Art Department & Production Support on Mazuzah Man and The Promised Land
I was invited to join the art department and production team across two short films, Mazuzah Man and The Promised Land, both produced for the Jewish Film Festival, after previously working with set designer and art department manager Matt Bonicci on an earlier project.
Across both productions, I worked as an Art Department Assistant and general Set Runner as part of a small team supporting a busy set of approximately 30–50 crew members. The role required constant coordination between departments, assisting with both creative setup and practical on-set logistics to maintain smooth workflow across multiple locations and departments.
My primary focus was within the art department, where I worked directly with the set designer to help prepare, manage, and maintain set dressing and practical elements across shooting days. This included assisting with the preparation of custom paint applications for temporary on-set use, ensuring materials could be safely applied and fully removed post-shoot, as well as supporting resets and continuity between takes in fast-moving production conditions.
Alongside this, I supported general production logistics and crew needs across set. This included coordinating day-to-day running tasks between departments—most memorably morning coffee runs, which quickly became a running production system of their own and required surprisingly precise coordination to avoid repeat trips.
On the final day of production, I assisted the art department with preparation of a hero vehicle for a key practical effects sequence. This involved supporting physical modifications to the car for smoke and visual effects, as well as assisting in the styling and breakdown of the vehicle for on-camera destruction. Working as part of a coordinated art department team, we were able to execute the setup efficiently while maintaining both safety and visual continuity requirements.
Midway through production, we moved to a second location at a bookshop near Bondi Beach. Here, I also supported the makeup department, working between set and base (located at the Adina Hotel) to transport kits, manage on-set requirements, and assist with continuity touch-ups between takes. I additionally contributed to the preparation of prosthetic materials for practical makeup effects and assisted with urgent supply runs when needed.
Across both productions, I gained further experience working across multiple departments in a professional film environment, contributing to both creative execution and on-set operations under fast-paced conditions. The experience reinforced my adaptability and understanding of how interconnected each department is in delivering a cohesive production.
