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Critique of Process

Through this module I have enjoyed the skills and knowledge I have gained to be able to get an opportunity to work as a 1st AC and Prop Master on the production of ‘Static’.

Working as 1st AC was an experience that I am grateful for, especially on a film like this. Pre-production was straight forward, and production had only one issue. The issue on set was the focus puller. During the kit's initial setup, we found no problems and assumed it would be fine to use later in the shoot. It would only be halfway through the shoot that we found out that the puller on the camera would not connect to the wireless control. It took us almost 20 minutes to try and solve the problem, but with time being eaten into, we decided to disregard the focus puller completely. The focus puller being disregarded left me with one less role on set. I would have liked to be able to see how a manual focus pull would have turned out, but this was disregarded to save time. Despite this, I still helped with lens changes, moving around the camera and the takedown of kit. I made sure I made myself available for any task and was always present if Nick needed help with anything. I am happy with my contribution, and I think it is just about working more as a 1st AC that will improve my confidence on set. I also I hope in the future to find space/ time for a more collaborative process with the AC.

I also worked as a fellow prop master with Flo and I found it incredibly collaborative and enjoyable. Working with Ella as the main production designer, the 3 of us worked together to make something which would transform the space and enhance the film. Our main goals, as directed by the director, were to create a space that felt eery, nostalgic, and manic. The director wanted the idea of a cluttered space which felt hoarder-ish, and we pulled out all the stops to make this happen.  I oversaw the ‘junk’ props and the overall decoration of the walls. I was responsible for creating drawings for the walls that would represent the main characters headspace and her need to hold onto the past.  It was fun to create props that were purposefully bad/ like a child made them. I also brought in some old stuffed toys and other clutter. It was cost effective as a majority of the props we all already had, or it was cheap to source/ make. The day before the shoot we did the set design, and it turned out amazing and the director felt like her vision was followed/ created.

Overall, my experience as 1st AC and prop master for this production was not only fun but also a valuable learning journey. It provided me with a deeper understanding of each role and has sparked a desire to delve further into them. Both roles, I discovered, are equally challenging and rewarding. This experience has not only helped me identify my strengths but also areas where I can push myself to grow and improve.  

Prop Photos and Set Photos:

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Dolly Workshop- 04/11/2024

This week, we had a dolly workshop with David. I had never done dolly work before, so the class was insightful. In-depth, we were shown how to carry it properly, set it up, use it safely, and pack it away. We collectively watched David set it up and give us tips on effectively placing down the tracks and using tape to mark out where the dolly would start/finish. We had someone operating the camera and someone pulling/ pushing the dolly.

In total, we did about 4 scenarios/setups, and I can confidently say I learned a lot. I would consider using a dolly in the future.

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Television- 2nd Propmaster

I was lucky enough to work on the Television film for Film Workshop and took on two roles.

My roles:

1st AC

Production Design ( 2nd Propmaster)

I was very excited to help with the production design, as I had initially applied to be the production designer on this project. However, I was lucky enough to also be the 1st AC, so I agreed to be the 2nd Propmaster.

Ella, Flo, and I had meetings, and all came up with similar ideas for the brief the director gave us. We were all collectively responsible for sourcing 'junk' representing the character's mindset and her mass hoarding.

I thought it was important to highlight Molly's innocence and childlike mindset through set design. I was able to achieve this by choosing to create multiple 'childlike' art pieces/ drawings that would serve as little Easter eggs in the background.

Set dressing the day before the shoot helped the team map out the space and have as much time as needed to create the best possible set. It also helped us see what else we needed and what didn't work.

Overall, I'm thrilled with how it turned out, and I had an amazing and supportive team.

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Television- 1st AC

I was lucky enough to work on the Television film for Film Workshop and took on two roles.

My roles:

1st AC

Production Design ( 2nd Propmaster)

My role as 1st AC was an interesting learning experience. Never having previously been a 1st AC, I did go into this a little concerned with my lack of experience. However, the entire production was well-organised by its producers, and it was undoubtedly the most peaceful and collaborative set I've been on during my university career. Everyone was aware of their duties, and there was continual support for all parties involved.

We only had one major issue the whole shoot. Just as we were going for out first take the sound team informed us of the faulty equipment which lead to a hour delay on set to try get an entirely new sound kit. This delay may have impacted the schedule, but it allowed the camera crew to spend more time thoroughly planning  the shots, which resulted in the rest of the shoot picking up pace and allowing us to finish an hour earlier!

Unfortunately the focus puller was temprimental and was discarded halfway through the shoot which did leave me feeling left without a job, but I still helped with lens changes, camera moving and takedown of kit. There was a last minute 2nd AC added to help me on set which I did appreciate when setting up kit and keeping track of shots. Rita did a fantastic job and I would definitely want to collaborate again. Working with Nick was helpful in terms of understanding the kit and setting it up as he has a good knowledge of cameras/ the equipment we were using. He helped me recognise how to do my role and what I could improve on next time I'm ACing.

Things I would do on my next ACing gig:

Bring some form of small bag to hold lens covers, pens, tape, lens cleaning kit etc..

Make sure to check focus puller day before shoot to make sure no issues arise on set.

Making sure to constantly be there to take camera off DoP (especially if they are using a shoulder rig/going handheld)

Trust Dop's vision, but offer some ideas if they want some (collaborate more).

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Television Moodboard

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Exercise 2- Final Product

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Exercise 1- Final Product

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ASC Magazine Article Breakdown- Part 2

Being a fan of Talk to Me when it came out, I was excited to read this article. 

The article discusses the creative approach and lighting techniques used by cinematographer Aaron McLisky in the horror film Talk to Me. McLisky was attracted to the project due to its deep thematic layers, touching on grief, addiction, and mental illness. He appreciated how the horror genre allowed him to explore these topics for a broader audience.

In the film, a group of teenagers dabbles in summoning spirits using an embalmed hand, which sets the tone for the visual style of the movie. McLisky emphasizes that, despite its horror elements, the film was shot more like a drama, helping to investigate the psychological aspects of the story.

McLisky’s aesthetic approach involved leaning into darkness by using an Arri Alexa Mini LF and Zeiss Supreme Primes. He created a custom LUT that deliberately underexposed images to recover shadow details later if needed. This technique allowed him to preserve the shadow detail while exploring the interplay between light and dark, a key visual strategy throughout the film.

A large part of the lighting approach was focused on creating contrasting environments to highlight the characters’ emotional states. Mia, the protagonist, lives in a cold, modern, and impersonal home, reflecting her estrangement from her father and the grief over her mother’s death. McLisky used cool, neutral tones and modern LED lighting to create this sense of isolation. In contrast, Mia’s friend Jade’s house is warm and welcoming, which was conveyed through the use of tungsten lighting and softer tones. This contrast between the two households was used to visually represent themes of connection and disconnection within the narrative.

McLisky also notes the importance of practical lighting in the domestic spaces, keeping the look minimal to allow the environments to speak for themselves without over-lighting. His approach to lighting avoided traditional horror tropes, instead emphasizing the dramatic and psychological elements of the story.

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Exercise 2- SHOOT DAY!

Myself and Flo were in charge of the initial kit pickup on Wednesday, which was also our shooting day. David and Ailsa eventually arrived, and we transported the kit and us via Uber, which was completely safe and caused no issues. 

This time, setting up the kit took less time as we had already familiarised ourselves with it from exercise 1. The kit set-up was smooth, apart from the manual focus puller, which did not want to cooperate. We agreed to put it away to save time on set.

Once again, Annabelle and Omar stood in, and they did an excellent job. They were patient and took directions very well. Even though this was just an exercise, they fully committed to their characters, which we all appreciated.

The set itself was chill. Despite some issues with equipment (batteries dying, lights not working with the set-up, etc.), the atmosphere was relaxed yet productive. Everyone worked harmoniously, and there was a shared understanding of what we aimed to achieve.

I think the practice from exercise 1 definitely allowed this set to run smoother and snappier. If we were to do this again, I would have filmed earlier in the day to allow for kit issues to be resolved instead of disregarding them and us having to use alternatives (like me having to do manual focus pulling). However, we were a great team, and I would love to work with all my team members again.

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Inspiration for Exercise 2

Inspiration for lighting and shots

Suspiria (1977)

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Kit for Exercise 2

As 1st AC it was my job to book equipment for the shoot. This was my 2nd time booking equipment, and it was pretty straightforward! The only problem I had was the availability of certain kit which left me to compromise things like the camera, lighting and the monitor, but it wasn’t too serious.

The Kit list:

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Exercise 2- Ideas

As a group we had been simultaneously coming up with ideas for both exercises, but it became obvious that we had spent more time thinking about exercise 1 than 2. We had a harder time individually to come up with ideas that fitted the brief as it was harder to understand what we were meant to do.

We had all panicked as we only had a 5 days between each shoot! eventually we came up with an idea, but were not confident on how we would execute it.

Intial idea/shot list from Morvern/Dop:

1: Wide -  Bright - Mary grabs ingredients from the kitchen, moving kens loving note from the fridge as she opens it to retrieve the milk. Ken’s voice bgins reading the letter, he’s so excited to finally celebrate 1 year of living in their new home. 

2: MCU - cloudy - Mary staples plastic to the walls, we see photos of her previous husbands on the wall. The plastic will protect them from what’s about to happen. We hear the food bubbling away in the other room.

3: CU - Dark - Mary sharpens her axe, the grinding is loud as she raises the stone back and forth. Making sure the axe is sharp enough for things to go smoothly.

4:  MW - Light through the door, dark house - Ken arrives home and is greeted by Mary, he hands her flowers and kisses her on the cheek, he’s excited to see her, she couldn’t care less.

5: Wide - Light coming in on kens side - The axe sits by the door After taking a couple of bites of his dinner Ken begins foaming at the mouth, convulsing in place. Mary stands up and walks towards the axe (off screen). Ken gurgles in the background, pleading without words.

6: CU - Ken’s face - backlit, whites of eyes - He’s choking as Mary drags the axe closer and closer. His fate is sealed. Ken gasps both for air and for mercy, he can barely be heard over the axe.

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Exercise 2 Roles

DoP: Morvern

1st AC: Chelize

Gaffer: David

Sound Recordist: Ailsa

Production Designer: Flo

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ASC Magazine Article Breakdown- Part 1

I had never read the ASC magazine before and I found an interest in a lot of the editions provided.

I admit that I wasn't the biggest fan of Babylon, but this article caught my eye. The article examines two distinct aspects of the filmaking process, highlighting the artistic integrity behind recreating a bygone era of Hollywood and the underaprecciated role of the dolly grip shaping visual langage in film. Providing an in-depth look at the making of Babylon, a film about on the transition from silent films to "talkies" in the 1920's. This article details the films cinematographer, Linus Sandgren's meticulous production process and how he authentically captured the energy and aesthetics of this pivotal period in cinematic history.

One of the most striking aspects covered in this article is the decision to shoot Babylon on 35mm film using anamorphic lenses, which helped capture the grandeur and absurdity of the film’s setting. Sandgren deliberately pushed the limits of exposure and contrast to match the exaggerated, often chaotic atmosphere of the early Hollywood scene. The choice to use anamorphic lenses not only emphasized the epic scale of the story but also contributed to the film's immersive aesthetic. This technique allowed the camera to participate in the action, enhancing the fluid, dynamic nature of the film's visuals. The use of anamorphic lenses gave the film a wider scope and helped convey the enormity of the historical shifts happening in the industry at the time.

The meticulous choreography of the camera is also emphasized, particularly in scenes like the wild party sequence filmed at the Ace Hotel. The decision to use continuous shots and techniques like the Spydercam and Steadicam to capture the energy of the crowd reflects a commitment to creating a visually dynamic experience. Sandgren explains that the intention was to keep the camera "curious," moving through the space with precise timing to capture the controlled chaos of the scene. This kind of cinematic fluidity not only enhances the sense of spectacle but also grounds the viewer in the absurdity and excess of the era.

Lighting also played a critical role in shaping the film's unique visual texture. Sandgren opted for naturalistic lighting in many scenes, using practical sources and windows to create a raw, unpolished look. This approach aligns with his overall philosophy of embracing imperfections and messiness in the visual design to reflect the chaotic world the characters inhabit. The discussion on the lighting and exposure choices for exterior scenes, particularly during the dawn sequence, illustrates how light was used to evoke emotional depth without relying on traditional filmic polish.

Finally, the technical modifications made to the Atlas Orion lenses by Forrest Schultz added an extra layer of texture to the visuals. The subtle hand-polishing of the lenses created bloom in the highlights, which enhanced the sense of dirt and grime in the film's world. This bespoke approach to lens design reflects the high level of detail that went into crafting the film’s aesthetic, making the visuals feel both grounded in history and cinematically heightened.

In conclusion, this article offers a deep dive into the craftsmanship behind Babylon, highlighting the interplay between technology, creativity, and storytelling. Sandgren’s work demonstrates how cinematography can amplify narrative themes, creating an experience that is as visually rich as it is emotionally engaging.

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Exercise 1- SHOOT DAY!

David and Ailsa picked up the equipment on Friday, which was also our shooting day. The pair transported the equipment from the stores to Flo's flat in Ailsa's car to avoid taking the kit on public transport! Luckily, the pair had no issues with pickup and the rest of us met up at the location not long after. 

Inbetween setting up the kit, me and David (Gaffer) went through the lighting plan and shot list to make sure everything would be set up when we were ready to shoot. 

After an hour of setting up kit and waiting for our actors (Annabelle and Omar), we were ready to film. We ended up shooting the kitchen shots first, as the lighting and camera were already set up. The shots were fairly basic but did end up taking us a good chunk of time to film as the continuity of the actions needed to match up or else it would look disorientating! Time was also spent getting used to the Sony FX6, as myself and Morvern (1st AC) had not previously used it on a set. 

After the kitchen scene, we picked up our pace for the rest of the shots and had little issue with the camera. It definitely felt like everyone on set was on board and fully understood the vision which was evident in our communication and ideas on how to improve certain shots whilst filming. 

Overall, the shoot went well and working with Ailsa, Flo, Morvern and David was so fun! What I think we could improve on is our time management and moving quicker between shots and not hyperfocusing on one when have a limited time on set.

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Exercise 1 -Camera

The workshops we have done in class have given me the opportunity to test out new kit like cameras, lights etc...

I have decided for exercise 1 to try out the Sony FX6 as I found this the most intriguing piece of kit during the workshops.

Here are some videos i have watched to prepare to use the FX6:

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Location Photos

Today I went to Flo's flat to take photos/ view the location to get a sense of what I wanted to shoot. I think this will help me to set up shots quicker as I already know what I want to capture pre-shoot.