The document details a visit to a film set for 'Ghost Stories,' where students learned about various production roles, including that of Gemma Nunn, the second assistant director. Highlights included observing filming, makeup artistry, set design, and wardrobe, which underscored the collaborative nature and complexities of film production. The experience inspired the author's understanding of responsibilities and creative possibilities for their own short film project.

1. Ghost Stories Visit

2. Photo (in order from the left) Gemma Nunn; Ellie Weedon, Jacob
Lawrence and I. Here in this photo you can see we are outside of
some trailers, I recall that the two visible are makeup and costume
trailers. Surrounding the photo are images of films and television
projects Gemma has worked on.
Mr Aske had arranged for us to
visit a local film set with one of
the previous students. Gemma
Nunn was the 2nd assistant
director of this production
entitled ‘Ghost Stories’. This
experience will be divulged
further through this
PowerPoint.
Gemma Nunn is a second assistant
director and has been on many known
projects. She was very hospitable in
showing us around the set and
teaching us. She’s worked on many
productions such as ‘Peaky Blinders’,
‘Tyrannosaur’, ‘ Scott and Bailey’ and
‘Casualty’ with many more to name a
few. Her job role entitles her to create
time slots for the cast and crew to
abide by to make the production move
as smoothly as I possibly can. She
supervises and helps to add a second
perspective to the director as this
enhances vision and quality.
Organisation is key in her job and this
level of control intrigues me, even
though she isn't the primary director or
the primary assistant director her job is
hugely important.

3. We had first visited the set where they were filming
their production and began to watch portions of a
scene being filmed. I found this to be incredibly
insightful as the structure of the filming process will
greatly affect my scheduling and work ethic. I found
that there was a monitor in a room outside the set
which could have around 4 people viewing at any
given time . This introduces multiple perspectives
into the direction of the film. This also allows for
lighting engineers, set designers or other staff to
see if there is anything that needs to be tweaked of
changed in the slightest. Watching the scene being
filmed added a sense of reality to the fictional
narrative itself. When we returned to the room
after visiting he rest of the set we were given a pair
of headphones to listen to the director in the room
(scene being filmed) give directions and so we could
hear the actors. Upon further recollection it is my
contention that the directors job is rather
diversifying as each person plays their part and has
a wide range or responsibility for that role. This
high level of responsibility is something I will indeed
take on board with the production of my short film.
Engaged, enthralled and down right entertained
(From the left) Ellie; Jacob, me and Mr Aske.
On Set.
Production/Set:
On the set we met the set designer, directors and actors. The set design was created in such a way that the realism was
phenomenal and this has influenced my consideration of sets I have available to me. However creating and designing is a
passion off mine and with my German expressionistic influences I feel compelled to design parts for my sets.
Through later research I found that much of the set itself had already been
there before the designers had been there. My mum used to work where
the production was being filmed so I had found that the props and inbuilt
sets the head designer had created were additions to the location they had
to work with. Much of the interior of the building was there 20-30 years
ago. The very fact that they worked with the building so well amazes me.

4.  We then headed over to the hair and
makeup department which was very
much something I was intrigued to
learn about. Seeing the quantity of
makeup alone was awe-inspiring.
The mould of a cast member was
seated on one of the desks and so
Jacob felt the need to replicate the
face. Here you can see just how
much makeup could be used on a
single cast member and that is truly
jaw dropping. Later on the set we
met up with the head prosthetics
designer and her is just an example
of his work on other films. To meet
someone who has been in the
business for so long and with such a
talent and passion for what he does
it highlighted to me why doing the
makeup on the main character of
Grief in my narrative could be so
much fun and overall really an art
piece on its own. We did get the
opportunity to observe his prosthetic
work and one of the cast member
and it was incredible. So shocking
and impressive. Kristyan has worked
on so many of my favourite films
and has managed to create and
design the looks for characters I love
so much.
He has worked on:
• Guardians of the galaxy
• Harry Potter
• The Justice League
• Wonder woman
And many more. It was enlightening to watch his work come to life.
This involvement is something I would love to take into my production.
Makeup and hair:

5. Wardrobe:
 Shortly we headed over to take a look at wardrobe
where unfortunately most of the clothes had been
bagged up and shipped back however Jacob found
ever such a flattering shirt and jacket. These pieces
were chosen out by costume designer Matthew
Price who has worked on ‘Cockneys Vs Zombies’.
 We were then shown a folder of costumes used in
the film, as you can see here Ellie and I are
evidently intrigued. I found this department
interesting and I could see now why the design of a
character is just as important as the clothes the
wear.
 The pictures in the photobook are blurred as to
prevent spoiling any of the details of the
film/characters. This was done digitally by myself
using Photoshop at the request of Gemma .
 Individual pieces were created for main actors but
it was found that much of the wardrobe for the
extras and minor roles were sourced from online or
wardrobe departments local to the area. This is
another example of working with the assets they
already have or have access to which in turn will
help me to become more aware to the wardrobe
and clothing I already have access to.

6. Camera and Lighting:
“We look like the worst tribute
band ever”- Jacob
To me this part was not the most interesting as
I am not overly interested in technology
however it intrigued me in the sense that the
sheer quantity of equipment and the actual
cost of making a film. It is also imperative for
me to gain an insight into the use of such
technology to aid the production of my film so
it was interesting in that aspect. This is a
smaller budget film of Warps which begs the
question of what a large budget film would
look like. This as opened door for me as I now
know that making feature films in comparison
to short films will inherently be more expensive
. On-board one of the trucks we came across a
dark room for developing film, now Gemma
and her team were not filming with actual film
but were digitally recording their material, the
inclusion of a dark room adds a sense of
industry to the whole production as the built in
dark room that wasn’t used was prevalent on
the truck connoting that the company can
afford such expenses like film.
We visited the lighting and camera trucks just before the end to see what kind of gadgets the bigger production
companies like Warp get to play with… we found no cameras as they were being used on set however we did find
plenty of extra lighting equipment in the lighting truck and this added a sense of realism to the production of a film.