Graduate/Postgraduate Production Participation Update

In the first week of the beginning of the second semester, it was essential to begin with research for the available roles for the graduate/postgraduate projects. The given Excel table had projects available for participation. I am looking for roles both in production and post-production. For me it was interesting to notice that works highly affiliated with my interest in existentialism, self-discovery and retrospection.

I am particularly interested in working on A Silent Dance by Felicity Easton, Hypervigilant by Roisin Skinnier and Derealisation by Anastasia Wang. The films include themes I mentioned above, which is why they caught my interest. I believe that being interested in the project (i.e. the idea; I could expand this topic by following culture and politics) gives me even more motivation to invest.

At this stage, I am communicating with the directors of the films and managing the availability of roles. I emailed Felicity, Roisin and Anastasia.

My experience as an artist motivates me to search for roles connected with production design or graphic design. Even though I hold experience mainly in academic art, I am eager to try graphic design and take turns on posters. The set photographer is also one of the roles that I would like to try, as my interest in production is mainly focused on documentation of events happening at the moment. I sincerely enjoy working with facts and live footage, delivering the spirit of the moment that had passed.

Masterclass Takeaway

Stuart Cadenhead delivered a masterclass on the role of the assistant director in production. The first thing that struck me was that AD is a role that is very similar to deputy commander in the military. Responsible for logistics and problem-solving, an AD is rather a logical and organised person.

(Off-top intro)

Stuart mentioned working on Trainspotting 2. It is just one of those interesting details you notice and which make being here at this place more enjoyable and memorable. I remember stories from my dad about Scottish Trainspotting somehow sneaking into the post-Soviet 90s in Ukraine and becoming a hit there under the name of Na Goltsi  (translated as On the needle; as a way of leisure transpotting was unknown in Ukraine). Trainspotting (and British 90s cinema) highly influenced Ukrainian underground culture, and its visible punk/ Britpop style can be seen through Kyiv’s youth.

AD responsibilities:

• Scheduling
• Keeping up with the progress according to the schedule
• Multitasking and problem-solving
• Logistics

An assistant director is a highly organised person responsible for keeping the production running.  This role is essential to avoid chaos.

THE AD-TEAM

1stAD

Pre-shoot

• Script breakdown
• Logistics, risk assessment, scheduling
• Schedule: day, location, scenes, cast members, page count, day or night, exterior etc

The Call Sheet

The daily call sheet is a filmmaking term for the schedule supervised by the assistant director and crafted by the 2nd assistant director, using the director’s shot list, the production schedule and other logistics considerations.

The Shoot

1^st AD’s responsibilities:

• Day to day running of the shoot
• Constant problem solving
• Keeping the momentum going
• Thinking ahead
• Being the person who knows answers to questions
• Help the director

2^nd AD’s responsibilities

3^rd AD’s responsibilities

Thirds are the 1st AD’s right-hand man/woman on set. They are responsible for coordinating extras, preparing and queuing them as well as sometimes directing them in any required background action. They may have to keep members of the public out of shot or off the set and location and will liaise with the location manager about the security and tidying up of studios and locations after filming.

In conclusion, the role of the assistant director requires discipline and organisation, as well as time management. In production, it is essential to make the creativity and ideas come to life.