The panel:

Alexander Hutchings – Art Department Model Maker

Heather Noble – Supervising Art Director

Rachel Corbould – Senior Production Buyer

Rita Cox – Coordinator / Leadership & Movement Coach

Sara Wan – CEO & Co-founder of The Classic Prop Hire Company; Set Decorator

Alexander Hutchings: Art Dept Modelmaker

Side hustle: took temporary work with a games company in Guildford, Surrey, creating 3D models from digital game assets, for starwarsgalacticracer.com - fusegames.com

Key takeaways:

• A Concept Artist friend recommended Alex to the games studio.

• Networking and previous reputation were key - tell people you're available and maintain relationships both inside and outside film.

• Initial discussions began in February, but work didn't begin until May due to a slower hiring process than film and TV.

• The Games industry has a much slower production cycle - feedback can take one to two weeks - therefore more time is available for development.

• A wider knowledge of software increases your employability - the games industry commonly uses Blender, ZBrush, Maya, Unreal Engine (although Alex mostly encountered Blender). Alex uses Rhino and requested FBX files for compatibility with Rhino. The different software wasn't a barrier because he was already used to exchanging files across programs.

• Film modelling skills transferred well because they involve working from 3D assets, remodeling digital models, producing physical models, solving technical production problems.

• Alex agreed not to take film work until the games contract finished.

• Key message: Focus on transferable skills rather than job titles.

Heather Noble: Supervising Art Director

Side hustle: does Draughting jobs for an Events company during gaps between film projects.

Key takeaways:

• Heather agreed a flexible arrangement, where she can leave for a film or TV job if one comes up; meanwhile the work is not guaranteed and depends on when the Events company is busy. If the Events project finishes early, the company can end the contract early.

• Opportunity came through networking - she and an Events Draughtsperson exchanged career advice over coffee; conversations and networking can create unexpected opportunities!

• The company builds temporary sets for product launches, corporate events, fashion shows, high-end weddings and more.

• She works with a range of materials and many drawings go direct to CNC machines for production.

• New techniques learned from the exhibition and event worlds.

• The Events world has a faster drafting workflow even than film and TV! Heather completes 4–10 technical drawings per day.

• The job keeps Heather's Draughting skills sharp.

• There’s less management responsibility than Supervising in film, but she still works with Construction managers.

Heather recommends separating your side-hustle ideas into two categories:

1. Salary-Level Income (eg, using Art Directing skills in other industries)

2. Pocket-Money Income (eg, selling handmade products on Etsy, selling unwanted items on eBay, Vinted and at car boot sales).

Prioritise the larger income opportunities, but don't forget smaller revenue streams - can they become part of your income?

Rachel Corbould: Senior Production Buyer

Side hustle: between film and TV jobs has taken on a variety of flexible jobs including: 

• Working at a local dance school: managing DBS checks, tracking parent payments, organising First Aid courses, chaperoning.

• Gardening services for people in her local area: setting up vegetable gardens, lawn mowing, general garden maintenance. 

• Registering as a daily worker with film industry suppliers including greens company Palmbrokers.

• She has started a small business with her partner building tiny homes - they aim to build one per year, using their organisational and practical construction experience gained in film.
  
  

Key takeaways:

• Even if work isn't highly paid, it can cover essential bills, it keeps momentum going, it prevents long periods of inactivity, it supports mental wellbeing.

• Volunteering to do gardening services for her local school led to paid gardening work with school parents.

• Rachel believes film professionals often underestimate themselves. Film crews are adaptable, resilient, excellent problem-solvers, extremely hardworking, able to learn quickly, comfortable being dropped into unfamiliar situations.

• She found employers outside film were impressed by her work ethic, flexibility and ability to take initiative.

• Think seasonally: consider what work is in demand at different times of year (eg garden centres and retail over Christmas; landscaping and flower farms over summer).

• Rachel tells employers upfront that film work remains her priority and she may need to leave with around one week's notice.

• Develop a CV or CVs for jobs outside the film industry. Include any administrative experience, volunteering, DBS checks, community roles, leadership positions, budgetary experience, organisation skills, scheduling, spreadsheet management, communication skills. Recruitment companies like Michael Page will give one-to-one CV advice sessions, as well as help you find jobs.

• Be proactive and offer your skills to people in your local network and area - post flyers on local announcement boards in supermarkets, church halls, newsagents etc.
  
  
  

Rita Cox: Coordinator

Side hustle: focuses on having an evolving freelance portfolio rather than one main income and ‘side-hustle’. 

• As a Self-Embodied Leadership & Movement Coach, Rita helps people identify additional income streams and transferable skills, as well as helping them develop a can-do mindset.

Key takeaways:

• Rather than thinking about a main job + one side hustle, think about multiple income streams that can exist alongside each other.

• Layer your skills, ie rather than offering just one service, build multiple levels around the same expertise. Eg, as a yoga instructor can earn via weekly yoga classs (regular income); workshops (mid-priced); premium events or retreats (higher income).

• Assess your capacity to see if you can take on something outside normal working hours, eg coaching, and that can be offered at different price points.

• Create a mindset of exploring different revenue streams, rather than setting up for a traditional “I do one job” scenario.

• The more conversations you have, the more connections you build, the more opportunities arise.

• Be ready to talk about not just the skills you are actively using but all the transferable skills you have. You never know who might need your expertise! 

• Look for opportunities to collaborate with others. Eg, someone skilled at drawing and someone good with children - together they could run an art club or holiday workshop.

• Action over perfection. Don't wait until everything is perfect: take the smallest possible first step and keep building the momentum.

• Begin while you're busy and have the financial security - when you work, it is a great time to think and write down what you want to create when you are in between jobs, how much money you need for it and what course you need to take to move forward. 

• Save money for your future business or side project; treat it as an investment fund; gain new qualifications and learn additional skills.

• Finding your first customer: contact businesses directly; knock on doors; introduce yourself; tell everyone what you're doing. People can't recommend you if they don't know what you offer.

• Aim for a forward momentum and continuous success rather than just one off big hit. Start with one class, one daily cover, getting one more contact. Then build on that. Success builds confidence and confidence builds momentum. 

Rita offered:

• Free 10–15 minute introductory conversations to help identify transferable skills and for initial guidance on taking the first step toward a new income stream.

• Contact Rita via https://www.ritacoxyoga.com/ and rita@ritacoxyoga.com

Sara Wan, former Set Decorator, founder and CEO of The Classic Prop Hire Company

• Sara shared how she launched Arthouse Hire, now part of The Classic Prop Hire Company, while working as a Set Decorator.
• For Sara, she gradually transitioned from being a successful Set Decorator into running a major businesses, showing that a side project can become a full-time career.
  
  
  

Key takeaways:

• Look for a gap in the market. Her first business, Arthouse Hire, started because film productions increasingly needed pre-cleared artwork. Instead of waiting for someone else to solve it, she and two colleagues acted. They treated the startup like a film job—working intensely for six weeks to launch it. Many successful businesses begin by solving a problem you've experienced yourself.
  
  
• Film crew are unusually capable of launching things quickly. Sara emphasized that film professionals often underestimate themselves. The same skills used every day in production translate directly into business: managing budgets; organising logistics; solving problems under pressure; coordinating teams; making decisions quickly; delivering to deadlines.
  
  
• A side hustle doesn't have to consume your life. Arthouse Hire was deliberately designed so it could operate alongside film work. Three founders shared responsibility. The point wasn't rapid expansion—it was creating sustainable income.
  
  
  
• Running a business teaches new skills. Sara said film prepared her technically, but business forced her to develop personally. She learned to pitch to investors, work with banks, manage shareholders, lead larger teams and communicate more confidently. She believes those experiences would make her a better Set Decorator if she returned to film.
  
  
• Don't define yourself only by your job title. Sara realised that fulfillment often comes from how you work, not what your job title is. She realised she loved bringing people together, making ideas happen, organising complex projects and creating something from nothing. Those abilities could be applied almost anywhere, not just on film sets.
  
  
• Network outside the film industry. Sara encouraged people to volunteer, meet people in different industries and build relationships outside film. Those connections may create business opportunities, generate freelance work, lead back into film through unexpected contacts. 
  
  
• Networking isn't just about finding the next production - it's about expanding your opportunities. Keep telling people what you’re doing - if you’re setting up a business, you don’t always need to use your own money. People are often keen to invest to get you started.
  
  
• Side projects don't have to be businesses. Before focusing fully on her companies, Sara also produced stills photography projects, served on a charity board and helped raise millions for charitable causes. Although those didn't necessarily generate income, they developed valuable leadership, fundraising, and networking skills.
  
  
• Keep showing up. Sara said The Classic Prop Hire Company regularly hires people for casual work, especially for warehouse and handling roles, and she encouraged crew members to visit the business, get familiar with the stock, meet her team over breakfast or lunch, stay connected even when productions are quiet. Simply being present and building relationships often leads to opportunities.

Side hustle ideas from crew members watching the webinar

• Dog-walking
• Theatre work
• UK Government's rent-a-room scheme
• Illustration (you’ll need an agent, eg https://www.advocate-art.com/)
• Furniture assembly
• Handy work
• Hospitality
• Gallowglass Crewing
• Zero-hours contracts
• Temporary work for industry suppliers - see Filmbase's list of recommended suppliers.

Sealits

These re-usable tabs to re-seal food or other packaging were launched as a side-hustle business by Filmbase member Esskay, who works in the Art Dept. Find out more and buy via her TikTok page or Instagram page.

The 15-Mile Fund

Launched and run by Supervising Art Director Heather Noble (above), this small travel fund aims to support crew who can't afford to make it to an important career development opportunity, eg a job interview in a different part of the country, a training course, a networking event. It is available to senior and junior members of Filmbase.

Find out more and apply for a grant here.

You can donate to support the fund here.

Contact the Film and TV Charity about financial grants and mental health support - https://filmtvcharity.org.uk/get-support/#heading-224628