Every film set has its own rhythm with different people working together, each with a unique role, but united by the same goal: to bring a story to life. While the spotlight often falls on the faces we see on screen, it’s the crew that keeps everything running smoothly. They’re the ones setting up before the first call time, adjusting every detail, solving problems quietly, and making sure each scene looks exactly the way it should. Their work doesn’t always get the applause, but without them, the story simply can’t happen.
Crew Members give so much of themselves to make productions possible — their time, energy, creativity, and heart. They work through long days, unpredictable weather, power interruptions, and intense schedules, often without recognition. Yet, they keep showing up with the same focus and dedication, knowing that every small task contributes to something bigger.
For Crew Appreciation Day, we chose to pause and highlight the people who make everything possible behind the scenes. We spoke to six crew members who shared insight into their roles, their daily realities, and what drives them to keep going, even when the spotlight isn’t on them.
Emilia Bangie
Makeup Artists & SFX
What’s your role on set, and how did you get into it?
I’m a Makeup Artist on set, responsible for designing and creating beauty looks, special effects/prosthetics makeups for enhancing the actors’ appearances to fit the film’s vision. I’ve always been passionate about makeup and storytelling. I started through informal/self training and utilizing social media to randomly showcase my creation whilst sometimes collaborating with college theatre students for stage plays in my hometown until a certain day a God sent film producer in Lagos(Mr Muyiwa Aluko) randomly picked interest in having me recreate one of them in his film where I started building my portfolio. Good job execution, networking and hands-on experience helped me land more projects.
What’s a typical day on set look like for you?
Typically, My day starts early, fast-paced and creative. When on set I start by praying, setting up and prepping looks, aligning with the director and other creative departments and working closely with actors. I’m always on standby, managing/maintaining makeup looks, ready to adapt to changes, and ensure the actors look their best for each scene.
What’s the most challenging part of your job?
Time constraints and last-minute changes can be tough. I try to implore best possible ways to shorten makeup(working) time, stay flexible and communicate effectively with the team. Another challenge is managing actors, as an artist, they’re my canvas, maintaining different actors’ comfort and skin health while achieving desired looks.
What’s the most memorable moment you’ve had on set?
I have two.. Lol, one good and the other bad. The good memorable moment was pulling a full body look alike special effects props to compliment an sfx makeup scene in an extremely short notice (a few hours), this is something that takes days, weeks and the fact that I pulled it and pulled it very well enough to be applauded by the director and everyone, stays memorable for me.
The bad memorable moment was when I had a motor accident on set, I almost lost my right arm. That’s the story behind the big scar.
What does ‘appreciation’ look like to you as a crew member?
Appreciation means recognizing the hard work, extra long hours and dedication put into seeing a film is a success, in a little more special way, a simple acknowledgement like this especially for a job well done goes a long way. Also recognizing that every film department and crew member is crucial and shoutout/credit tags on social media post goes a long way not only to feel appreciated but also help boost their growth.
What’s one thing you wish producers or directors understood better about crew life?
I wish they all understood the physical and mental demands of being a crew member. Long hours, tight deadlines, and constant problem-solving can be exhausting. A bit of understanding and flexibility can make a big difference in our working conditions and overall morale. I also wish they understood the importance of maintaining a healthy work-life balance for crew members.
Is there anyone you’d like to give a special thank-you or shoutout to?
I’d like to thank God, His grace is always sufficient in all I do. Also, my Producer/Director who appreciates my services enough to keep employing. and my fellow crew members who some have become like a second family – we support each other through the chaos of film sets.
I specially thank FILMMAKERS MART for finding a platform like this worthy of existence and for this spotlight interview. Thank you.
If you weren’t working in film, what other path do you think you’d be on?
If I wasn’t a makeup artist in film, I’d probably be working as a full time fine and visual artist specializing in sculptures.
Nkwocha Precious-Flora
Lighting Designer & Gaffer
What’s your role on set, and how did you get into it?
I’m a Lighting Designer and Gaffer, often called the “Nigerian Female Gaffer.” My journey into this role is a little unconventional. I actually started out chasing a dream to be an actress. But during my theatre and film studies, I discovered lighting and fell in love with how much power it holds in shaping emotion and storytelling. That passion pulled me behind the camera, where I began learning, interning, and building my craft from the ground up. What started as curiosity has grown into a career that allows me to lead my own lighting outfit and collaborate on films, TV, music videos, and theatre projects.
What does a typical day on set look like for you?
It’s always an early start..Prayers, call sheet, then diving right into setups with my team. My day is a mix of lifting, rigging, tweaking, and collaborating with the cinematographer and director to make sure the mood feels right. Some days are smooth, some days we’re sweating and screaming 😆or fighting the sun, but at the end of it, I get to watch a story shine.
What’s the most challenging part of your job?
Definitely balancing big visions with limited resources. Sometimes you wish you had the whole world of equipment, but you don’t. Sometimes we have big visions but limited equipment, time, or budget. It pushes me to stay creative and find solutions without compromising the lighting of the story. That’s where creativity, teamwork, and a little bit of magic comes in.
What’s the most memorable moment you’ve had on set?
There are many, but one that stands out was years ago on a music video set for Flavour, directed by Clarence Peters. It was one of those “film don tough” nights..heavy gear, rain effects, exterior night setup after a long day. We were exhausted. After the shoot, the artist called my name, said “well done,” and even sent his manager to appreciate us again. It’s about being seen. That simple recognition meant the world to me and the entire team who had poured blood and sweat into making sure the production was a success.
What does ‘appreciation’ look like to you as a crew member?
Appreciation can be as simple as acknowledgment. A “thank you” at the end of a long day, or recognition that the crew’s work contributes massively to the final outcome, goes a very long way.
What’s one thing you wish producers or directors understood better about crew life?
That behind every shot, there are hours of setup, planning, and physical labor. Respecting time for rest, fair pay, and good working conditions not only supports crew members but also improves the overall quality of the production.
Is there anyone you’d like to give a special thank-you or shoutout to?
Absolutely. Shoutout to Matthew Yusuf, who trained me; to Christian Epps, Luke Seerveld and my big uncles and aunties who keep mentoring me from the international space; my mentors and leaders, my En-touche team; true burden bearers who help me tell millions of stories; and to my colleagues, family and friends who never stop cheering me on. You all keep me going.
If you weren’t working in film, what other path do you think you’d be on?
I’d probably still be somewhere in the creative world..maybe theatre or training young people. I love to inspire, share knowledge, and create impact, so whatever it’d be, it would definitely involve storytelling in some form.
Mayowa Bakare
Assistant Director
What’s your role on set, and how did you get into it?
After working several years as a Script Supervisor, I was ready to take on new roles and Assistant Directing felt right. That’s how it all started.
What does a typical day on set look like for you?
WORK! But typically, it’s magic performance! As a First Assistant Director, you’re leading the team to WIN no matter what and without compromising their safety or the quality of the shoot. That’s a whole lot of work that most people don’t know is part of filmmaking.
What’s the most challenging part of your job?
The Whole Job itself is challenging but it can get bad when working with difficult people.
What’s the most memorable moment you’ve had on set?
This is something that changes overtime so I don’t think I can point to one moment as most memorable but one of my favorite moments is when I worked with late Onyeka Onwenu. I had told the Producers how big a fan I am and the news got to her. She signed her book and gifted it to me.
What does ‘appreciation’ look like to you as a crew member?
Appreciation to me is KINDNESS. The crew can never be appreciated enough for their hardwork.
What’s one thing you wish producers or directors understood better about crew life?
This is a tricky question because Producers and Directors are also crew members although they are categorized as above the line crew. However, understanding that we all need to work together to bring the magic alive and everyone’s contribution is as vital is of most importance.
Is there anyone you’d like to give a special thank-you or shoutout to?
I’m currently working on a film titled EVI and I’d like to specifically shoutout to all HODs working on the project with me. They have been so amazing for the past few days of filming.
Additionally, I’d like to say a big thank you to everyone that has ever believed in me, recommended me and hired me. Been a professional can seem overbearing but a few people who understand what’s required from an AD make it worthwhile and for that I’m thankful.
Metong Minwon
Sound Design Consultant
What’s your role on set, and how did you get into it?
I work as a Sound Design Consultant, providing complete sound solutions for film productions. My team and I handle everything from capturing clean audio on set to crafting the final mix in post-production, ensuring every project has an excellent soundscape. I got into it out of a passion for how sound can shape emotion and storytelling. Over the years, I transitioned from Live-Sound Engineering to strictly on-set recording for film and TV Productions, to Sound Design and Post-Production, and then into building a Sound consultancy that offers end-to-end sound services.
What does a typical day on set look like for you?
A typical day on set starts with my team looking through the daily shoot schedule, and reviewing the sound breakdown done from the script for each scene scheduled. Then in Preparation for shoot day, we begin setting up gear, checking levels, and scouting for sound challenges around the location. We work closely with the director and cinematographer to align on the vision and make sure the actors’ performances are captured with clarity. During filming, we monitor dialogue, capture natural ambience, and troubleshoot noise issues.
When we move into post-production, the focus shifts to editing, sound design, music score and mixing (layering dialog, atmospheres, effects, and score) so the film sounds as powerful as it looks.
What’s the most challenging part of your job?
The most challenging part is often the unpredictability of environments. Nigeria can be very noisy, and many locations aren’t built for clean sound capture. Balancing that with tight production timelines can be tough.
In post-production, the challenge is making sure we are able to interpret the directors vision for the film through sound design in a way that feels seamless, cinematic, and enhances the storytelling experience.
What’s the most memorable moment you’ve had on set?
One memorable moment was working on a very dialogue-heavy scene in a chaotic location. Despite all odds, my team managed to capture excellent sound on set, which later translated into a powerful moment on screen with very little need for ADR. It reminded me that when you have the right team and preparation, even the toughest challenges can be turned into successes.
In Post-Production myself and my team we’re creating a score for a film, it felt so real and reminded me of an experience I had just gone through, it was emotional moment and I had to pause to shed a tear, fun fact is that many people who shared comments after they saw the film also shared the similar experience of how the film made them feel.
What does ‘appreciation’ look like to you as a crew member?
Appreciation is when producers and directors understand how central sound is to a film’s impact. Giving the sound team time to do their work properly, recognizing the effort behind clean audio and immersive soundscapes, and simply saying “thank you” for the contribution, those gestures mean a lot.
What’s one thing you wish producers or directors understood better about crew life?
I wish more producers and directors understood that sound is not something to be fixed later – it’s something to be built from the start. Prioritizing sound during pre-production and on set saves money, time, and stress in post-production, and it always improves the quality of the final film.
Is there anyone you’d like to give a special thank-you or shoutout to?
I’d like to thank the incredible sound engineers and filmmakers I’ve worked with over the years. Building a strong sound design for a film takes collaboration and trust, and I’m grateful for everyone who has believed in the value of sound and trusted us with their Stories.
If you weren’t working in film, what other path do you think you’d be on?
I’d most likely be working in Tech-innovation and training. Beyond film, I’m passionate about equipping young people with audio skills, and using technology to build solutions for Africa’s Creative industry.
Martini Akande
Film Editor
What’s your role on set, and how did you get into it?
I am a film editor, so I work in post production although my work starts from pre production and ends basically when the film is done I don’t go on set. So I got into film editing because I wanted to be a filmmaker, so that’s how I picked up the editing software and started editing myself, I started with my own film and people watched it and were asking who edited the film and from there people started giving me their own films to edit and that’s how somehow I ended up as a film editor overtime I started realizing how important editing is to the filmmaking process, how it can influence the films perception and how an audience sees the film through editing.
What’s does a typical day on set look like for you?
Like I said I don’t go onset but a typical day for me in the studio depends on like what project I am working on and what stage am at on that project, so today for instance I am working on a project where I have done the first cut, I spent about 2 months doing the first cut and then they have gone to shoot some pick up footage so when I get home today I will be putting some of the pick up footage into the film, what happened was that after we did the first cut we realized that some of the intentions of the writer and the director did not really translate and which is a normal thing in filmmaking. So we decided to shoot more scenes and reshoot some scenes just so that the film becomes more coherent, more exciting and more interesting, so like I said a typical day on set depends on what project I am working on and what stage I am at on that project.
What’s the most challenging part of your job?
The most challange part of my job, I think would be maybe understanding the directors vision or the producers vision. I mean knowing what story the director or the producer is trying to tell and why this can be challenging is because it is one of the most important thing for the editor to know, what story is this director trying to tell ? , of cause there is the screenplay which has been written on paper and there is like what has been shot but there is also something that is very important which is the directors vision and being able to key into that, most times when you key into the directors vision and you know the story the director is trying to tell, it is easier to then go on and edit the film, so that is one of the most challenging things but once you get that out of the way, then it is easier to go on to edit the project.
What’s the most memorable moment you’ve had on set?
I have had many momerable moments so I don’t think it is tied to one particular project. So I would say my most memorable time in the studio is when I am editing a film and I am enjoying it because I believe as the editor I am the first audience of the film, so if I am enjoying what I am watching as an editor, then that tells me that I am doing something right and the audience that is going to watch it is definitely going to enjoy what they are watching, so I would say my best moment on set is when I am enjoying what I am editing, when it is making sense. Also when the director is like oh okay this is not my intention for this film but I like what you’ve done with your interpretation and we are going to go with that, so that tells me that I have elevated the footage that I was given, I have interpreted it in another way that makes it a better film from what the director or the screen writer imagined. So I would say those are my best moments.
What does ‘appreciation’ look like to you as a crew member?
For me I would say it is trust, because when you bring on a professional like an editor, a DOP, a sound designer, when you bring them on a job, it is because you’ve seen something they have done or you just trust that they can interpret your vision on that project. So, I would say appreciation to me is being allowed to bring myself into a project, to bring my own ideas, to bring my own creativity into a project, like you’ve hired me for a reason, then give me the freedom to impact this project, so that I would say I have made my mark in this project, okay it is your vision but let me add my own creativity to it. So I would say that is what appreciation is for me, it is being given the freedom to do what I have been hired to do on a project.
What’s one thing you wish producers or directors understood better about crew life?
I wish producers and directors understood that good editing takes time. Editing a film isn’t just about clicking a few buttons, it is storytelling, it is creativity, and it takes time to put everything together. I understand that they are often working on tight budgets and things tend to move fast, but this is something that should be factored into pre-production. That way, we can start early and not end up rushing the creative process.
Is there anyone you’d like to give a special thank-you or shoutout to (could be a fellow crew member or filmmaker)?
For a special shout out I think I would just give it to everybody who has trusted me so far with their film, because it takes alot to carry your films worth millions of naira and you are entrusting it to this guy who is an editor, so I think this takes some level of faith and trust , so I would say shoutout to everyone one who has trusted me so far, those are the people I would give my special shoutout to that is, the directors and producers that have trusted me and have worked with me so far.
If you weren’t working in film, what other path do you think you’d be on?
To be honest I tried a lot of things before I became a film editor, so I will most likely be a music producer or a DJ or an MC, I would be some form of an entertainer, even if I don’t work in film maybe stand up comedian because I tried that too at some point . It is definitely going to be one of those.
Kelly Agbo
Director of Photography (DOP)
What’s your role on set, and how did you get into it?
My role is director of photography or rather director of principal photography which you call a DOP, so that role oversees the look and feel of a production, how lights and camera works, how it captures the entire performance of a film production and performance I mean what has been designed physically by a production designer and what is performed by the actor be it humans, animals, be it even props and set units that communicates the story idea to the audience that sees it.
So my role on set is to ensure that everything is captured and communicated through the lens of a camera to the audience enhancing the effectiveness of the story, so that is what my role is.
How I get into it it cuts across different experiences but they are basic ways of how I get into it, personally most time I am contacted or contracted by film companies or studio or an individual in this case a producer or a director or someone who knows someone and then ideas of story are told and we discuss on it and sometimes we discuss references and how we want it to look like and then we get a script and also get connected to other value chains of film productions like the production designer and other units that helps make the production effective like the sound .
And then how I get into it also involves contributing in the development process especially from the script where we choose where we are going to shoot, we decide on the way it looks like, we decide what kind of colour we are going with, in my own case I try to bring in a lot of meanings to what we do and I suggest to them psychologically meanings of certain things or approach that I am going to give to the work in terms of painting pictures, capturing performance like I said which includes production designer, actor performance, name it.
So I get into conversations, making refrences and working in line with other units like the sound unit, the production designer unit and all other units, sometimes we even get to get acquainted with the actors if it warrants meeting with them and sometimes if we needed some kind of stunt or special effect, we also meet those kinds of people, so everybody gets aligned with what we are going to capture because I become the eye of the audience, like I have to see it the way the audience will relate to it and then I would be able to amplify the vision and approach where the director wants to approach it, so all I do is capture the directors idea and amplify it to the best way the audience can relate to it, so this is my role and how I get into it
What’s does a typical day on set look like for you?
Based on the Energy and based on the environment it now determines my approach, also based on the kind of scene we are filming, based on the preparation that we have for that scene, sometimes you discover that you plan something, especially the way it is done in Nigeria most often, yeah because if you are privileged to shoot in different context or different environment and different production house and not just Nigeria, you would be open to understand that things can be different not just necessarily the way we are doing it, so you discover that sometimes you plan for a scene and maybe because of logistics or maybe because of preparation is not ready and then there’s a flip and you are expected to adjust to the flip immediately.
So my typical day on set dynamic in Nigeria, in other places it may not be like that but it all depends on the energy. So for me that has experienced both ways , if I am filming in Nigeria I am always preparing for the worse, I am always preparing for like okay, bro, this thing you are trying to do, if you should get on set it may not even appear like this, you may end up adjusting because of probably the space that is available, because of the time available .
I have been on set where we went to a place to shoot and the director who happens to be the producer is telling me that Ahh DOP we have 1 hour in this place oohh and I was Ahh 1 hour? When I know I am going to light for like close to an hour . If I am going to light for an hour and you and I decide the camera movement and all of that and the actor will now come and look at it and sync to our movement , so that we achieve what we want to achieve, how can 1 hour be possible and then he said But that is what they gave us and I was like okay if that is what they gave us, then the person negotiating it, didn’t the person put into consideration all these process or should we just come and do gbas gbos, you understand .
So my point is that my typical day on set can be determined by a lot of factors but as a Nigerian you have to be flexible, especially if you are shooting in Nigeria a lot of things can change and a lot of things can just happen spontaneously. I have been conditioned to flow with the energy, that I maybe suspect and then see and because of overtime experience and I can adapt easily with whatever energy . I can just tell okay, this is what I can do but can you also do this for me, that’s how it looks but it’s kind of crazy, sometimes it is intense but it is draining most often.
What’s the most memorable moment you’ve had on set?
There are a lot of memorable and very exciting moment . But let me go to the recent one There is a film the man died it’s an adaptation of Wole Soyinka’s book “ The prison Memoir” while we were filming that scene we had to use a particular Jeep for it and that Jeep, they were supposed to get us another props of a jeep in the 90s like a jeep in the 1960s or 1970s, I think before the civil war, 1960s, yeah, so when we filmed with the jeep, we got to a space where we were supposed to convert to Enugu, part of the location is Enugu, we were supposed to travel to Enugu, we didn’t travel to Enugu, so we were now to convert a particular scene as Enugu police station, Enugu Biafra unit and that jeep is supposed to bring in Wole Soyinka to come and visit a particular war lodge they called Okigbo and the production needed to make the jeep look different, everybody was just bantering and I was just looking at the jeep and then it clicked in my mind what to do.
The upholstery used in the jeep are made of red upholstery and it’s a white jeep, immediately I called my gaffer and said get me black cloth let me change the whole upholstery, we wrapped the cloth on the red upholstery to become black and then I got a duct tape and I used it to create a stripe and some kind of design on the white jeep to create a different pattern, so when I finished that, the AD was just overzealous and bantering but I just spoke to the director that in that era we can have the same brand of jeep like we have Toyota but different designs, colours and stripes. You can have the same colour maybe black but different shades of black colour and he was like yes, this will pass this is okay.
So for me while the noise was going on the memorable part for me was thinking through and deliberating on the top of their voices, I was able to zone out everybody and pay attention with my eyes and see what can change with my eyes visually and I was able to do it rather than see it and immediately it saves the day that was awesome. I know I didn’t get a lot of accolades which I don’t necessarily need but the director noticed, the producer noticed, everyone on that set at that moment noticed how it saved the day
Also while I was filming a recent movie with Wale Ojo, this is not a Nollwyood Movie, it’s not out yet, hopefully some time this year, He is the director and producer at the same time and he is also the actor.
We had a point where they were struggling on how to shoot a particular scene because it’s a lot of car chase and drift and all of that and then there was a little man, , who was supposed to be swapping seats with the director while the car was on a top speed, so the car was supposed to be in a top speed and they are swapping and changing position, this other person is moving to the drivers side, while this other person is moving to the passenger side in a top speed in motion, so we are supposed to get a van that would put the car on the van and move while we have them do that, unfortunately the director was not okay with the price, who is the director and producer at the same time, Wale Ojo himself was not okay with price, so I got an idea and that idea was so fantastic that I was trying to explain it that he didn’t get it and I said okay can you get me this, can you get me that.
What they got for me was to get a towing van and the towing van had to just jack the very car that we are using and then I deployed a lot of people pulling the car not pushing it, the car is not in motion, taking it to replicate movement and I had lights and every other thing moving all around like replicating the passage of environment, you understand and the way lights flips and conditions moving it to different places and I had to just create a plate to replicate that speed and movement because I use MPV for the moving vehicle , drifters and all of that while the car was not moving, that was a memorable moment that I had to wow everybody on set and I was able to do that because I zoned myself out from the noise and looked at it pictorially and I was able to achieve that
What does ‘appreciation’ look like to you as a crew member?
First for me as an individual it is important that the producer, executive producer, the money man get to know that you can not pay me you can only compensate me or you only try to appreciate me, so for me the only way appreciation matters to me especially as an individual is that your recognize the value that I am bringing to your production. You have to first recognize it and appreciate it, then if that appreciation reflects into saying thank you and reflects into giving bonus or reflect into paying me well, reflects into recommending me, recognizing me , speaking about me, writing about me, whatever way it comes to you to express those appreciation , the fact that you recognize it first and you dish it out not because you just want to be dramatic or because you just want to make it look like you Dey nice but to truly recognize that this guy, I appreciate him, he is doing well. Those are the intra communication you have within yourself , you understand the value that I bring, because I am out to solve problems and to give value. If you understand that first and I see it, it would replicate or rather it will show in the way you talk to me, the way you treat me, it would show in the way you relate with me, even in very little things and I will see it, even in the way you respect me and the way you listen to me, the way you think through what I am suggesting or I am contributing and if you wish to express that appreciation by giving me money , bonus, whatever way you now choose to, it’s fine.
So long you first understand the value I bring, for me that is what appreciation is
What’s one thing you wish producers or directors understood better about crew life?
I wish producers and directors knew that it’s not their money, intellect, or creativity making the film for them. It is people that make films. It is people that put their soul and their passion.Most of these producers and directors don’t pay well. They just tell you they don’t have a budget, yet they are planning to shoot. They just treat crew members anyhow.Producers must mark out consistent time for crew members to work. They must rest—at least 5–6 hours—and their welfare must be taken care of.
Is there anyone you’d like to give a special thank-you or shoutout to ?
My Special thanks and shout out goes to every crew members that give their souls to a film production and you don’t get to see them on the red carpet, even when you get to see them on the red carpet you don’t get to hear them, know them, read about them on blogs, see them on interviews, you don’t even get to see them on stages of awards.
They are the ones that goes to bed last, eat last, they are the ones that nobody knows or recognizes but they are the engine room, if you understand the way a ship sails in the ancient times, they are people who were at the basement of the ship, the engine room, where they just keep throwing coal to make sure that the engine is burning and it is sailing smoothly . My special shoutout goes to all of those people as crew members who do this day and night and those who would take the job not because they are paying them well but because they just feel that they have to maintain good relationships, they have to also keep doing it believing that it is going to be fine .
My shoutout goes to all those who their voices are not heard, yet their input is impacted in great movies but yet nobody knows. How many people sit down and watch end credits?, even when you watch end credits how many people recognizes the names there? My special shoutout goes to all these peopl, including the writers too, all the value chains that impact productions that nobody knows yet they dish out amazing work every day even when they are not paid well, my special shoutout goes to all of these people
My special shoutouts goes to bloggers and people like Filmmakers Mart that are also giving voices to people like us. Thank you for the opportunity to answer questions because these questions I believe are very important questions, they serve as social experiments, whoever reads or listens to it also learns how to also treat people with respect, value people and also if you have not given them that opportunity the voices that are not heard will not be heard, so my special shoutout also goes to you. Thank you
If you weren’t working in film, what other path do you think you’d be on?
If I am not in film, hmmm I had a diploma in film and my first degree is in film and my masters degree is in film production and I am currently a PhD student in film and multimedia studies, so I would say if I am not in film I would be a teacher but let me put it in this way, so maybe if I put it in this context you would understand , maybe a teacher, I would like to be maybe in the field of counseling, teaching people what I do.
Currently I teach outside shooting films , I teach in the pan- Atlantic university. I teach free hand sketching, 2D and 3D design, so I teach cinematography, film production, design. I teach basic and other advanced things that deals with film production.
I am also a scholar, I do research. So, outside film these are the things I would have been doing but since I am doing film I incorporate all of them into film, I am a visual art artist, I create things with pencils, charcoals, I do storyboard, I do proportions, I do designs so if I am not into film I would have been incorporating all of them into my studies, into my practice, I teach them at the university and I am also doing my PhD
Their voices remind us that every story we love is made possible by the quiet strength and dedication of those behind the scenes. Today and always, we honour them. Happy Crew Appreciation Day
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