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The director and script writer explained the premise and themes of Sanguine and we first as a group and then as separate departments brainstormed ideas. In terms of lighting I suggested warm tones to mimic candlelight and employing chiaroscuro lighting during the flashback scenes. In terms of camerawork, I had the idea to use long, continuous shots in multiple scenes in order to create a greater sense of scope, drama, tension, and immediacy. I also suggested the use of a neutral density filter in order to minimise glare during the shots being taken through windows.

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Today we met with Jake and Connoll regarding both creative and logistical aspects of our production. We discussed the ideas we had for the use of handheld techniques and they suggested the use of the Easy Rig. They also advised me against using different colours to differentiate between the past and present, and instead to focus on using motivated lighting. We further brainstormed within our departments. We had the idea to use a dolly track in the opening shot in order to to increase the tension of the scene. We also decided today that we want to film in 5k using a RED KOMODO 6K camera. This is to allow for stabilisation of handheld shots and pushes in and pulls out to be added in post.

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Today I compiled a detailed research document into my roles as camera and lighting operators. I drew inspiration from films such as Nosferatu, Only Lovers Left Alive, Dracula and Let the Right One In - all of which I watched over the weekend. The director and I then created a mock up shot list.

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As a production team we decided upon locations and began to decide upon equipment needed for filming. Myself, my fellow camera operator and the AD all refreshed ourselves on the RED KOMODO 6K camera with a second induction so as to hit the ground running when it came to filming.

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Today we met with Tom from the equipment store in order to finalise all the equipment we needed for our production. The Director and I then finalised the shot list and uploaded it to teams for the whole crew to see. Then I booked out a RED KOMODO 6K camera in order to test it out and familiarise myself with it again.

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A change in the schedule meant that amendments had to be made to the shot list and other production documents. Once these were finalised I ensured all the settings on the RED KOMODO 6K camera were ready for filming next week.

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A team of 5 of us went to pick up the equipment - which amounted to 4 trollies worth. We then transported that to location - a crew member's house. We then filmed scene 10, for which I had sole responsibility for the lighting. The camerawork was split equally between myself and my fellow camera operator.

We then transported the necessary equipment to the next location - a cast member's house. We filmed scenes 12, 13 and 14 - all of which I was soley responsible for lighting.

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Today we met at 9 on location at a crew member's house. We filmed the party scenes - 9 and 10 both of which I was soley responsible for lighting. I also operated the camera for scene 9 - a one take scene using the gimbal to travel through the party. The shot came out looking extremely crisp and smooth.

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Today we met at 8:30 on location at a cast member's house. We filmed scene 11, for which my fellow camera operator and I equally divided the role, and again I was entirely responsible for lighting. We then proceeded to get b-roll shots of the interior and exterior of the house.

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We met on location at 8 at the same house. We filmed scenes 1,2 and 16, all of which I was responsible for lighting. I also operated the camera for scenes 1 and 16.

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Today we met on location at 2 - again at a cast member's house. We filmed scenes 3 and 7. I was again soley responsible for lighting the scenes and also operated the camera for scene 3.

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We met on location at 8 at the same house. We shot scenes 4, 6 and 15. I was responsible for lighting all of these scenes, and we shared camera operating duties. We then waited until dark to travel to our next location - a smoking shelter near the New Adelphi building. We used printed off pieces of paper to transform it into a bus stop. We then filmed scene 8, for which I was responsible for lighting.

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We met on location at 8 for the final day of filming - still at the same house. We filmed scene 5, for which I was responsible for lighting. I then proceeded to capture b-roll shots of the study.