Falmouth University Students Gain Hands‑On Experience on Mark Jenkin’s New Film Rose of Nevada

When a BAFTA‑winning director chooses to work with university students, the result is often a powerful blend of fresh talent and seasoned expertise. That is exactly what happened on the set of Rose of Nevada, the latest feature from Mark Jenkin, where eleven Falmouth University students stepped into trainee and shadowing roles across departments ranging from lighting and costume to art direction and post‑production. Their reflections reveal not only the technical skills they acquired but also the confidence that comes from being trusted on a professional film shoot.

From Classroom to Cornish Coast: The Opportunity Presented by SICL

The Sound/Image Cinema Lab (SICL) at Falmouth University acted as the bridge between academic study and industry practice. By issuing a department‑wide call‑out, SICL invited students to apply for positions on Jenkin’s production, emphasizing that the experience would be genuine work rather than a mere observation exercise. Students who were selected reported that the selection process itself felt like a mini‑interview, preparing them for the professional world even before they stepped onto the set.

Luca Vasile Berde, a final‑year BA(Hons) Film student, described his role as a post‑production assistant. He sat in on the final dubs, offering feedback that the director came to rely on. “He became a trusted ear for Mark,” noted Dr Kingsley Marshall, Head of Film & Television and producer at SICL. This kind of responsibility is rare for undergraduates and illustrates how Falmouth’s curriculum is designed to push students beyond theoretical learning.

What It Feels Like to Work on a Mark Jenkin Set

Mark Jenkin’s filmmaking style is known for its tactile, location‑driven approach. Shooting entirely on location in Cornwall meant that the crew had to adapt quickly to changing weather, limited facilities, and the logistical challenges of remote sites. For the students, this environment became an immersive classroom.

• Lighting and Grip: Ella Cannon and Tom Churchill worked alongside the gaffer, learning how to shape natural light with reflectors and diffusion panels while managing power distribution on a tight budget.
• Costume and Wardrobe: Lauren Clark assisted the costume designer, sourcing period‑appropriate garments from local charity shops and learning how to maintain continuity across multiple shooting days.
• Art Department: Ben Jacob‑Haigh and Harrison Jones helped construct practical sets, gaining hands‑on experience with scenic painting, prop dressing, and set safety protocols.
• Post‑Production: Luca Vasile Berde and Sam Page observed the editing suite, learning about colour grading, sound mixing, and the importance of clear communication between editorial and direction teams.

Across all departments, a common theme emerged: the students felt they were treated as colleagues rather than interns. This trust, according to Jenkin’s own philosophy, “pays dividends later down the line” because it encourages ownership and problem‑solving from day one.

Learning Outcomes That Extend Beyond the Shoot

The students highlighted several concrete takeaways that they believe will shape their early careers:

1. Technical Proficiency: Hands‑on operation of industry‑standard equipment—such as ARRI Alexa cameras, LED lighting kits, and DaVinci Resolve colour‑grading stations—gave them a skill set that many entry‑level job postings require.
2. Collaborative Communication: Working under tight schedules forced them to articulate ideas quickly, listen actively, and give constructive feedback, mirroring the dynamics of a professional film crew.
3. Problem‑Solving Under Pressure: Unexpected rain delays or equipment malfunctions required rapid improvisation, teaching them to stay calm and think on their feet.
4. Industry Networking: Direct interaction with BAFTA‑nominee actors George MacKay and Callum Turner, as well as producer Denzil Monk, opened doors to mentorship opportunities and potential future collaborations.
5. Confidence in Creative Decision‑Making: Being consulted on creative choices—such as colour palettes for costumes or the timing of a particular shot—helped them trust their artistic instincts.

Dr Marshall emphasized that these outcomes align with Falmouth’s broader educational goal: to produce graduates who are not only technically capable but also adaptable, collaborative, and ready to contribute meaningfully to the UK film industry.

How Falmouth Supports Industry‑Focused Learning

The Rose of Nevada experience is not an isolated incident. Falmouth University continually integrates industry partnerships into its curriculum through:

• Guest Lectures and Masterclasses: Practitioners like Jenkin regularly visit campus to share insights and run workshops.
• Work‑Placement Modules: Many programmes include assessed placements with production companies, broadcasters, and post‑production houses.
• Research‑Led Facilities: The SICL, along with the university’s sound stages and editing suites, mirrors professional environments, allowing students to practice with the same tools they will encounter after graduation.
• Alumni Networks: Graduates who have worked on high‑profile projects often return to mentor current students, creating a virtuous cycle of knowledge transfer.

These structures ensure that when opportunities like the Rose of Nevada shoot arise, students are already prepared to step in and make an immediate impact.

Advice for Prospective Film Students Wanting Similar Experiences

If you are considering a film‑related degree and hope to gain real‑world set experience, consider the following steps:

• Research Courses with Embedded Industry Links: Look for programmes that explicitly mention partnerships with film labs, production companies, or regional screen agencies.
• Engage Early with Campus Facilities: Spend time in the university’s sound stages, editing suites, and equipment stores; familiarity builds confidence when you are called onto a set.
• Build a Portfolio That Shows Initiative: Even before formal work‑placements, create short films, assist on student productions, or volunteer for local community projects to demonstrate your willingness to learn.
• Leverage Careers Services: Falmouth’s employability team can help you identify and apply for trainee roles, internships, and shadowing opportunities.
• Stay Open to Diverse Roles: The most valuable lessons often come from stepping outside your primary area of interest—try lighting if you aspire to be a director, or costume design if you aim to be a cinematographer.

By taking a proactive approach, you increase the likelihood of being considered for projects like Rose of Nevada, where the learning curve is steep but the rewards are substantial.

Looking Ahead: The Impact of Rose of Nevada on Falmouth’s Reputation

The positive feedback from both the students and the director has already begun to ripple through Falmouth’s academic community. Prospective students cite the Rose of Nevada story as a compelling reason to choose the university, while industry partners view the collaboration as evidence of Falmouth’s ability to supply ready‑to‑work talent.

Mark Jenkin himself has praised the students’ professionalism, noting that their contributions helped maintain the film’s ambitious visual style despite a modest budget. Such endorsements reinforce the university’s reputation as a hub where academic rigor meets practical filmmaking.

Take the Next Step Toward Your Film Career

Whether you are drawn to the technical craft of cinematography, the storytelling power of directing, or the collaborative nature of production design, Falmouth University offers a pathway that blends classroom learning with genuine industry exposure. The experiences of the eleven students on Rose of Nevada illustrate what is possible when talent meets opportunity.

If you want to explore the film and television programmes that made this collaboration possible, learn more about Falmouth’s Film & Television courses today.

Got questions about admissions, scholarships, or campus life? Reach out to our admissions team—we’re happy to help.

Have you worked on a professional set or are you hoping to? Share your experiences in the comments below and join the conversation with fellow aspiring filmmakers.

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