The Resistance
Chapman University's
Dodge College of Film and Media Arts- 2012
Dodge College of Film and Media Arts- 2012
Graduate Film- Written by Lara Erman
Directed- Rochan Redelinghuys
Production Design- Angel Herrera
Art Direction and Properties- Katelin Ashcraft
Directed- Rochan Redelinghuys
Production Design- Angel Herrera
Art Direction and Properties- Katelin Ashcraft
In the fall of 2012 I was invited to Chapman University to help out on a Graduate level film as the production's Art Director and Properties Master. Lara Erman, who wrote the original screenplay, worked with me on a previous film, recommended me for the project. Filming was done in Los Angeles and the the Salton Sea. I worked on the majority of props from my home in Tucson and communicated extensively from afar. I also had an assistant based in L.A.
After just two weeks of being apart of the project I pack up all of the properties I had created, set dressings and small furniture pieces and headed to Los Angeles for the next two weeks where I would help finish building and painting the set in a storage facilities they had rented.
The film is set in the future in a post-apocalyptic world. After WWIII demolished the surface of the earth the few survivors have moved underground where the radiation is less severe. The government has since made the possession of food illegal but rations out a sustainable substance known as the Tonic.
In the many years since the apocalypse the earth has slowly begun to regenerate and the rebels have begun new ways to develop food and are hoping to start mass producing it. It is in this world that we meet our leading men and women. There is a love triangle going on and the audience continually questions where the characters loyalties really lie.
click here for Time-lapse of Set Loading into Soundstage
created by Andre Barbosa
Our first day of shooting was spent out at the Salton Sea, which provided the perfect backdrop for the post-apocalyptic world we were creating. On location I was both weapons wrangler, art director and in charge of hair and make-up.
Sometimes props find you! No one can age a radio better than mother nature.
In the fall of 2012 I was invited to Chapman University to help out on a Graduate level film as the production's Art Director and Properties Master. Lara Erman, who wrote the original screenplay, worked with me on a previous film, recommended me for the project. Filming was done in Los Angeles and the the Salton Sea. I worked on the majority of props from my home in Tucson and communicated extensively from afar. I also had an assistant based in L.A.
After just two weeks of being apart of the project I pack up all of the properties I had created, set dressings and small furniture pieces and headed to Los Angeles for the next two weeks where I would help finish building and painting the set in a storage facilities they had rented.
The film is set in the future in a post-apocalyptic world. After WWIII demolished the surface of the earth the few survivors have moved underground where the radiation is less severe. The government has since made the possession of food illegal but rations out a sustainable substance known as the Tonic.
In the many years since the apocalypse the earth has slowly begun to regenerate and the rebels have begun new ways to develop food and are hoping to start mass producing it. It is in this world that we meet our leading men and women. There is a love triangle going on and the audience continually questions where the characters loyalties really lie.
click here for Time-lapse of Set Loading into Soundstage
created by Andre Barbosa
Our first day of shooting was spent out at the Salton Sea, which provided the perfect backdrop for the post-apocalyptic world we were creating. On location I was both weapons wrangler, art director and in charge of hair and make-up.
Sometimes props find you! No one can age a radio better than mother nature.
It was a very windy set, and some light sun burns were common throughout the crew but the breathtakingly erie landscape help immensely to flesh out the believability of our world.
The rest of the shoot was dominated by our interiors; an "underground bunker." We were very fortunate to be able to film in one of the sound stages on the Chapman campus.
Below is a view into the hidden storage room where the illegal food and paraphernalia could be kept.
For the elaborate dinner the actors cook later in the film we needed to create a makeshift kitchen inside the bunker with enough prep space and cooking contraptions to pull off such a dinner.
Here is the finished table display of my own design. All the dishes were purposefully mix-matched to help convey that table settings were no longer the norm in this future world and that this was our leading lady's attempt at recreating a bygone era. The table itself is an old movie poster frame that you might see outside of a theatre. Lit from below it created a perfect futuristic ambiance.
I personally love the picture below on the left and how the reflection of our actor is caught in the stopper of the wine decanter.
Food is always a challenge on set and particularly in film. Depending on how many takes and how much food is consumed during each take I have learned is it wise to budget for twice as much as you may originally think you need and to have ample ways to preserve and keep food fresh.
A special thanks to the cast and crew of The Resistance for bringing me in on this project, it was a fantastic experience!
*more hand props for this film can be found on my properties page
It was a very windy set, and some light sun burns were common throughout the crew but the breathtakingly erie landscape help immensely to flesh out the believability of our world.
The rest of the shoot was dominated by our interiors; an "underground bunker." We were very fortunate to be able to film in one of the sound stages on the Chapman campus.
Below is a view into the hidden storage room where the illegal food and paraphernalia could be kept.
For the elaborate dinner the actors cook later in the film we needed to create a makeshift kitchen inside the bunker with enough prep space and cooking contraptions to pull off such a dinner.
Here is the finished table display of my own design. All the dishes were purposefully mix-matched to help convey that table settings were no longer the norm in this future world and that this was our leading lady's attempt at recreating a bygone era. The table itself is an old movie poster frame that you might see outside of a theatre. Lit from below it created a perfect futuristic ambiance.
I personally love the picture below on the left and how the reflection of our actor is caught in the stopper of the wine decanter.
Food is always a challenge on set and particularly in film. Depending on how many takes and how much food is consumed during each take I have learned is it wise to budget for twice as much as you may originally think you need and to have ample ways to preserve and keep food fresh.
A special thanks to the cast and crew of The Resistance for bringing me in on this project, it was a fantastic experience!
*more hand props for this film can be found on my properties page
Writing Crime
University of Arizona's School of Film Theatre & Television- 2012
Senior Thesis Film- Written & Directed By Christopher MacDonald
Production Designer: Katelin Ashcraft
Inside the Bank of Bisbee (now known as Western Bank). The bank had the perfect look we needed for this 1960's film noir piece, from the bank vault right down to that wonderful carpet. The only thing the vault didn't have was the safe deposit boxes that you see above. I found those at an estate sale in Tucson and they fit beautifully in the space.
Sadly all scenes in this office space were cut from the final version of our film, but I am still very pleased with my Mad Men inspired rows of secretary desks.
Hard To Hurt
Music Video for Andrew Colberg- 2011
Directed by Rory O'Rear
Costume Designer & Weapons Wrangler: Katelin Ashcraft
True Love's Kiss
University of Arizona's School of Theatre, Film & Television- 2011
Senior Thesis Film- Written & Directed By Jesse Klein
Production Designer: Katelin Ashcraft
To see our film short click here: True Love's Kiss
It was extremely fitting that my first experience in film should be on a project that was about putting on a play. The trick was to create a "set" that suited the community theatre troupe depicted in the screenplay but that easily accommodated a film crew. I also had the opportunity to dress the other areas of "backstage" so as to fully flesh out the character's world. The theatre itself really did half of the work.
Below are the drafting that I created by hand for my Master Capenter, Meena Carr, and a first sketch.
Inside the Bank of Bisbee (now known as Western Bank). The bank had the perfect look we needed for this 1960's film noir piece, from the bank vault right down to that wonderful carpet. The only thing the vault didn't have was the safe deposit boxes that you see above. I found those at an estate sale in Tucson and they fit beautifully in the space.
Sadly all scenes in this office space were cut from the final version of our film, but I am still very pleased with my Mad Men inspired rows of secretary desks.
Hard To Hurt
Music Video for Andrew Colberg- 2011
Directed by Rory O'Rear
Costume Designer & Weapons Wrangler: Katelin Ashcraft
True Love's Kiss
University of Arizona's School of Theatre, Film & Television- 2011
Senior Thesis Film- Written & Directed By Jesse Klein
Production Designer: Katelin Ashcraft
To see our film short click here: True Love's Kiss
It was extremely fitting that my first experience in film should be on a project that was about putting on a play. The trick was to create a "set" that suited the community theatre troupe depicted in the screenplay but that easily accommodated a film crew. I also had the opportunity to dress the other areas of "backstage" so as to fully flesh out the character's world. The theatre itself really did half of the work.
Below are the drafting that I created by hand for my Master Capenter, Meena Carr, and a first sketch.
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