Welcome

This was a project intended to demonstrate how to launch a new product and business. The team were responsible for designing and creating a product, a business plan, and marketing materials. The idea was pitched to business moguls in a Dragon's Den-style interview. Two of the Dragon's decided to invest $2m in Froyo Fosho; they requested a share of our subscription revenues. I played the role of CEO.

In my Contexts of Film Practice module we were asked to create a manifesto that should relate to a theme that our group agrees is of contemporary relevance examples including race, gender, sexuality, class, and sustainability. 

As part of my Producing module at university, I had the opportunity to create a full production plan for a fictional film with a budget of £2 million. We were provided with a script and tasked with developing all the necessary documentation and planning materials as if we were pitching to real producers.

Working in a group of seven, we assembled a comprehensive production file that covered all aspects of pre-production. This included budgeting, scheduling, casting, locations, and more. Alongside the file, we created a professional slideshow to present our plan in a simulated pitch meeting.

My personal contributions focused on the early development of costume and makeup design, as well as sourcing and planning around one of the film’s key props—a car integral to the story. As the project progressed, I became more involved in the logistical side, particularly scheduling. In the final stages, I worked on producing the call sheets and crafting the overall production schedule.

As part of my Production Design module at university, I had the opportunity to explore the role of a production designer by researching and analysing the work of a professional in the field. For this project, I chose to focus on Paul Cripps and his work on the television series Ted Lasso.

The report examined Cripps’ design process, visual storytelling techniques, and the ways in which his choices supported character development and narrative tone throughout the series. I looked at how elements such as set design and props were used to reflect the show's emotional arc and distinct comedic style.

As part of my ongoing exploration of industry practices, I had the valuable opportunity to interview director and producer Sean Connolly. During our conversation, we discussed both his personal projects and the professional work he has been brought onto by other teams.

The interview provided a deeper understanding of his creative process, how he approaches different types of productions, and the challenges involved in balancing artistic vision with production demands. Sean also shared his insights on navigating the industry, including practical advice on networking, building a reputation, and presenting yourself professionally.

This experience offered a real-world perspective on the film and television industry and helped me gain a clearer idea of what it takes to succeed as a creative professional in today’s competitive environment.

When shooting our film a Guilty Conscience we were asked to keep a log of everything that we did in pre-production, production, and post production. We were also asked to research our role before production got started so that we were prepared for what we needed to do.