Semester 2 Portfolio
This section of my industry portfolio documents my production journey from February to May 2025. Over the course of this semester, I have fully embraced the challenges presented to me, demonstrating resilience and a deep commitment to both my own work and the work of others. I remained dedicated to the successful completion of my final major projects, while also stepping into additional roles to support my peers and contribute meaningfully to their projects.
Despite facing significant personal challenges – including the stress of relocating, managing my partner’s illness, and balancing childcare responsibilities – I maintained my role as a producer across four separate projects. This required careful time management and clear communication under pressure. These experiences have helped me grow not only as a professional in the field of film production, but also as a collaborator and problem-solver. This portfolio reflects that growth, highlighting the key milestones and technical developments that shaped my work during this period.
Synthesis portfolio
By Ryleigh Cockcroft
Road To Accy
Co-producer
It was the during post-production of Road To Accy that many unforeseen challenges arose, demanding swift action and a professional approach.
One such issue involved an unexpected invoice being sent to a tutor, due to an error on our part as the production team. When applying for permission to film at a Ramsbottom Council location, we had inadvertently provided incorrect contact details. This highlighted the importance of attention to detail in communication with external partners and reinforced the need for thorough documentation throughout the production process.
Following this, Caitlin and I arranged a meeting with our supervising tutors to address not only the invoice issue but also any other outstanding concerns. During the discussion, we raised the matter of misleading promises made by an external contact, Councillor Whitehead. We had originally been told that the use of a bus for filming would be free of charge – a significant relief to our limited budget. However, we were later issued an unexpected invoice for £750.
In response, I drafted a formal email to Councillor Whitehead expressing our disappointment and explaining that we had already paid £200 out of pocket, as the university’s allocated budget could not accommodate such an unplanned cost. Thankfully, following this correspondence, the issue was resolved, and responsibility for the invoice was removed from our hands.
Throughout this period I have remained calm and focused when under pressure. However, in the future I aim to improve by implementing a more thorough approach during the pre-production process by keeping more detailed records of external agreements. The first day of shooting went exceptionally well, considering we had plans too travel to three separate locations in one day. The pre planned taxis that I organised for crew members who did not drive ensured the efficiency of the shoot day. We eliminated any chance of lost crew members from travelling via public transport or any buses being late to the next location.
To help ensure the success of our second shoot day and maintain the overall quality of the production, I engaged in several discussions with a staff member at Accrington Town Hall. Initially, as outlined in our location plan, I intended for our equipment van to be parked to the left of the building, since the rear car park was restricted to registered vehicles only. However, upon further communication, I was informed that the originally proposed parking area had been designated for disabled access. Fortunately, the staff were accommodating and allowed me to register our van’s license plate in advance, granting us access to the restricted car park and preventing potential disruptions on the day of the shoot.
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Power Of The Plant
Producer
One of the challenges faced during the production of Power Of The Plant was managing personal dynamics on set, particularly in relation to the director’s communication with the crew. At times, his tone was dismissive and lacked the consideration necessary to build a positive working environment. Maintaining mutual respect between both cast and crew is essential in any production, and it became clear that this standard was not always upheld. Additionally, the director often disregarded the advice offered by department specialists, which impacted workflow and morale. For example, the script supervisor consistently provided valuable continuity notes but these were repeatedly overlooked, leading to unnecessary retakes and frustration within the team. This experience outlined the importance of working collaboratively and the need to value each crew member’s expertise in order to ensure a productive and respectful set.
Another issue that arose on set was crew members from different departments speaking loudly across the space within earshot of the actors. This created a distracting environment and had the potential to disrupt the actors’ focus, leading to confusion or breaks in performance. Fortunately, I was able to identify this early on and promptly addressed it by pulling the relevant crew members aside. I reminded them of the importance of maintaining a quiet, respectful atmosphere on set, especially when discussing adjustments or improvements to their roles. After this intervention, the set became noticeably more focused and professional, allowing both cast and crew to work more effectively.
Maintaining clear communication between all departments on set is essential to ensuring a smooth and efficient production. A key example of this occurred during a misunderstanding between the director and the makeup department. The director had described a specific look to the makeup artist during pre-production, but on the day of the shoot, it became apparent that his expectations differed significantly from what he had originally communicated. This misalignment created a moment of confusion and tension, as the makeup artist had completed a look based on the agreed brief. As a result, she had to return to her base to collect additional materials and make last-minute adjustments. This not only delayed the shooting schedule but also disrupted the flow of the production day. This experience highlighted the importance of precise communication between creative departments, particularly when it comes to visual elements like makeup, costume, and set design. In the future, ensuring that all creative directions are clearly outlined, approved, and referenced with visual materials or mood boards will be essential in preventing similar issues and maintaining a collaborative and respectful working environment.
Something that went well was budget planning. By thoroughly mapping out expected costs and prioritising essential expenses, I was able to allocate resources efficiently and avoid unnecessary financial stress later in the project. This planning allowed us to secure props for set dressing that fit the directors original vision for the shoot. Having a clear and realistic budget from the outset gave the team a solid foundation to build on.
Another aspect of my role that went well was keeping the crew members engaged with the project from pre-production through to wrap. It is often difficult to keep up morale as the production comes to a close however regular check-ins and meet ups with the crew allowed for me to understand where they needed more guidance or understanding of their next steps.
Intimacy between actors on set must always be handled with care, requiring clear communication, supervision, and formal consent well in advance of filming. During one scene, the director instructed two actors to fall directly on top of each other – a physical interaction that had not been discussed or approved beforehand. These directions were given while I was momentarily unaware, and it was only when a fellow student pointed out the action that I became aware of what had occurred. I immediately stepped onto set and pulled Chris aside to explain, urgently, why this was inappropriate and why any physical or intimate actions must be approved by the producer and properly risk-assessed in advance.
While I responded quickly and decisively, I recognise that I approached the situation in a state of panic. In the future, I aim to stay more composed in moments of immediate pressure. Taking a calm, authoritative approach can help de-escalate sensitive situations more effectively, ensuring safety and professionalism are maintained without creating further tension. I also plan to implement clearer communication protocols during pre-production, ensuring all cast interactions are discussed, documented, and agreed upon by all parties well before filming begins.
https://youtu.be/66XFx_qamMM?si=xSAqG1FPJFCX8MBJ
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The Crimson Cross
Co-producer
In preparation for filming at St. Edmund’s Church, I created and distributed a Church Language Etiquette contract for all crew members to review and sign. This document outlined specific language and behavioural expectations while on the premises of a sacred place of worship. As producer, it was my responsibility to ensure that our presence was respectful, professional, and aligned with the values of the location. Implementing this contract was a premeditated decision that reflected an understanding of the importance of location relations. It set a clear standard of conduct, helping to prevent any unintended offence. The agreement was well-received and contributed to a smooth shoot, reinforcing mutual trust between our crew and the church. Taking this step also demonstrated my commitment to upholding industry standards.
I often felt not fully respected by some of the student crew members, particularly as it was my first time working with many of them. There were moments where I didn’t feel listened to, and my role as producer was at times overlooked. One specific challenge involved members of the camera crew being dismissive towards our supervising tutor, who were simply trying to offer support and guidance during high-pressure moments on set. I’m sure it was not intended to be offensive however, this behaviour created unnecessary tension and resulted in the tutor not wanting to give his input when it was really needed, undermining the collaborative environment I was trying to maintain.
Recognising the impact this had on morale, I spoke privately with the individuals involved, reminding them of the importance of having an experienced professional with us on a student production. While the situation was ultimately de-escalated, it taught me the value of assertive but calm leadership. In the future, I would establish clearer expectations for conduct early in the process and create more structured check-ins to address potential issues before they escalate. Despite the challenges, this experience strengthened my ability to manage conflict and create a supportive working environment.
Immediately after production wrapped, I began the payment process for the actors. At the film school, we follow the protocol of paying actors the national living wage at a set day rate. Once calculated, each payment is confirmed with a supervising tutor before being submitted to CYP Actors for processing. In this instance, there was a complication due to incorrect payment details initially provided. Although CYP attempted to contact us about the issue, their first email was not received by either myself or my tutor. As a result, the follow-up communication expressed some frustration. To resolve the issue promptly, I reached out directly to the actor to confirm their correct details, then forwarded the updated information to ensure payment could proceed without further delay. This experience shown that I could deal with urgent issues promptly without feeling anxious.
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Don’t Tell Me To Smile
Assistant producer/ Co-producer
At the beginning of the second semester, I attended a pre-production meeting for the documentary Don’t Tell Me to Smile. After the meeting, I approached the producer to express my interest in joining the project, as I felt genuinely inspired by its message and believed I could contribute meaningfully. Although my official role was Production Assistant, my intention was also to provide guidance and support to the second-year producer, as this was her first project in that capacity. I aimed to share my experience and ensure the production ran smoothly and respectfully, particularly given the sensitive subject matter. One of my key responsibilities was to ensure the interviewees felt comfortable and supported throughout the filming process. Given the emotional nature of the content, I prepared for the day by organising essentials such as bottled water and tissues, and I also proposed using part of our raised budget to create take-home care packages for the participants. These gestures were intended to show appreciation for their vulnerability and help create a safe, respectful environment during and after filming.
As production progressed, my responsibilities on Don’t Tell Me to Smile began to intensify. What began as a supporting role soon expanded as I found myself taking on more of the tasks that were essential to keeping the project on track. It became clear that I was managing a significant portion of the workload, beyond the expectations of a Production Assistant. During this period, Olivia, the second-year producer, approached me to explain she was facing personal challenges that were affecting her ability to fully commit to the role. She expressed her need for me to take over the production responsibilities moving forward. As a result, I stepped into the role of co-producer.
Taking on this position allowed me to guide the production more directly, particularly in areas that required sensitivity and care. Given the emotionally charged nature of the documentary’s subject matter, I felt a strong responsibility to prioritise the well-being of both the crew and the interviewees. I worked to ensure everyone felt emotionally safe and supported throughout filming. This included regular check-ins with crew members and maintaining a thoughtful, empathetic tone in all planning and communication. The content of the film demanded a high level of emotional awareness, and I was committed to protecting the team’s mental and emotional health.