Arcada Filmmaking
March 24
For the past four years, I’ve been studying filmmaking at Arcada University of Applied Sciences. There’s a long story behind my decision to pick up the pencil again and sit back down at a school desk, but to make a long story short – I needed to prove to myself that I still had it, and that it’s never too late to chase your dreams, even for a middle-aged guy like me.
These past four years have flown by like the wind. Sometimes it's been hard to keep up, and school has never really been my strong suit. I’ve always been a more hands-on person – someone who prefers doing the work we study and analyze, rather than just reading about it.
Every spring, Arcada University holds its official fictional film productions, and I participated as the 1st AC and grip for a film called "Solnedgång" by Pia Krogerus, Adam Valkeinen, Albin Ljungqvist, and "Grip Tag om Mig" by Sofiia Danylova, Yana Dmitrieva, and Mai Mäntylä. Both productions were filmed in Helsinki, including locations in Kallio and the new build in Knekten south of Fiskehamnen.
My main responsibility in the production "Solnedgång" was to assist the cinematographer Adam, adjusting focus for the image, camera technology/assembly, lens changes, camera tripod positioning, dolly mounting, and setting up monitors on set. I acted more as an assistant to Adam but provided input from my own experience in Arcada's previous final productions from last year, 2024, when we filmed the fictional movie "Babydoll."
This production worked somewhat differently than what I was used to, with the DOP and producer both being very organized and planning ahead to ensure smooth production flow. Here, I tried not to interfere too much as a mentor and instead helped with logistics to streamline and save time alongside the gaffer and lighting team.
Adam Valkeinen has previously been my camera assistant and adjusted focus in many of my images in Arcada's productions. Working with someone who is very like-minded has both advantages and disadvantages. We have always had good communication and understand well how the other thinks when presenting the image, and focus adjustment can be somewhat advanced.
The downside is, like in any workplace, one can sometimes slip from maintaining the highest potential professional level and start joking and socializing. Of course, it's not a bad thing when participating in an activity that interests both parties and builds camaraderie. But one should also remember that time on set is precious and it's important to stay focused, even with the Nucleus focus assist kit.
Adam has worked exceptionally well and set a good example of how to operate behind the camera, patiently finding the shot, communicating with the entire team, and striving for the best results. I haven't been particularly involved in post-production but have been available to help when needed. Adam recently started editing in Davinci Resolve after previously using Adobe Premiere Pro and has occasionally had questions, as I myself work extensively in Davinci. He has learned very quickly and is also good at seeking information independently to progress in editing.
For the production "Grip Tag om Mig," I acted as a grip, which involved mounting camera rigs, advanced camera installations and positions, operating the dolly and crane, and assisting the photographer in challenging shots requiring movement in difficult spaces. One could say the grip is the photographer's best insurance if something goes wrong.
The shots that required gripping included a Dutch angle tilt, secure camera installation above the actor in a bed, outdoor dolly crane shot, and assistance with handheld shots. In this production, I mentored and assisted based on my own expertise in camera technology. I had a very close collaboration with the photographer, Yana, and camera assistant Emilia/Milla. Without interfering too much, which could cost valuable production time, I offered myself for questions and also helped with other tasks if Milla was busy, such as c-photo responsibilities, monitor installation, Hollyland installation, running cables, in the various spaces we were in.
Sometimes, I felt our set could be "messy," with equipment lying disorganized everywhere, sometimes in piles. Certainly, we were in very cramped filming spaces with many involved in production. Therefore, I tried to keep a relatively low profile and not get in the way when taking shots that didn't require grip assistance.
I have worked with Yana before and find her knowledgeable and decisive. She knows how she wants the shot. Sometimes, usually under time pressure, I wished she could communicate a bit better with the rest of the team, not just the director. Some shots required special lenses like split focus glass that hadn't been practiced with before, leading to some shots being removed or different than planned. But without interfering too much, being Yana's grip worked very well without any major challenges, and the shots planned with grip involvement turned out as expected.
Hopefully this will be my last school film production, and I’ll always remember the great people I’ve worked with. It’s been a blast!
