"BAGALHEY" Feature Film

 

The Production:

"Bagalhey" is a portrait of life in Male’ through the eyes of two best friends as they face the harsh realities as the disenfranchised.


CASTING CALL

Leading Role Male  18 - 25

Leading Role Female 18 - 25

Supporting Role Male 35 - 40

Supporting Role Female 35 - 40

PROCESS

No qualification or previous experience is required. Interested participants will have the opportunity to participate in an  intensive 1 week acting workshop with a professional designed to serve the needs of different roles. It is an opportunity to gain valuable knowledge and experience for anyone considering a career in performing arts

REHEARSALS AND PRODUCTION DATES

Prep and rehearsals: Aug 8th - Sep 1st in Male'

Shooting: Sep 1st to Oct 1st in Male'

Selected Candidates will be Compensated


TRAINEE CREW CALL

Large Scale film production is looking to recruit trainees who are available to work from August until end of September. We are currently recruiting for the following positions:

 

  1. First Assistant Director

  2. Script Supervisor

  3. Line Producer

  4. Assistant Editor

  5. Grip

  6. Gaffer

  7. Camera Assistant

  8. Prop Maker

  9. Sound Recordist

1. FIRST ASSISTANT DIRECTOR (1st AD)

 

The Lowdown

 

  • Being the Director's right-hand person, taking responsibility for a number of important practicalities so that the Director is free to concentrate on the creative process

  • Breaking down the script into a shot-by-shot storyboard, working with the Director to determine the shoot order, and how long each scene will take to film

  • Drawing up the shooting schedule (a timetable for the filming) and making sure it’s kept to

 

Is this role right for me?

 

To do this role, you will need to:

  • be an authoritative team-leader and motivator

  • be an approachable team player

  • have exceptional organisational and time-management skills

  • plan ahead

  • trouble-shoot

  • pay close attention to detail

  • be an excellent communicator

  • have tact and diplomacy skills

  • routinely deal with problem or even crisis situations

  • prioritise tasks

  • multi-task

  • work long and often unsocial hours

  • be flexible

  • have a positive approach

 

What does a First Assistant Director (First AD) do?

 

First ADs' main duties are assisting the Director, co-ordinating all production activity, and supervising the cast and crew.  They are also in charge of a department of other Assistant Directors and Runners.

Overall, they provide the key link between the Director, cast and crew, whilst also liaising with the production office, and providing regular progress reports about the shoot.

Before the shoot, the Firsts' main task is to create the filming schedule, working in careful consultation with the Director.  When drawing up the shooting schedule, First ADs must also be aware of the budget, cast availability and script coverage.

Preparing the storyboard, overseeing the hiring of locations, props and equipment and checking weather reports are all key pre-production duties for Firsts.

During production, they must ensure that everyone is on standby and ready for the Director's cue for action.

First ADs' main responsibility is to keep filming on schedule by driving it forward, so they make announcements and give directions to co-ordinate the cast and crew.  They also control discipline on the set, supervise the other Assistant Directors and oversee the preparation of the daily 'call sheet' (a document with daily shooting logistics, distributed to all cast and crew).

Firsts are also responsible for health and safety on set or location, and must take action to eliminate or minimise hazards.

2. SCRIPT SUPERVISOR

 

The lowdown

 

Ensuring that film and TV dramas, shot out of script sequence, end up making continuous verbal and visual sense

 

Is this role right for me?

 

To do this role, you will need to:

  • have exceptional skills of observation

  • have a meticulous and methodical attention to detail

  • have stamina to remain alert and focused during long filming days

  • be able to take precise and detailed notes quickly and efficiently

  • possess a good sense of visual composition, perspective and movement

  • have excellent organisational skills and a practical approach to work

  • be able to think on your feet and respond quickly to changing circumstances

  • have good communication skills and show diplomacy and sensitivity when working with artists and crew

  • be able to remain friendly and calm in challenging situations

  • understand the requirements of the relevant health and safety legislation and procedures

  • be able to collaborate and work as part of a team

 

What does a Script Supervisor do?

 

It is the Script Supervisor’s role to monitor whether it is possible for each filmed scene to be edited into a verbally and visually coherent sequence. Film and TV dramas are usually shot entirely out of script sequence. The Script Supervisor ensures that the finished product makes continuous verbal and visual sense. They work as part of the camera department.

During pre-production they check the script for any errors and/or inconsistencies and prepare estimated running times. They develop story synopses and character breakdowns. They check the shooting schedule to ensure that the required scenes will be shot and covered from all required angles, distances, etc. They attend recce and pre-production meetings to feed back any identified issues. During rehearsals they record detailed timings which inform the shooting schedule.

During the shoot, they work closely with the Director to anticipate and solve any potential problems. This entails keeping detailed written and photographic records of dialogue, action, costumes, props and set design, all camera and lens details, all slate and scene number information, so that when different takes are edited together, the fictional world of the film is not disrupted by continuity errors. These records provide an invaluable resource for Directors and Editors enabling them to assess the coverage, including how many shot options there are for each scene and how each shot was filmed.

On each day of principal photography, Script Supervisors file their record of the previous day's shoot and prepare all paperwork for post production. During filming they closely monitor the script to check that no dialogue is overlooked, and cue actors where necessary.

They liaise closely about continuity with other departments including sound, costume, make-up and hair, props and lighting. Where pick-up shots are required, they provide actors with dialogue start points and exact continuity details. They re-type scripts to reflect any major dialogue changes, and mark up scripts with slate numbers, cut points, and other relevant details for post production.

They prepare detailed Daily Continuity Reports, Editors' Daily Log Sheets and Daily Production Reports. They provide production with records of the requirements for any outstanding shots or inserts.

3. LINE PRODUCER

 

The lowdown

 

Costing the production for investors

Supervising the preparation of the budget

Running the day-to-day business of the production

 

Is this role right for me?

 

To do this role, you will need to:

  • Have an in-depth knowledge of filmmaking processes

  • Have experience of scheduling and budgeting

  • Have good industry contacts

  • Have exceptional communication skills

  • Be diplomatic

  • Understand relevant health and safety laws and procedures

  • Be able to balance creative expectations with financial resources

  • Have good planning skills

  • Be a good team leader

 

What does a Line Producer do?

 

The Line Producer is one of the first people to be employed on a film's production by the Producer and Executive Producers. They are in charge of all the business aspects of the production of films.

They are called Line Producers because they cannot start work until they know what the 'line' is between the 'above-the-line' costs for writers, producers, directors and cast, and the 'below-the-line' costs which include everything else.

Line Producers are given the script when in development to assess 'below-the-line' cost of the production. They break down the screenplay into a timetable for the film shoot that shows how long it will take to shoot each scene.

From this schedule the Line Producer estimates the cost of each day's shooting. They produce a provisional budget to show the total amount of funding required. Once the Producer and Executive Producers have raised the finance, the film can go into pre-production.

During pre-production, Line Producers work with the Director, Production Manager, First Assistant Director, Art Director and other Heads of Department. They prepare the production schedule and budget, and to set the shoot date.

Line Producers oversee all other pre-production activities. They hire the production team, set up the production office, deal with location scouting, sourcing equipment and suppliers and selecting crew. They also hire supporting artistes and contributors, and monitor production departments.

During production, Line Producers hand over control of the final budget to the Production Accountant. They delegate the day-to-day operation of the production office to the Production Manager and Production Co-ordinator. However, Line Producers are ultimately responsible for overseeing everything and making sure the production is completed on time and within budget.

They set up and implement financial monitoring systems, controlling production expenditure, controlling production materials, and monitoring and controlling the progress of productions. Line Producers usually cater for unforeseen circumstances, and spend much of their time juggling figures and resources.

Line Producers are responsible for certain health and safety procedures. At the end of the shoot, the Line Producer oversees the 'wrap', or winding down, of the production.

4. ASSISTANT EDITOR

 

The lowdown

 

Running and maintaining editing systems

Taking responsibility for the smooth running of the cutting room on feature films

Supporting the whole of the post production process on feature films and working closely with film labs, and with the camera and sound departments

 

Is this role right for me?

 

To do this role, you will need to:

  • Have a good aptitude for technology

  • Have a thorough understanding the film post production process

  • Be familiar with computer editing equipment and software

  • Be able to react quickly and precisely

  • Have excellent communication and interpersonal skills

  • Be able to work for long hours on repetitive tasks

  • Have precise attention to detail

  • Be able to take direction

  • Have good organisational skills

  • Understand the requirements of the relevant health and safety laws and procedures

 

What does a Assistant Editor do?

 

Assistant Editors take charge of the day-to-day running edit suite, leaving the Editor free to concentrate on the work of editing the film.

The first task is to communicate with other relevant departments (production, camera, sound, etc.) to understand and analyse the work flow, and to pass this information on to the Editor.

During the shoot, while the Editor starts to work on a rough assembly of selected rushes, Assistant Editors check the camera sheets when the rushes arrive, noting any technical problems.

Assistant Editors often work in a different room to the Editor and, on low budget films, may be required to sync rushes early in the morning or late at night when the editing machine is not being used by the Editor. Consequently, the traditional apprenticeship model for Assistant Editors has changed, as less time is now spent watching and learning from the Editor. Assistant Editors must therefore be more proactive in monitoring how the edit is progressing.

Depending on the workload, and providing the Editor trusts the Assistant, whole segments of the assembly edit may be given over to Assistant Editors, who can use this opportunity to demonstrate their flair and ability.

They work long hours and are the first to arrive in the morning, setting the cutting room up for the day, and usually the last to leave in the evenings when the cutting room has been tidied and prepared for the next day. 

5. GRIP

 

The lowdown

 

  • Building and maintaining all of the equipment that supports cameras, from a tripod on a studio floor to a 100ft crane

  • Working with the Director, Director of Photography and Crane Operator to position and move cameras smoothly

  • Paying special attention to Health and Safety procedures as the work is very physical

 

Is this role right for me? 

 

To do this role, you will need to:

  • have excellent, up–to–date knowledge of all camera–support equipment

  • be enthusiastic about mechanics and assembling equipment

  • have a passion for finding creative solutions to technical problems

  • be a good leader

  • show initiative 

  • respond quickly to different situations

  • help realise a Director/DoP's artistic vision in practical terms

  • collaborate and work as part of a team

  • be diplomatic and sensitive when working with artists and other crew

  • have a high level of physical stamina and strength

  • know about relevant Health and Safety legislation and procedures 

 

What does a Grip do?

 

Grips work closely with the Director, Director of Photography (DoP) and the Camera Operator to make sure the position or movement of cameras is achievable. 

They usually push the Dolly (the wheeled platform which carries the camera and the Camera Operator) with smooth movements that do not distract from the onscreen action. 

On large projects with multiple cameras, the Key Grip is responsible for the main camera (camera A), with other Grips providing additional camera support. 

During shooting days, Grips and their team (which may include other Grips, a Remote Head technician, a Crane Operator, tracking car drivers, and all construction standbys) arrive on set early, unload all the equipment, and ensure that everything is prepared for the day's filming. 

After the Director has rehearsed the actors and all the shots are choreographed, Grips set up any required equipment. Whenever a crane is used, at least two Grips are employed, working with the Crane Operator to mount and move the camera. 

Grips should be ready as soon as the camera starts to roll, and they must anticipate all the camera moves, whilst also keeping in mind the preparations required for the next camera set–up. At the end of each day's shooting, Grips oversee the packing up of all camera–support equipment.

Grips are usually asked for by the DoP or the Camera Operator. Although the work is physically demanding and the hours are long, it can be very rewarding. Many Grips work on both commercials and features. 

6. Gaffer

 

The lowdown

 

  • Running all the electrical work on a production

  • Leading a team of lighting technicians

  • Working closely with the Director of Photography 

 

Is this role right for me?

 

To do this role you will need to: 

  • Have high-level technical skills and experience

  • Have thorough knowledge of a wide range of equipment 

  • Keep up to date with knowledge of new equipment and technology 

  • Be imaginative

  • Have good problem solving skills

  • Have excellent communication and presentation skills

  • Be a good team leader to gain the respect of your crew

  • Be self-confident and assertive  

  • Be good at making sound decisions quickly

  • Be patient and tactful

  • Be able to compromise and balance different opinions

  • Be able to suggest and interpret ideas

  • Have good attention to detail

  • Have good literacy, numeracy and IT skills

  • Understand the relevant health and safety laws and procedures

  • Be able to work comfortably at heights

  • Have stamina and physical agility

  • Have a full driving licence.

 

What does a Gaffer do? 

 

Also known as Chief Electrician, Supervising or Chief Lighting Technician, Gaffers oversee all practical and technical aspects of the electrics and lighting to get the right effects. They install the lighting equipment and arrange the power supply.  One of the key responsibilities is Health and Safety. They conduct risk assessments and certify the electrical safety of the production. They must keep control of the lighting budget, and oversee the work. Gaffers help to select the best lights and equipment for the production, making sure they are within budget. They are in charge of the technical work of carrying out recces, and planning and preparing the lighting installations and equipment.  

Gaffers check the list of lighting with the Best Boy to make sure the correct equipment is ordered. They also mediate between the lighting crew and the Director of Photography.  They position the equipment, and operate the lights during filming. They choose the lighting team, and must be aware of the legal regulations relating to working with electricity, driving, and employment.  

Gaffers act as the spokesperson for the lighting crew. They may work on location, or on a film studio set. On larger productions there may be more than one Gaffer, e.g., there may be a separate Rigging Gaffer who is solely in charge of the rigging team, in which case there will also be an overall Supervising or Chief Electrician.

There may be a lot of travel involved in this role, and irregular, unpredictable working hours.

7. Camera assistant

 

The lowdown

 

  • Adjusting the camera lens or 'pulling focus' to follow the action on set

  • Managing and maintaining camera equipment and accessories

  • Following instructions from the Director or Director of Photography (DoP)

 

Is this role right for me?

 

To do this role, you will need to:

  • have excellent knowledge of cameras, lenses and all related equipment

  • keep up-to-date with new techniques and equipment

  • have expert knowledge of photo-chemical and digital film processing

  • have good eyesight

  • accurately judge distances

  • have agility and speed

  • pay precise attention to detail

  • be able to collaborate and work as part of a team

  • be diplomatic and sensitive when working with artists and crew

  • know about health and safety legislation and procedures

 

What does a First Assistant Camera do?

 

The role of the First Assistant Camera (1st Assistant Camera, 1st AC - and previously know as the Focus Puller) is one of the most skilled jobs on a film crew.

1st ACs are responsible for focusing and refocusing the camera lens as Actors move within the frame of each shot. They do not look though the lens to do this but 'pull focus' according to a set of complex marks placed on the set, floor, props, etc., during rehearsal.

Because re-shooting scenes is expensive and actors may be unable to recreate their best take, 1st ACs must be extremely reliable and good at their work and should be able to cope effectively in stressful situations.

1st ACs are also responsible for camera equipment such as lenses, filters and matt boxes and for assembling the camera and its accessories for different shots.

They arrive on set or in the studio before the DirectorDirector of Photography and Camera Operator and ensure that the camera and all required lenses are prepared for the day's shoot. If the Director or DoP wants to try out a specific lens, the 1st AC assembles the camera so that they can look through the eyepiece to assess the shot.

At the end of each shooting day, 1st ACs clean the equipment and pack it up in preparation for the next day.

8. Prop Maker

 

The lowdown

 

  • Making props for the property department

  • Adapting or modifying bought-in props

  • Researching specialist props

 

Is this role right for me?

 

 To do this role, you will need to:

  • Have a wide knowledge of the basics of prop making

  • Have good knowledge of computer design packages

  • Be able to work safely with materials like fibreglass, latex, foam and polystyrene 

  • Be able to work with a variety of different machinery and tools

  • Have some specialist skills such as sign writing, upholstery, sculpture, casting, furniture making

  • Be flexible and versatile

  • Be able to work with imagination and ingenuity

  • Have good creative problem solving skills

  • Be open to new ideas

  • Be open to learning new skills and techniques

  • Be able to work to external deadlines

  • Be able to work on your own initiative

  • Have a good eye for detail and accuracy

  • Have good communication skills 

  • Be good at working in a team

  • Be aware of relevant health and safety laws and procedures

 

What does a Prop Maker do?

 

 Prop Makers are given instructions, designs or rough ideas by the Production Designer, Art Director or Property Master. Before the shoot, Prop Makers plan and create the required props. 

They may carry out their own research into the style and specifications of the props. On period films, this may also involve finding out how the objects would have been created during a particular historical period and culture. They liaise with production buyers to get all the right tools and materials. They may also be asked to adapt hired or bought in props as necessary. They normally produce a minimum of two of every item, in case of damage.

Propmakers make a huge range of objects including 'stunt' props - replicas of other props, made of soft or non-hazardous materials - and specialised objects that move or light up. Prop Makers they may also make props requiring specialist skills, such as sign writing, upholstery work, mould work, woodturning, sculpture, casting, furniture making, modelling, electrical engineering and electronics, or papier-mâché.

Prop Makers make the props, working within a budget, and to strict deadlines. During the shoot they may be responsible for operating any special props, or for teaching Actors how they work. They may work alone, or as part of a larger Props team in a specially created Production workshop.

9. Sound REcordist

 

The lowdown

 

  • Recording sound on location or in a studio, usually in synchronisation with the camera, to enable the highest quality 'real' sound to be recorded at the time of filming

 

Is this role right for me?

 

To do this role, you will need to:

  • be a strong team player - many of the skills needed in this role involve working as a team as efficiently and effectively as possible

  • be willing and able to compromise

  • be able to think creatively to solve problems created by particular locations or situations

  • pay close attention to detail and concentrate for long periods

  • have good knowledge of audio equipment and sound technology

  • have knowledge of the television production process, including camera and lighting techniques

  • have knowledge of management and licensing of radio transmission systems

  • have excellent hearing

  • have excellent balance, agility and a good sense of timing

  • have good communication skills, including diplomacy and sensitivity when working with artists and crew members

  • be patient, self-disciplined and reliable

  • have knowledge of the requirements of the relevant health & safety legislation and procedures

 

What does a Sound Recordist (TV) do?

 

Sound Recordists (also known as Production Mixers) record sound on location or in a studio, usually in synchronisation with the camera, to enable the highest quality 'real' sound to be recorded at the time of filming.

They monitor the quality of the sound recording through headphones and work closely with the Director, Boom Operator and sometimes the Sound Editor, often using multiple microphones.

Jobs in sound generally fall into two areas: production sound and post production sound. Sound Recordists/Production Mixers work in production sound. 

Sound Recordists/Production Mixers may work on a wide range of single or multi-camera shoots, and their duties can vary considerably. Depending on the scale of the production, they may work closely with the Director and Producer at the planning stage to clarify technical requirements and budgets.

They are responsible for producing the final sound mix, so they directly supervise the Sound Assistants and Boom Operators. Sometimes, they also manage the rest of the sound crew. They may also occasionally operate the boom themselves. They often have to supervise frontline maintenance in order to keep the production on track.

 

TO APPLY:

 

CV’s must clearly demonstrate:

 

  • Your understanding of the trainee role for which you are applying

  • Your ability to communicate effectively (verbal and written)

  • Your ability to process problems and take action

  • Your ability to work under pressure and to tight deadlines

 

A shortlist of applicants will either go through an intensive two day workshop or get onset job training in the specific area. The workshops will either be carried out in groups or individual basis.

To apply for any of these positions please email your current CV with your full contact details  to info@madhoship.com, with the trainee job title that you are applying for in the subject line. The deadline for receipt of applications is 15 August, applications received after this deadline will not be considered.

Only shortlisted candidates will be contacted for interview. If you have not been contacted by  September 1st , then your application has not been successful.

CVs must be submitted via the above email address. If you have previously submitted your CV via any other email address we are unable to process your application until it is submitted to this email address.