Editing Day

I put some clips in the editor prior to give Ross a good understanding of the colour grading I was going for, to then send across so he could add an adjustment layer on top of the final edit along with my specific settings. We sat in the edit sweet, myself, Ross and Emma to start getting a viewable roughcut together.

Ross had already done a fair bit of work, but wanted myself and Emma’s opinions on small adjustments whether it be a few shots lasting too long, audio fixes and replacement shots.

After watching the roughcut put together, I can already tell there’s going to be a bit of hard work needed with the audio for when the conversation was happening between the Son and Father. When the father shouts you can head some distortion unfortunately through the microphones, along with both microphones being recorded in stereo which I done in production to have the options of both feeds in editing to adjust volumes. But this will take quite a bit of time to go into each clip and adjust accordingly.

In the future, I feel that we’ll need a dedicated sound person who knows a fair bit about audio to take over the role and make sure everything will sound equal in post-production.


Shoot Day

Finished shooting today with all cast and crew! I felt like it went absolutely amazing but am ready for my bed.

We spent far longer on the kitchen scene than scheduled and expected which pushed everything back quite a bit but being behind the camera, felt like it was worth it. I decided to stick toward using everything predominantly on mobile rigs, whether it be on the shoulder rig with no cables hanging or attached to anywhere a part from the headphones, or on the glidecam rig. This made EVERYTHING way easier to move around and get the shots we needed, since if we decided to use tripods or sliders etc. it would have most definitely doubled, if not tripled our time. Along with this, we decided to try and use as much natural lighting as possible, also opening so many doors to not having to re-rig the set for every single shot we went for.

Things I feel that could have went better were, giving more direction towards the shots I was going for by communicating to the director far more to keep her informed since there were times I felt that I was left to my own devices (which I never complain about at times), but felt like the director should have understood exactly why I was getting the shots I was for editorial purposes. So in the future, building a better bond with the director to both understand one another would be ideal.


Camera Setup

After taking some inspiration from Bodyguard and Line of Duty I’ve decided to stick to shoulder rig for most shots, so have put together the rig featuring:

  • Canon 1dx Mark II - Is an amazing camera for low light capability along with stunning quality.

  • 50mm 1.8f - Insane prime lens for all conversation shots keeping it crisp along with an amazing shallow depth of field with it being able to go as low as 1.8f

  • 16-35mm 2.8f - Great all round lens for capturing running scenes and delivery scenes along with our opening credit 1 take shot.

  • Saramonic UwMic9 Wireless Microphone - Fast and reliable. Deciding against using the traditional boom arm option for audio for the reasons 1. Space in the kitchen won’t be large enough for camera op, assist camera op, director and a boom op. 2. There’s a lot more hassle with boom arms in terms of cables and also lighting with the arm getting in the way. So this way everything is wireless and is far more mobile.



Employee Badge Design

I took a City of Glasgow College, Drivers License and YoungScot cards as examples to create the ID card for the character to be printed and attached to his belt as an employee card.

I feel it turned out well seeing as it was a bit of a last minute decision and needed to find an image from Luke the actor to be featured on it. This could’ve been done better if we decided on this a little sooner and got a more professional looking photo of Luke himself to be featured.


Logo Design

Originally the logo creation was meant to be left to Grant, but it seems like he doesn’t have that much experience in graphics design after his example. So decided to give him a hand and create an idea to suggest towards the group.

I had the idea of making the company that the son works for named “Balism”, with the logo icon being “C”s inside eachother, almost eating each other to form Cannibalism. I sent an roughcut into our group chat for approval which went ahead.

The group also decided that they wanted a T-Shirt made with the logo, a long with stickers to place onto the package bag itself which was going to cost more than £30 to get done. I made the decision to offer just getting a employee badge printed and into a badge holder to clip onto his trousers, a long with the logo printed on a4 and double sided taped onto all packages which has been approved also.


Test Shots

I went out today to see if I could get an overall feel for what our show is going to have in terms of colours, framing and depth of field. After experimenting a bit with colours and street lighting within Glasgow, I came out with some really good results. I feel that they could be done better, but with the cast and crew to assist I think they’ll be achieved.

Lenses may be a problem with low lighting, so making sure I have access to high f/stop lenses like a 50mm 1.8f or 16-35mm 2.8f will most likely be needed so that there isn’t loads of grain and noise on the footage.

I like the look of the blue tones, and orange highlights which help with the dark and mysterious feel.



Research Work

I’ve been watching a lot of new programs recently, main ones being Suits, and Line of Duty. I’ve been trying to get a certain DoP style that I can match with our Flesh and Blood film. The movements and constant on-going shoulder rig options for Line of Duty seems a lot more attractive to me for more intense scenes. Although the smoothness of what Suits is shot, mainly either being on Steadicam or Dolly work with slow zooms and not abrupt as much as Line of Duty is.




Buscombe, Edward (2007) British Television, a reader, Oxford, OUP

Casting Call Poster

So today, after taking inspiration off of previous casting call posters I’ve made in the past, I put together a rough cut of our casting call poster. We recently changed the name also from Santa’s Helper to “Flesh and Blood” which I definitely feel is more fitting. 1. We aren’t able to film in the snow to give the feel of Christmas, and 2. Flesh and Blood fits to the theme of is being cannibalism as well as being the anecdote to family.

I decided to create 2 posters that could be separately posted to give an overall feel for the short film and hopefully drag more people in who may not be appealed with one, but may with the other.



Directorial Teaching

We had Adam Robertson in this afternoon who taught our team a little more about directors notes and where things could be captured which was extremely useful for myself handling camera operation and cinematography. He started by going through how to approach actors which wasn’t useful for my category but then moved onto doing an demonstration with another groups script, showing the difference the level the camera is can impact a film. For example:

Having the camera move about the actors, in a Birdseye view it makes the character focused on very fall and give a sense of weakness. And vis-versa, if the camera is beneath a character and is looking up on them, it will make the character seem more powerful.

These simple lessons are definitely going to be useful for when we shoot the argument scene between the Dad and Son in the kitchen of our short.


Petrie, Duncan (2000) Scotland on Screen, London, BFI


Today we got put into our groups who consist of:

  • Myself | Cinematographer/Assistant Editor

  • Emma Gilchrist | Director

  • Ross James Hughes | Assistant Camera Op/Editor

  • Kayley Mctrusty | Producer/Clapper Loader

We have been given a script called “Santa’s Helper”, written by John Nicholson which seems to have an extremely dark and eerie vibe after reading over the script with the group. I can already tell that there is going to need to be a few adjustments for the script to make it understandable for the climax, along with practicality of actually shooting it.