InFocus Film School Blog

Janalee Budge, who hails from Whistler, BC, has a background in art direction and graphic design, giving her work a unique artistic style. “I want to make visually beautiful documentaries and with (my biography film) Unbound, that magical and super beautiful visual style is what I’d like to explore.”

Janalee took a leap of faith in going back to school to study filmmaking, and leave her relative work security – but it’s a leap that is paying off. “I was looking for a course that I could take part time, so I took a one day course to see what [InFocus] was all about, and I was super happy with it. So I decided to do the drama and documentary six month course. I was working as an art director before, and I was in charge of corporate ads and webisodes, but I wasn’t very hands on.“

Janalee is an avid believer in strong visual themes and images in her films but since studying at InFocus, her ideas and themes have broadened: ”I didn’t know what to expect because this program covers so much of film. When I first started I wanted to hone in on my camera and editing skills, but we also get a lot of classes here on directing, lighting and grip and all those other aspects of filmmaking. They’re all interconnected so I’m really happy I got to do some of those classes as well as focusing on my documentary filmmaking.”

What’s next for Janalee? “I wouldn’t mind trying to work on a bigger set while working on my own projects, and this school helped me utilize these different skill sets. I like the fact that I’m in such an intensive course and that it’s a small class (so) it’s more hands on.”

Watch Janalee’s biography film, Unbound, below.

“When I was about ten or eleven I started fooling around with my dad’s camcorder, making a lot of videos and if there was a programme I could have done after I finished school I would have done it.”

Rider Laskin’s love and interest in film started at a young age in Langley, but it wasn’t until studying History in college that his interest become a solid possibility. “I took some film courses in college and I’ve always watched a lot of movies. And I’ve always been interested in making movies and so when I [graduated] I started looking around for different programmes and [InFocus] fit my criteria.” Rider’s passion and desire to become a filmmaker is evident – he always knew filmmaking was his calling, and is eager to learn about every aspect of the filmmaking process.

So what is the biggest challenge he’s faced while studying the dream he always wanted to pursue? “I knew it was difficult to make a movie but being here and thinking about movies all day and speaking with the professionals, has reinforced the idea of how difficult it is. It’s such an expensive art form and requires so many resources…it’s daunting.”

If he feels daunted or intimidated about the entire process of filmmaking, it has not stymied his creativity. Rider’s favourite project that he’s worked on so far is “Waiting Room,” a short film he wrote and directed himself: “the experience of making that movie, and [dealing with] all the stress that came with it was invaluable. InFocus has given me a practical skill set which I can use to put my creative energy into; it was very cool to take something that was an inkling of an idea, and eventually turn it into a finished product.”

Check out Rider’s bio project below:

While the director may be the big fish on set, to be an assistant director you need to be a shark.

A film set models its hierarchy after the military, and as the highest “below the line” role, the 1st AD is like the commander. Starting in pre-production they break down the script and plan and schedule the shoot.

Once the film goes to picture, the AD runs the set. Acting as a communications hub they ensure the shoot remains organised, safe, and on time. Responsible for the smooth execution of the production, being an AD is easily one of the most stressful jobs on set, but if you can handle it, it can be extremely rewarding.

Interested in the role? Here are six tips for succeeding as an AD:

1. Don’t slack off in pre-production. Prep is the most vital aspect of having your shoot run smoothly. Did you plan enough time for lunch? If you have a company move, did you account for traffic? Be prepared to spend as much time planning the schedule as you will spend on set.
2. Communicate. Speak loudly and clearly and listen closely to what others are telling you. Be sure everyone knows what is happening, ask questions if there is uncertainty, and don’t be scared to be the bad guy if someone isn’t doing their job.
3. Be organized and well prepared. Always think several steps ahead. Have extra copies of the script, call sheets, and any other important documents available.
4. Be confident but not cocky. Be firm with your orders and confident in your decisions, but always listen to advice and criticism. Arrogance is the fastest way to get your crew to lose respect for you.
5. Respect your crew. Don’t talk down to anyone, put a stop to any gossip, and most important, don’t micro-manage. Your crew members are (hopefully) professionals hired to do a job. Let them do it.
6. Have a sense of humour. Film sets are stressful environments and it’s your job to keep the crew from getting overwhelmed. Humour is a great tool to lift spirits and keep the set productive.

Thanks to InFocus’ assistant directing instructor Rosalee Yagihara for her help with this article.