Chat with Sedrick Lakpa (Working in Set Decoration)
Please welcome Sedrick Lakpa. Sedrick works within the Set Decoration department. He has worked as an On-Set Dresser, Set Dresser, and Gangboss. He is also an Atlanta local film Writer and Director. This video is a bit longer than my usual interviews as we discuss both his work within Set Decoration, as well as working as an upcoming filmmaker with his own vision as a Writer/Director.
Sedrick went to college at Emory University in Georgia and majored in Film Studies. Though he knew he wanted to Write and Direct, he chose a more affordable school option to learn the history and basis of film. By working in the film industry, he learned more with paid experience.
In school his primary focus was film theory. By understanding history, you’re better able to build on it or navigate from it. He didn’t have much of an opportunity in the classroom to create a reel and practice the craft. He needed to be a self-starter to complete his own film projects.
Sedrick chose to remain in Georgia to seek out film work. With a smaller market, compared to California, he could gain experience faster and build a reputation for himself.
Often unpredictable challenges will arise on a film set. You have to learn how to pivot and be adaptable. Embrace that no matter how much you prepare, you will not have full control of the day, things happen.
It’s very important to make your film AND finish it. When unforeseen challenges arise, they force you to be creative. When you come out on the other side of those challenges, you acquire new skills to add to your repertoire. Learn lessons and how to be better. Don’t let those challenges stop you from finishing your film.
You’ll learn what you should have asked for and how to communicate more effectively. Visual references are very helpful to communicate your vision.
Be flexible. You may not get everything you want, but know what you need. What are your non-negotiable shots?
Ask for cast and crew to relay direction back to you to ensure you’re on the same page.
Be sure to channel the right mode of communication based on whom you’re talking to. By communicating in the right language, you can be more creative with one another. Good or poor communication can really affect the mood on set. Help protect the creative flow.
SET DECORATION
The primary positions in Set Decoration (set dec) are the Decorator, Buyer, Leadperson, Gangboss, and Set Dressers. It’s becoming more common to have a Set Dec Coordinator, who works in the production office. Occasionally there will be someone specifically designated to the set dec lockup or warehouse to keep it organized.
Sedrick has worked as a Gangboss where he’s helping the Leadperson run the crew of Set Dressers and prepare for the next day.
Sedrick has also worked as an On Set Dresser, which is fun because he’s right by the action. He advises to build a good relationship with your 1st AD, DP, and Grips. They are supportive of you accomplishing your job. You are the only person on set, fighting for your department. Earn allies.
We addressed the importance of taking great pictures for continuity. Continuity ensures the set is re-set or the same between takes and camera set ups based on the sequence of action in the scene. Use photos to document the appearance of the set. Start by taking wide photos from further away, then punch in to close ups. As you go from wide to close up, be sure to include some frame of reference so the viewer knows where it exists within the space. Hold the camera steady and remember to use a flash when necessary. These photos will be used to help everyone who comes after you for reshoots or restoring a set. Be sure to organize the photos by set name, then scene number. Turn them in at the end of each day. Usually the coordinator will archive these files, but check with the Decorator.
Over communicate. Do not make decisions on your own based on assumptions. In prep, take the time to learn what are your boss’s expectations and what they are very particular about. Be sure to cover yourself. Execute a task to your fullest ability and follow up. Get proof in the form of documentation and photos when you can. When you get a response about a question, share it. If no answer is given, be sure to follow up. Miscommunication or lack of it, adds up to set backs and hurts the efficiency of the department.
Show up on time and be ready to work.
If you don’t understand something, ask.
As a Set Dresser you’ll need to learn how to tie knots, pack a truck, and secure items. As you pack items, be sure to label them with blue tape and a black sharpie. When labeling, be cognizant of protecting the piece of furniture or artwork. Do not tape over an area the tape will damage upon removed. Be knowledgeable about how to measure with a tape measure.
During prep a length of day may be 10 hours, but most days in set dec are 12 hours. Your lunch break will be 6 hours after call. Be sure to speak up when it’s your lunchtime. 1 hour before the end of a 12-hour day ask, “Are we working over today?” Be sure to have some time to prep for the next day.
We both agreed a 12-hour day is too long. Work smarter, not harder. It’s very possible the work can be accomplished in a 10-hour day.
TOOLS
Start with the basics. Observe what other crew has, then build up your tools according to your skillset.
You will need 2” wide blue tape, black sharpies, electrical tape, tape measure, multi-tool, knife, and maybe scissors and gloves.
Pick Up Envelopes are used for all pickups and returns for purchases and rentals. It should notate the pick up date, return date, set, who purchased it, vendor name, address, contact, hours, items being picked up or returned, how it was paid or if payment is still due, other special notes, photos, and further details inside the envelope. Sedrick mentioned he instructs the crew to put their name on the envelope for pickups and returns in case there are questions. So be sure to cover yourself and be thorough. Take pictures and ask for return slips.
As crew members, be sure you’re doing your own due diligence. Ask questions when you’re not sure about something. See a task all the way through by asking, “What is the next step?”
Most studios will have policies in regards to assets. An asset is a single item of a certain dollar amount. During wrap, crews are responsible for creating inventories detailing where all the assets are located, down to the very box. There can be hundreds of assets by the end of a show. We both agreed trying to identify them as you go, is much more helpful. When filling out accounting paperwork, be sure to properly code the asset to the set it’s intended for and be specific on the description. For example, “32” Samsung flat screen” is much more specific than, “TV.” Personally, I would like to see studios do away with an asset policy since we wrap items for reshoots anyway. It just adds an unnecessary layer that is impossible to ensure accuracy on.
Sedrick mentioned the importance of crew in leadership positions to make decisions and stick to them. Of course someone can change their mind, just realize the shift comes with a ripple of consequences between time, money, and what the crew is working on. Also, work can cease due to lake of timely decision making. Then when crews are rushing, it leads to more missteps and unsafe environments.
VISION AS A FILMMAKER
Sedrick wants to tell stories of Atlanta and promote the history of the city. He started a company called United Storytellers and Preservation by Film is the initiative: to honor and preserve buildings through filmmaking. He wants to create more connections within a community. When you know more about a neighborhoods history and who lives there, you respect it more. There’s less of an “us vs them” culture.
PARTING COMMENTS
Be humble. Appreciate there’s a process with learning new things. You may also learn a more effective way. Ask questions and don’t make assumptions. Film is a collaborative process, so work together.
Follow Sedrick on IG: @unitedstorytellers
