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As the sound operator, researching the integral parts of recording sound was an important part of my work. My goal was to capture high-quality audio that supports the story and emotions of the film. This involved researching the techniques I could use to elevate sound and how to eliminate problems before they appreared.

I started my research during the preproduction stage by analyzing the script and discussing with the director on how to translate the visual tone of the film into how sound and how they can complement each other. Based on this meeting, I had the necessary information to begin my work. I determined the best microphone placement straight from the first day and they can be applied to every day of the shoot and how to apply different recording techniques to achieve the desired outcome. On top of that, I also researched how sound is used in filmmaking to tell a story and evoke emotions. I analyze how different types of sounds such as dialogue, ambience and sound effects are used to create mood and atmosphere in a scene.

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For the lighting in this film, researching the know how and what to do was an essential part of my work, as it was a field I've never worked on before. My aim was to create a visual tone and mood that complements the story and emotions of the film. This involved researching the different types of lighting that can be used, the techniques behind that, and how lighting is used in filmmaking.

I started my research by talking to the camera operator and going through the script and discussing different options to understand the visual tone of the film and how lighting could complement it. Continuing from this, I determined the best lighting techniques to achieve the desired effect.

The biggest thing going into this film, was knowing that most of the scenes were filmed outside, which proved both as a challenge and as a blessing, as I had no difficulty working around the daylight or nightlight to create mood lighting and appropriate scenery.

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As the sound operator in this film, my primary task involved capturing the audio on location, the great advantage of this was that it was a single location for the film. Another thing I had to keep in mind was that the film was about grief and loss. I came into set knowing the layout of the location with props and such and how it would look, therefore I knew already how to set myself up properly and how to achieve the best proxemics with audio.

The equipment used was very good, such as the H6 Recorder and the Rode NTG2 Microphone, this equipment was good because it was capable of capturing the subtle nuances of the actors' voices at a very close range and without much noise and the ambient sound of the location with delicate detail. I also tested the equipment thoroughly before the shoot to ensure that everything was working properly.

However, one challenge we faced was the acoustic quality of the location. The room had a lot of echo, which made it difficult to capture clear and crisp audio. To address this issue, I worked closely with the director and the production team to make adjustments that coexist to the set design and placement of the other equipment to minimize the echo as much as possible. This worked and the results were extremely efficient as the sound that came from adjustments were very successful.

Another issue we encountered was external noise. The location was near a busy street, and we had to contend with the sounds of cars, chatter from people, and other noises. To mitigate this, we scheduled the shoot during the mornings where most people would be already gone to work or school to reduce the density of the people around.

Overall, despite these challenges, I was able to capture high-quality audio that effectively conveyed the emotional tone of the film. In the postproduction efforts, I also compiled the soundtrack and sent it to the editor as I felt this was my job.

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As the lighting operator, my role in this project involved creating a visually striking aesthetic for a film about the abstract reality of abuse and suicide. One of the main strategies I employed was the use of dynamic lighting, including natural light from outside and bright, intense neon lights.

The use of natural light was particularly effective in creating a sense of grit and real authenticity in the film. I carefully worked with the production team and planned the shoot schedule to take advantage of different times of day and weather conditions, which allowed us to capture a range of moods and tones through the changing quality of light. The natural daylight also helped to create a sense of volumetrics  in the scenes, as the light played across the faces and bodies of the actors in certain angles.

The neon lights, on the other hand, were used to create a more stylized and dramatic look. We placed these lights strategically in the scene to highlight certain areas and create contrast and texture. The bright, intense colors of the neon lights helped to convey a sense of emotional intensity and heightened reality, which was particularly effective in conveying the themes of feeling lost. They were very much inspired by the looks of Euphoria and Trainspotting.

One of the challenges we faced was balancing the natural light with the neon lights, to ensure that the overall look of the film was cohesive and visually engaging. To address this, I worked closely with the director and camera operator to carefully control the placement and intensity of the lights, ensuring that they complemented each other and worked together to create a unified aesthetic.

Overall, the use of dynamic lighting, including natural light from outside and bright, intense neon lights, was a key factor in creating the visual tone and mood of the film. Through careful planning and collaboration with the creative team, we were able to create a visually striking and emotionally resonant final product that effectively conveyed the themes of the movie.