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Suonno
This was a fun and yet tiring project, very late nights, very cold nights!
We were so unlucky with the shoot, every day there was some kind of disaster and we had to cancel a scene or the location, or do something different entirely. But so much fun, and Julia, the producer had great sandwiches!
So the shooting schedule was made on the spot for most of the time! I was going a little bit mental but I then got used to the rhythm of it and everything went fine!
Production Manager
I was a Production Manager for Faith until February, due to personal and professional differences it was best for me to leave the project. I had regular meetings with the producer of the time, George Rocha. We had a clear path for the logistics of the film and even though it had some ambitious aspects we were feeling positive.
As a production manager I wrote crew agreements, crew contact list, I searched for locations and delegated tasks with the production assistants, I searched for a sound recordist/designer which after talking with different candidates we then came to a decision , and Tatiana was hired.
I still think it was the best decision for me to leave the project, as it was very emotionally consuming. I hadn’t to the date ever left a project, and it wasn’t that I couldn’t handle the workload, but I think it was getting to the limit of everyone involved.
It’s very upsetting to get to the end of the film and look at the credits and not even a thank you was directed at me, I think that attitude alone explains if only a bit the reason to why I had to leave this project, for my own sanity.
SOUND...
Well, 11 days before the deadline the person in charge of sound dropped the project, with nothing done.
The sound bins weren’t sorted, the quality of the sound itself was not very good from the first shoot.
Peter Williams kindly offered to help us, but most likely won’t be ready on time.
After making the first assembly we realized we were actually lacking some coverage, and it would be best to do a reshoot and get some extra shots, as well as taking the opportunity to get a better sound recording.
We reshot on the 05/04 and then again on the 13/04. It really made a difference for the flow and understanding of the film, and even performance became so much better.
OTHER ROLES
EDITOR
Archie (2017) Directed by Mariam Harutyunyan. 12' short drama
Será (2017) Directed by Ana Colaćo. 12' drama
FIRST ASSISTANT DIRECTOR
Archie (2017) Directed by Mariam Harutyunyan. 12' short drama
Suonno (2017) Directed by Fillippo Locatelli. 20' surreal
SECOND ASSISTANT CAMERA
Punchline (2017) Directed by Daniel Temperl-Merzougui
PRE-PRODUCTION MANAGER
Faith (2017) Directed by Glendha Santos
PRODUCTION ASSISTANT
Trilogy (2017) Directed by Jhenelle White
PAPERWORK LINK
DAY 2/ TUESDAY/INT. 3
This day started a bit better. We were more comfortable with the space around us. Certain members of the crew got a bit too comfortable at points, and there was way too much conversation going around. So setting up would take a bit more time. We were behind schedule but managed to compact a few shots and we were back on track.
Chandra, my production assistant, contacted a few first year students to be on set as runners for a couple if days. Nikoleta was really helpfull, and seemed eager to learn and didn’t mind just waiting around every now and then.
A few problems with sound came up again, we decided to quickly send someone to grab some clip mics from uni as soon as the loan store opened. Once we had it on set, the sound recordist did not know how to set them up, so the 1st AD did it herself, This whole process put us off schedule again.
It was very disappointing to find out about this sound weaknesses on set. I put my trust on someone that was supposed to be an expert on the subject, so we definitely did not expect to have this problems arise. We spent months preparing for this project to make this film come together, expecting that everyone is doing their bit throughout this time. But to come to the production days and have this happen was really disappointing.
ON SET
Call time: 5.30am
First scene of the day was the exterior one, as there was a tube strike planned, that would go to our advantage as our location is situated in the back of the station. But, it was cancelled so we had to embrace the sound of the tube.
We did not have clip mics on set which was very frustrating. I thought that it would be booked and taken to location but the person in charge of booking the sound equipment did not think it through, and I didn’t check it myself. It also took quite some time to setup so the sun was up and there were no clouds at all, so the color of the shots became quite different . So we made a note to reshoot it. Claudia cooked for us on this day so I wouldn’t have to worry about it on the first day of shoot.
This is our crowdfund campaign!
LOCATION
Project Proposal
Distribution list
Crew contact list
Visual Schedule as of November
Budget
3400 Dissertation Project
The Unfortunate Fate of Felix Hill
Producer: Catarina Ribeiro
Director: Katrina Ytteborg
Presentation
Script Supervisor, on set Callum and the Scarf
1st AD on set, Bad Coffee
1st AD for 3rd year’s
My friend Andrija asked me if I would like to be the 1st AD for her 3rd year film production, Bad Coffee, that she was directing.
Knowing all the frustrations that she had been through with her preproduction, I did not hesitate to help her out and I also wanted to get more experience as 1st AD.
Well, if Andrija was already part of the furniture, well now you can imagine.
We stayed up preparing shot lists, shootings schedules and floor plans. But I was not prepared to do a schedule for this production. Rita and Andrija had a DOP from outside uni with much more experience than the one I’m used to. So the setting up of the shots took way way longer than what I wished, there was a lot of attention to the lights and camera movement. Which is not a bad thing at all, but I just wished to have had the time to do the shooting schedule with the DoP and with a floor plan in my hands way prior than the night before.
It was an overall stressful and emotional shoot, around 4 days of shooting with a lot of postponing and a lot of waiting. At points it was quite hard to keep the crew happy, with call times as 7am and wrap times at 22h30/23h or even 2am. But locations were restricted to a very limited time, we just had to finish it.
I tried my best to keep things moving and communicating between DoP and director, also having in mind that actors and crew had a certain time they had to be finished because of other obligations.
It was the most exhausting shoot I’ve ever been in so far, though I believe the results are a rather emotional film. I’ve also loved to work with the DoP, Nathalie, and I got a big interest in lights because of the way I saw her work with them.
There were a lot of things that could have been avoided and that were out of my control.That point of view made me keep notes to myself on how I can be a better producer for my films.
(P.s.: this crew also got to know my famous quiches...)
Link with shooting schedules
Secondary Roles
Light Assistant
Mourning In Meadows, produced by Jack Marlow
This was a very fun shoot, I did all sorts of assisting whenever needed.
I helped moving lights around in the very few scenes that did needed lights or holding on to flags. I also helped Martha with the packing up of the sound equipment ( she had several microphones) as she was doing everything sound related by herself, or when she had very choreographed boom pole movements and I assisted her to control the gain at certain points, and writing up the sound reports at times.
But definitely what these guys thanked me for was for providing the food in one of the exterior shoot days (and a very long one!). I baked cookies, quiches, sandwiches and some Portuguese specialties. They seemed to enjoy that very much.
Secondary Roles
Assistant Editor
Let’s call it a Paradox, produced by Claudia Koranteg
I was only brought in to the project on a later stage of post production. George and Claudia asked for help to sync sound after the rough cut was made, which I gladly did. Then I was asked if I could help the edit somehow. I did not touch the order of shots or their length unless the cut was very problematic.
The timeline was very messy, the sound wasn’t linked to the shots and for me to start moving around would just mean to do it from scratch, and time was not on my side
I talked to Claudia and George to give a comic book style to the film, adding titles/graphics. I had only a few days to work on it, between my trip to Portugal and my full time work schedule, I wish to have had the time to learn AfterEffects and add more graphics to the story but it was simply impossible. I hope to have helped the film somehow.