Ashton Cranmore

A truly indie film, Cottontail. On the day I was employed, I was also on lock-ups, keeping people from entering a hot set, but I also performed many food and drink runs this day, a challenge to remember large amounts of complicated orders.

A position in which I traveled through Oregon. A vehicle commercial, "Project Orange". Here I was posted at lockups most of the day, an opportunity to observe the technicality's of the production.

On this production for a Ford SUV, Take the Wheel. I acted as a driver in a production provided van. It was my job to transport the cast and crew from the parking to the set, and proceeding to help the cast and crew travel through out the set.

I was the best boy for an independent filmmaker. a documentary feature exploring the orgins and evolution of a British sneaker company. Similarly to other Best Boy gigs I aided in the construction of floppies, lights, c-stands, combos, etc. as well as assisting the minimal crew in any way I could. I was also able to aid in transportation of gear that day, taking amaran lights and a camera eye-line mirror.

This is the largest scale production I've been a part of, A period sports drama, The Fash Before the Bang. A lot of movement and helping crew members every second of the day. Lots of sun exposure so I was also regularly holding parasols for the talent, handing out cold water/electrolytes and constructing and moving pop-up tents.

My directorial debut. An ambitious music video, Toxic Love. Here, I worked closely with the artists involved and together we brainstormed ideas. To date one of my highest accomplishments, I was in charge of the logistics of the production, I coordinated all of the talent as well as co-edited the final product.

My Right, a surrealist punk rock video For this production I was on as a general PA. Tasked with aiding the crew, grips, etc. as well as being in charge of the smoke machine/hazer regulating the amount of mist dispersed into any given shot.

Goodbye Beard, a holiday themed dark comedy. This was my first time being employed exclusively as a Best Boy. My duties included aiding the Gaffer for the entire shoot: constructing lights, moving stands, helping break down equipment, even assisting the camera and costume departments at times.

Almost Boston is a classic sitcom pilot. Here I was able to assist the grips and lighting departments for the entirety of the production. Helping construct lighting kits and movie stands and floppies.

An 80's horror throwback, Rat Problem.

An incredibly ambitious indie-short, featuring a crew of 50+, prosthetics, puppets, shot on location. A great second gig because I was granted the opportunity to meet new people every day as well as learn on the fly in a somewhat hectic environment.

A vampire horror-drama. 15 to Sunrise. This shoot was the first I was professionally involved in. I volunteered and helped construct the set, this opened the door for me to be able to PA on the set while they shot. I learned the complexities of lighting a small space as well as the ingenuity involved with producing a short film. A small scale production with a lot of moving parts including large amounts of actors that I helped wrangle.

My first experience on a professional feature, The Way We Speak. I was able to be an extra for one day with the reference of Aileen Sheedy, the script supervisor on the set.

For a trade school program in which I was assigned a mentor, Aileen Sheedy, a professional script supervisor for many large scale production in the PDX area.

This was my introduction into the real world of film production, I learned the scale of the industry in my area as well as the complexities of making a professional film.