Moonshot Productions, New York, NY
I have always found the prospect of finding summer work to be scary. It’s been expected of me since I was fourteen, back when it was merely a drain on time spent watching TV and playing video games. In recent years, however, the source of my fears has not been losing all of my free time, but rather keeping too much of it—as one who aspires to ultimately work in the entertainment industry, a field with little to no clear venue for entry, I feel an obligation to take some step to advance constantly hanging over my head like the sword of Damocles.
Looking back, I couldn’t be more relieved to have found Moonshot Productions, and to be supported by the Alumni Sponsored Internship Program. It checks all of the necessary boxes—keeping busy, earning some money, and adding something to my résumé, but more importantly, developing future connections and cultivating skills that will be valuable in the future.
In my time at Moonshot, I was part of four different projects. The first, and most important, was a project abbreviated as “ODAD.” While I’m not at liberty to disclose too many specifics regarding the project, it was a pretty important job for the company. They were charged with shooting and editing a total of fourteen different promos. When I began work, they had shot eleven of them and were in the midst of the editing process. My main duty was handling what are known as deliverables. In addition to the promos themselves, Moonshot was responsible for submitting a packet of associated paperwork with a wide variety of information. My first task was relatively straightforward: compile logistical information from the completed shoots. This included release forms from civilians who appeared in the projects and forms documenting the schedules of the shoots, among other things. Then it got more complicated. Most of the remainder of the deliverables were based on the final cuts rather than the shoots. I had to verify the accuracy of any and all subheadings used in cuts and log any music and external footage used. While it was eye-opening to see the extent to which projects must borrow from previously existing properties, this project also exposed me to the grueling—but necessary—note taking process. Moonshot would send cut after cut from their in-house editors to the clients for approval, though often being met with a series of small requests for changes. I had been aware that this was an important part of the process, but witnessing it firsthand was very instructional. However, it did make the rest of my job trickier, as I had to be ready to change the paperwork whenever any set of changes were made in the cuts. Ultimately, it forced me to be efficient.
Two of the other projects I assisted with were straightforward shoots. I had been on a few professional shoots before as a Production Assistant for shows from both NBC and Amazon, in addition to dozens of student film shoots in various different capacities, so I was not completely new to the environment. However, these shoots were both completely different in atmosphere from those in which I’d previously been involved. While they were professional, the shoots were non-union, and therefore much more fluid. As opposed to a crew of upwards of fifty with fourteen hour days and regimented division of labor, we adopted a more run-and-gun style. One of the shoots featured a crew of about ten, during which I was charged with whatever tasks were left over—picking up food and supplies, carrying equipment, keeping the shooting space clean, etc. On the other, the crew consisted solely of myself and a cameraman. I had to carry and watch the equipment, set up microphones for interviews, and remain on hand for any additional small tasks that could not be completed by a man with a seven thousand dollar camera on his shoulder.
I think my favorite project, though, was a new one. Moonshot is currently developing a reality series project, and I was directly involved in preparing the pitch. I found B-roll for the sizzle reel, which means collecting footage of content related to the subject of the project that is used in an extended trailer during the pitching process. I also wrote a one-sheet for the project, which is a short document also used in pitching that explains the format of the
project and what makes it unique and interesting. I was particularly proud of this as it offered a window into the development process, which is an area of entertainment I had always been interested in but to which I had never been exposed.
I believe Moonshot was the ideal environment for me to gain increased exposure to the industry. It is a company rapidly on the rise, yet still small enough that on most days I worked alongside the company’s two co-founders. Furthermore, on shoots I was able to interact with virtually every other crew member, so I could better grasp their duties and also get to know them on a personal level.
It was also great to be working for a Williams alum, David Rowe ’02. It was first and foremost an easy icebreaker to the awkwardness that always forms when working in close quarters with a supervisor, but it also offered a kinship and understanding that I don’t believe would have existed otherwise. Knowing my background, he was quick to trust my judgment, and also more than willing to explain the big picture of what was going to both to help me better complete the tasks at hand and also to advance my understanding for the future.
I think the greatest gift from my time at Moonshot was the knowledge I gained of the entire production process. Since Moonshot is a one-stop production company, I got to take part in all phases of production; and while I am not yet ready to tie myself down to one area in particular, I believe working at Moonshot has offered some insight into the direction I would like to take my career.
I couldn’t be more satisfied with my summer work experience, both as a means to attaining future work but more importantly as an opportunity to learn and grow. It would not have been possible without the ’68 Center for Career Exploration, particularly the diligent work and endless compassion of Ms. Dawn Dellea, or the generosity of Ms. Martha Williamson ’77 and Mr. Peter Martin Nelson ’76. Thank you so much for your kindness; I hope to make the most of the opportunity you have provided me.
Megamenu Social