Wig and hairpiece maker to set builder
A wig and hairpiece maker already meets 47% of what the set builder role asks for. The move turns on 10 required skills not yet in the profile.
59.1/ 100
1 How much of what a set builder is expected to do is already part of a wig and hairpiece maker’s work. Directional: the figure for the reverse move differs, because moving into a speciality is not the same problem as moving out of one. 2 Every skill the set builder role is recorded as needing, required and optional together. What these numbers mean.
Why this move works
A set builder role treats 11 of its required skills as things a wig and hairpiece maker already does. You would walk in with these on day one.
- adapt to artists' creative demands
- keep up with trends
- maintain theatre equipment
- maintain workshop space
- prepare personal work environment
- translate artistic concepts to technical designs
What stands in the way is 10 required skills the profile does not yet cover. Table 3 groups them; Table 4 says which to take first.
Table 2 · What you already bring
Of the 19 skills that carry over, these are the ones fewest other occupations ask for. A set builder role needs them, and most people applying for one will not have them already. This is the part of a wig and hairpiece maker background worth leading with.
- already held maintain workshop space management skills
- already held organise workshop space management skills
- already held maintain theatre equipment constructing
- already held plan workshop activity management skills
- already held support a designer in the developing process communication, collaboration and creativity
- already held manage consumables stock management skills
All 19 carried skills, including the 11 the set builder role treats as required.
Table 3 · What you may need to learn
The 26 missing skills fall into 7 areas of the ESCO skill hierarchy, numbered in the order worth working in. Areas carrying the most required skills come first, and inside each one the required skills sit above the optional ones. Nothing here is a verdict on you: it is a list of what this particular job asks for that your current one does not.
- still to learn adapt sets required
- still to learn maintain theatre sets required
- optional, not held make set construction drawings optional
- optional, not held work with the camera crew optional
- optional, not held work with the director of photography optional
- optional, not held attend rehearsals optional
- optional, not held collaborate on costume and make-up for performances optional
- optional, not held work with prop makers optional
- optional, not held work with the lighting crew optional
- still to learn finish project within budget required
- still to learn follow work schedule required
- optional, not held define set building methods optional
- optional, not held define set painting methods optional
- optional, not held prepare the floor for performance optional
- still to learn work safely with mobile electrical systems under supervision required
- still to learn work safely with machines required
- optional, not held operate forklift optional
- optional, not held operate telehandler optional
- still to learn prevent fire in a performance environment required
- still to learn follow safety procedures when working at heights required
- optional, not held perform first fire intervention optional
- still to learn build set constructions required
- still to learn paint sets required
- optional, not held lighting techniques optional
- optional, not held photography optional
1 further area in the appendix
Table 4 · Where to start
The 3 entries a set builder role is least likely to hire without. The ordering is computed from the skill data, not from what pays.
- 01 build set constructions practise this
- 02 adapt sets practise this
- 03 maintain theatre sets practise this
Each entry opens a course search for that skill. Career Overlap earns nothing from these links.
Appendix · The rest of the record
All 19 skills that carry over
- already held adapt to artists' creative demands skill
- already held keep up with trends skill
- already held maintain theatre equipment skill
- already held maintain workshop space skill
- already held prepare personal work environment skill
- already held translate artistic concepts to technical designs skill
- already held understand artistic concepts skill
- already held use personal protection equipment skill
- already held work ergonomically skill
- already held work safely with chemicals skill
- already held work with respect for own safety skill
- already held develop professional network skill
- already held keep personal administration skill
- already held manage consumables stock skill
- already held manage personal professional development skill
- already held manage technical resources stock skill
- already held organise workshop space skill
- already held plan workshop activity skill
- already held support a designer in the developing process skill
The 1 learning area not shown above
- optional, not held use moulding techniques optional
16 supplementary skills, helpful but not required
- optional, not held define set building methods optional
- optional, not held define set painting methods optional
- optional, not held make set construction drawings optional
- optional, not held prepare the floor for performance optional
- optional, not held work with the camera crew optional
- optional, not held work with the director of photography optional
- optional, not held attend rehearsals optional
- optional, not held collaborate on costume and make-up for performances optional
- optional, not held lighting techniques optional
- optional, not held operate forklift optional
- optional, not held operate telehandler optional
- optional, not held perform first fire intervention optional
- optional, not held photography optional
- optional, not held use moulding techniques optional
- optional, not held work with prop makers optional
- optional, not held work with the lighting crew optional
7 held skills the set builder role does not ask for
- not needed by the target role create wigs skill
- not needed by the target role decide on wig making process skill
- not needed by the target role design make-up effects skill
- not needed by the target role develop the look of a production skill
- not needed by the target role dye wigs skill
- not needed by the target role maintain wigs skill
- not needed by the target role meet deadlines skill
2 gaps that are knowledge rather than practice
Knowledge gaps usually close through study. Practical skill gaps usually need something you can point at.
- optional, not held lighting techniques optional
- optional, not held photography optional
Other moves recorded from wig and hairpiece maker
Common questions about this move
Can a wig and hairpiece maker become a set builder?
Yes, and it is a substantial move. A wig and hairpiece maker already covers 47% of what a set builder is expected to do: 19 skills carry over, 11 of which the set builder role treats as required.
What skills does a wig and hairpiece maker need to become a set builder?
10 required skills are missing, plus 16 optional ones. They fall into 7 areas of the ESCO skill hierarchy, led by communication, collaboration and creativity. The single most important is build set constructions.
How hard is the move from wig and hairpiece maker to set builder?
Its learning distance is 59.1 out of 100, which is the substantial band. That accounts for both how much is missing and how specialised those skills are.
How this record was compiled
Both occupations are taken from ESCO, which lists the skills and knowledge each occupation is expected to have and marks every one required or optional. Nothing here is a prediction about hiring, and nothing here knows that a particular employer wants a particular certificate. Treat Table 3 as a starting point for your own research rather than a syllabus. The full method states what these figures can and cannot tell you.