"faree" Feature Film


The Production:

Faree is a film about a woman trying to get out of her abusive marriage to her childhood sweetheart and father of her child, who is struggling to come to terms with his own woes of addiction. As she tries to pick up the pieces and rebuild her life, Faree has to confront the dysfunctional life she had left behind and make peace with the difficult choices she makes along the way.


Leading Role Male  25 - 35

Leading Role Female 25 - 35

Supporting Role Male 25 - 30

Supporting Role Female 55 - 65


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


Prep and rehearsals: June 24th - July 10th in Male'

Shooting: July 14th to August 14th in Male'

Selected Candidates will be Compensated

CREW interns CALL

Large Scale film production is looking to recruit trainees who are available to work from July until 14 August. We are currently looking for interns for the following positions:


  1. Grip

  2. Gaffer

  3. Camera Assistant

  4. Ast. Sound Recordist



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. 

2. 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.

3. 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.

4. AST. 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.




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 30 June and 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 14 July , 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.