links
Education
York St John University: Film and Television Production
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