The aim of this course is to train individuals who wish to work as Production Assistants on high-level professional film, television (fiction) and commercial productions.
Duration: 20 hours
Target Audience: Beginners and professionals wishing to strengthen their knowledge of the Production Department.
Registration Period: 09/09/24 08:00h – 15/09/24 23:50h. Participants will be accepted on a first-come, first-served basis.
Course Dates: 23/09/24 – 27/09/24
Schedule: 16:00h – 20:00h
Venue: Fuerteventura Training and Conference Centre
Instructor: Nick Igea – Makkers School
Format: In-person
The aim of this course is to train individuals who wish to work as Production Assistants on high-level professional film, television (fiction) and commercial productions.
Duration: 20 hours
Target Audience: Beginners and professionals wishing to strengthen their knowledge of the Production Department.
Registration Period: 09/09/24 08:00h – 15/09/24 23:50h. Participants will be accepted on a first-come, first-served basis.
Course Dates: 23/09/24 – 27/09/24
Schedule: 16:00h – 20:00h
Venue: Fuerteventura Training and Conference Centre
Instructor: Nick Igea – Makkers School
Format: In-person
Course Programme:
1. Phases of an Audiovisual Production (Film/TV Series and Advertising). Service Productions and National Productions.
– Detailed description and chronological overview of a professional audiovisual production, covering both Film/Television Series and Advertising. Examination of the different stages a project goes through, from its initial development to the final delivered product.
– Understanding the differences between National Productions and Service Productions, including how workflows and production approaches vary in each case. Supported by diagrams and visual presentations, as well as real-world examples drawn from high-level productions in which the instructor has personally worked, including internal production documentation, videos, photographs and case studies from both Film and Advertising projects.
2. Work Distribution Across Departments and Roles.
– Division of tasks during pre-production and principal photography. Overview of the different departments involved in a production and their hierarchical structures. Internal organisation of responsibilities, duties and workflows.
– Industry terminology in both Spanish and English: job titles, production processes and technical vocabulary. Development of familiarity with the professional language used throughout the industry, both in spoken communication and written documentation. Supported by visual diagrams and workflow charts.
3. The Production Department: Division of Responsibilities.
– In-depth analysis of the Production Department, including hierarchy, responsibilities associated with each role, day-to-day workflow organisation and collaboration with other departments.
– Key differences between production teams in Film and Television versus Advertising productions. Supported by visual diagrams, organisational charts and practical examples.
4. Technical Equipment: Cameras, Grip Equipment and Production Vehicles. Filming Technologies.
– Basic introduction to the technical resources commonly used on professional film sets. Familiarisation with key technical terminology and the most widely used equipment names within the industry, including cameras, lenses, cranes, grip equipment and production vehicles.
– Supported by diagrams, visual presentations, photographs and video materials, including demonstrations, showreels and behind-the-scenes footage (making-ofs).
5. Documents Produced by the Assistant Directing Department: Learning How to Interpret Them.
– Training in reading and understanding the most important documents generated by the Assistant Directing Department, primarily Shooting Schedules and Call Sheets.
– These documents are essential working tools and serve as the operational “bible” for the entire technical crew during a production. The course includes diagrams and visual explanations, as well as real-world examples taken from high-level Film and Advertising productions in which the instructor has participated professionally. Participants will have the opportunity to examine authentic production documents and workflows from the industry.
6. Documents Produced by the Production Department.
– Training in the preparation and interpretation of the most important documents generated by the Production Department, including timings, casting breakdowns, transport orders and other key production paperwork.
– Familiarisation with the documents participants will work with on a daily basis, generated by their own department and essential to carrying out their responsibilities effectively. Supported by diagrams and visual presentations, as well as real-world examples drawn from internal documentation used in high-level Film and Advertising productions in which the instructor has worked professionally.
7. Working Methodology for a Production Assistant.
– Essential principles (more than just advice) for approaching your first job as a Production Assistant on a high-level audiovisual production.
– How to become an effective Production Assistant and make the most of the opportunity provided. Understanding the importance of professional continuity, building experience and developing the craft of the role through each production and every project undertaken.
INSTRUCTOR – NICK IGEA
Madrid, 1974. Holds a Degree in Audiovisual Communication from the Complutense University of Madrid. Co-founder of MAKKERS SCHOOL, an audiovisual training centre, and lecturer in Audiovisual Production at the Complutense University of Madrid.
With more than 20 years of experience as a Production Manager, he has worked for nearly every major advertising production company in Spain. In addition to his work throughout Spain, he has also managed productions internationally in locations such as New York, Los Angeles, South Africa, Sri Lanka, Edinburgh, Munich and Buenos Aires.
Alongside directing and producing several short films, he is the producer, director and co-screenwriter of the feature film Un Paseo por el Borne, starring Rodolfo Sancho, Ruth Gabriel and Natalia Verbeke. The film was shot last year and is currently in post-production.
Its premiere is scheduled for 2024.
Participation Guidelines
Course Programme:
1. Phases of an Audiovisual Production (Film/TV Series and Advertising). Service Productions and National Productions.
– Detailed description and chronological overview of a professional audiovisual production, covering both Film/Television Series and Advertising. Examination of the different stages a project goes through, from its initial development to the final delivered product.
– Understanding the differences between National Productions and Service Productions, including how workflows and production approaches vary in each case. Supported by diagrams and visual presentations, as well as real-world examples drawn from high-level productions in which the instructor has personally worked, including internal production documentation, videos, photographs and case studies from both Film and Advertising projects.
2. Work Distribution Across Departments and Roles.
– Division of tasks during pre-production and principal photography. Overview of the different departments involved in a production and their hierarchical structures. Internal organisation of responsibilities, duties and workflows.
– Industry terminology in both Spanish and English: job titles, production processes and technical vocabulary. Development of familiarity with the professional language used throughout the industry, both in spoken communication and written documentation. Supported by visual diagrams and workflow charts.
3. The Production Department: Division of Responsibilities.
– In-depth exploration of the Production Department, including hierarchy, responsibilities associated with each role, internal workflow organisation and collaboration with other departments throughout the production process.
– Key differences between production teams in Film and Television Series compared to Advertising productions. Supported by visual diagrams and organisational charts.
4. Technical Equipment: Cameras, Grip Equipment and Production Vehicles.
Filming Technologies.
– Basic introduction to the technical resources commonly used on professional film sets. Familiarisation with key technical terminology and the most frequently used equipment within the industry, including cameras, lenses, cranes, grip equipment and production vehicles.
– Supported by diagrams, visual presentations, photographs and video materials, including demonstrations, showreels and behind-the-scenes footage (making-ofs).
5. Documents Produced by the Assistant Directing Department.
Learning How to Interpret Them.
– Training in reading and understanding the most important documents generated by the Assistant Directing Department, primarily Shooting Schedules and Call Sheets.
– These documents are essential working tools and serve as the operational “bible” for the entire technical crew during a production. The course includes diagrams and visual explanations, as well as real-world examples drawn from internal documentation used in high-level Film and Advertising productions in which the instructor has participated professionally.
6. Documents Produced by the Production Department.
– Training in the preparation and interpretation of the most important documents generated by the Production Department, including timings, casting breakdowns, transport orders and other key production paperwork.
– Familiarisation with the documents participants will work with on a daily basis, generated by their own department and essential to carrying out their responsibilities effectively. Supported by diagrams and visual presentations, as well as real-world examples drawn from internal documentation used in high-level Film and Advertising productions in which the instructor has worked professionally.
7. Working Methodology for a Production Assistant.
– Essential principles (more than just advice) for approaching your first job as a Production Assistant on a high-level audiovisual production.
– How to become an effective Production Assistant and make the most of the opportunity provided. Understanding the importance of professional continuity, building experience and developing the craft of the role through each production and every project undertaken.
INSTRUCTOR – NICK IGEA
Madrid, 1974. Holds a Degree in Audiovisual Communication from the Complutense University of Madrid. Co-founder of MAKKERS SCHOOL, an audiovisual training centre, and lecturer in Audiovisual Production at the Complutense University of Madrid.
With more than 20 years of experience as a Production Manager, he has worked for nearly every major advertising production company in Spain. In addition to his work throughout Spain, he has also managed productions internationally in locations such as New York, Los Angeles, South Africa, Sri Lanka, Edinburgh, Munich and Buenos Aires.
Alongside directing and producing several short films, he is the producer, director and co-screenwriter of the feature film Un Paseo por el Borne, starring Rodolfo Sancho, Ruth Gabriel and Natalia Verbeke. The film was shot last year and is currently in post-production.
Its premiere is scheduled for 2024.