[18/07/2014 – 20/07/2014] [Sound Recorder and Production Runner] [72-Hour Project, James Fair: Director of Confusion of Tongues]
• Worked independently on the first day by recording a list of non-diegetic sounds in and around the surrounding area.
• Moved vigorously back and forth on the last two days in a highly pressurised environment through making sure the set was tidy, fetching and carrying equipment, tapes, cable and scripts.
07/12/2014 – present] [Production Runner,] [Smooth Demon Productions, Sonny Michael Chohan: Director on Guilty Pleasures]
• Reported any lapses in health and safety to either producer or director.
• Actively engaging with team members in helping move mise – en – scene.
• Kept crew and cast well fed and watered.
[14/02/2015 – present] [Front of House, Editor] [Aldridge Youth Theatre, Russell Smith: Volunteer Leader]
• Selling confectioneries to paying customers.
• Editing a trailer sequence using Final Cut Pro with up and coming films.
[06/04/2015 — 12/04/2015] [Sound Recordist] [Rooftop Entertainment, Steffan Zachiyah: Director on Killing Emmanuelle]
• Successfully helped a small production team by separately recording diegetic sound for a short drama with a boom mike and recorder.
[09/08/2015 — 09/08/2015] [Production Runner [Coalition Event Services, Bobby Lee Darby: Director on Witching Hour]
• Accomplished in helping construct a make shift tent on location.
• Assisted DoP in blacking out windows and adjusting light boxes out on the exterior for the impression of night.
• Made sure both the crew and young actors were well looked after throughout.
[03/08/2015 — 18/08/2015] [Production Runner] [Lightbeam Productions, Troy Dennison: Director on House of Screaming Death]
• Connected and set up heavy light boxes in both exterior and interior.
• Providing equipment for crewmembers from home on my own initiative.
[26/10/2015 — 29/11/2015] [Production Runner] [Seahorsefilms, Rebekah Fortune: Director on Just Charlie]
• Worked quickly and tirelessly with production gaffer in setting and connecting up Arri and Kino lights on C-stands. In addition, assisted in setting up Polly Boards to help block and direct natural and artificial light.
• Through my own initiative, loaded van, sometimes independently and in bad weather with filming equipment that wasn’t to be needed until next location.
• Made sure to keep crew and actors well fed and watered throughout the entire shoot.