On Set

The women who work behind the scenes

Jessica Ward, 1st assistant camera (or focus puller)

On productions, Ward is responsible for focusing and refocusing the camera lens as actors move within the frame of each shot and as the camera itself moves. She uses measurements, marks, instincts, and experience in judging distances. She also is responsible for the camera and related equipment such as  lenses, filters, and matte boxes as well as assembling the camera and its accessories for different shots.

“I was initially drawn to working on a film crew because filmmaking is the ultimate collaborative art form, and contributing to the process highly appealed to me.

Working as a focus puller, I get to see my work directly on the screen. Oftentimes, the director will choose to emphasize a story point or an actor’s performance with selective focus. This is when I get to contribute directly to the creative process. Shifting the focus at the right moment to reveal or emphasize something to the audience requires experience and honed instincts.

Becoming a focus puller was not easy and required years of hands-on training. I started out in 2005 as an intern in the camera department during my senior year at University of North Carolina Wilmington. The opportunity to work my way up the ladder to a more creative position was a real motivator.

I knew the job would require a lot of physical stamina and strength because the equipment is heavy, the locations are tough, and the days are long. I have always preferred to be physically engaged in my work instead of sitting behind a computer, so I was not dissuaded…

There are departments that have been traditionally female-dominated, such as hair or makeup, and in the beginning I was encouraged to consider one of those departments…

Once I began working on film sets in Wilmington, I developed camaraderie with the local crew members that have only grown stronger over the years. In recent years, I have seen an increase in female crew members pursuing positions on set. There are definitely several more women working in the camera department in Wilmington than there were in 2005.

It is refreshing to witness the female presence growing in such a historically male-dominated industry.”

Jane Beck, costume and art department

Beck has worked as an art department coordinator, set costumer, and wardrobe supervisor on various film and TV projects in the area.

“Working in the costume department is not as glamorous as it seems … It is a lot of hard work, and not too many people understand how labor intensive it is.

Many think that it is romantic dealing with costumes all day. The reality is that we do a lot of laundry. We have to dye, alter, and wash clothing a lot in order to make it match the story.

Most of us in film are not comfortable working in a typical office setting. The costume department has the longest hours on set because they are the first people in—at least two hours before the rest of crew to make the cast ‘camera ready,’—and the last people to leave. I often have sixteen hour days … and go home filthy and scratched from being out in the woods.

Another part of my job is making sure the actor is comfortable and in the right clothes and has any personal hygiene supplies they might need. It's important to gain trust from an actor.

I also need to be mindful of continuity since we shoot scenes out of order. We have to keep history and document every detail as to how a person was dressed. It can be hard to match up and can really throw us some challenges.

One actress would take her shoes and jewelry off and forget where she left them, and I’d often end up tracking down her items right before we were about to shoot.

I worked on One Tree Hill for all nine seasons, and the crew was like a family to me. We were all crying together during the last episode. I wish I had the opportunity to be a part of something that special again.

I also worked on a second unit for Sleepy Hollow and had to dress Revolutionary War soldiers and enjoyed working with period items. Most of the costumes I worked with before that were modern-day clothing. You wouldn’t believe the amount of research that went behind perfecting the authenticity of the costumes.

Kristin Burke with Sleepy Hollow has been the finest costume designer I’ve ever worked with, taking the time to mentor and teach me new things. The special people that you meet make the hard days worth it.”

Margie Holowaty, set decoration

As a buyer, Holowaty works directly with the set decorator, looking for and acquiring everything from furniture and accessories to lighting and flooring – all while adhering to a budget.

“Once shooting begins, I work twelve to fourteen hours a days and occasionally six and seven days a week, depending on the demands of the show. I spend much of my time behind the wheel of my car in search of whatever the shows’ scenes call for.

I make every effort to purchase what we need locally. This is something that the local film industry does at every opportunity. If local options are not available, I head out of town or place orders online.

I prefer working on period pieces. I like picking through antique stores, flea markets, and junk yards. It’s not glamorous by any means. It’s hot, sweaty, and dirty most of the time. I always keep a couple changes of clothes close by.

Some of my favorite things about being a buyer are the relationships I have built with the many vendors whose goods I rent or buy. Like my fellow crew members, they are like family to me. I worry about some of them when the film business is slow here. They call me and want to know if I am working and what films or TV shows are on the horizon. Many of them count on us to help keep them in business. They bend over backwards to help us out, and much of their own purchases and inventory for their own stores are made with us in mind. 

I have been in the business in one form or another since 1996. I started in the production office with the intention of finding my way to the art department. My degree is in commercial art and advertising design, and I worked in that field for a few years before finding my way to film.

I always wanted to be on the creative end of things.”

Elanor Rimassa, utility sound technician

It is Rimassa’s job to make sure the sound department is prepared for any possible scenario.

“I am one of the three people on set in the sound department. There is the mixer, the head of the department, who sits at the board and mixes and records the sound; the boom operator, who follows the actors with the microphone; and me. 

I do everything else.

I run cable from the boom to the mixer, jam the slates to sync the cameras with the sound recorder, and track down any white noise that might get in the way of the actor’s performance.

I lay carpet to muffle footsteps, put wireless mics on actors, and hold a boom mic if the scene calls for two boom operators. Did I mention I also carry the tent?

As a woman on set, I think I have had more issue with my size than with my gender. At five feet tall, I would say I am probably one of the shortest people I know to professionally hold a boom pole.

It’s hard to get a microphone up and out of the shot when almost every actor is taller than I am, such as Matt Willig from We’re the Millers, who was six feet, eight inches.

I was also working with Jennifer Aniston on the movie and dropped the windscreen off the end of the mic onto her head. She screamed because she thought it was a spider. I definitely feel pressure not to show that I am struggling with equipment.

A big part of my relationship with the film industry is balancing work with family. I dropped out of the industry completely to raise two kids, and eleven years later, I am basically starting at the bottom in my department in my forties.

I often feel that going to work is like being a superhero: I put on my cargo pants, my tools, and my headphones and go off to become someone completely different from my day-to-day persona. Work days on set can be very long, at least twelve hours – and honestly, I’m disappointed when they are shorter.”