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(PICTURES AND REFLECTIVE DOCUMENT AT END OF LOG)

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(PICTURES AND REFLECTIVE DOCUMENT AT END OF LOG)

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Day 1

After picking up all the equipment from the store I made sure to tick off the equipment list everything that we had in order to keep track and organisation of the kit, making sure everything was returned, safe and packed away correctly. Once on location at the Robert Powell Theatre we began setting up for Scene 3 which involved Taylor walking across the stage to be greeted by Casey who begged to go back to her house for a game. This shot involved using a Dolly to track Taylor (Irium) across the stage and held stationary once she met Casey (Daisy) at the other side who was revealed in a pull focus from behind the wing curtain. This shot took many attempts in order to get the correct positioning of the actors, using markings on the floor to show where Irium would start and end to fit nicely within the shot. I also wanted to pull focus at the exact time Daisy was revealed from behind the curtain but also make this move stationary one the camera had tracked along with Irium's walking. Myself and CJ made sure to give the actors directions in order to ensure they both spoke and moved at the right times to allow the shot to flow in the correct order and after a few attempts the flow was accurate. Once this shot was complete we moved onto scene. After this scene was complete we moved onto the scene where Max began building a barricade in order to stop people getting into the theatre doors to be abruptly stopped by Harper who told him to stop.  This was one of the more creatively shot scenes I decided to create with the camera looking through the barricade to see Max through the other side adding on more objects. This shot had to be blocked accurately with James (Max) to ensure that his head was fitting the same mark every time meaning his face would be scene through the barricade and within the shot. This then lead onto shot reverse shots of both characters speaking to one another. We then moved onto the scene where Harper is sat in the middle of the auditorium to be greeted by Olive who sits besides her and speaking about their past. Due to this scene being one of the most emotional ones within the film I made sure to reflect this within the types of shots I chose, starting the scene with a wide showing the whole auditorium with Harper sat in the middle to connote the loneness of her character and then followed this on with close ups of both characters to show the intimacy of the topics which are being spoke about.

Shoot day 2

Today we began by shooting Scene 2a on the VHS camera which involved a flashback of Finn asleep on the sofa with Taylor filming him to which she then slaps cream onto his face as a prank. Due to filming this in a Rehearsal room we made sure to make the set as disguised as possible appearing like they are both laid on a sofa. Once filming began I worked closely with Irium to ensure her hand was on the side of the camera as if she were filming the footage herself however myself holding the camera to make sure she stayed within the shot.
Later on today we did a test shoot for Scene 8 which was a nightmare where Finn wakes up with Taylor and realises they have a baby. We decided to have a test shoot for this scene due to it being one continuous shot flowing from the bed around the room and ending on Finns face. This would be a challenge due to myself having to look at the camera, ensure the shot was framed, keep the camera steady and move around the room without bumping into any set or lights. CJ acted as my spotter while we began to plan out exactly which route I was going to take and how the lights would be effectively positioned to ensure they still gave the best effect and I wouldn't block them when moving around the set. This took some time  move them around to find the perfect layout however this is the reason we decided to have a test shoot to insure we had the time to play around with the different elements therefore on shoot day we could get straight into the room and know exactly what we were doing.
Once the test shoot was complete we moved over to George's flat to test film Scene 6b, where Casey returns home to find her game. For this scene I took out a Go Pro but also the Canon 5D Mark IV therefore I could shoot test footage on both cameras to see which one worked out best for the shot we were going for. This scene was also going to be one continuous shot from the view point of Casey who would enter her bedroom, look around to find the game, grab it and pack it in her bag along with some other belongings before exiting back through the door. This proved quite a task due to many elements causing problems that we hadn't already thought about in pre-production, for example the lighting proved an issue due to being unable to put any lights in the bedroom as they would be seen in the shot as the camera was moving around. Also I had to ensure Daisy who was playing Casey moved alongside me in order to reach her hands into the shot when grabbing her game and bag making it seem as realistic as her POV as possible.

Day 3
Upon completing the test shoot we began this morning but shooting Casey's bedroom scene. I began by running through the exact movements with Daisy and also our sound recordist Joel so they knew exactly where to move to ensure they weren't in the shot but also casting no shadows on the wall which would be seen on the camera. To solve the lighting problem we had noticed on the test shoot we used as much natural light from the windows as possible without showing signs of any life outside. We also wanted the room to have quite an eerie darkness which is only interrupted when Casey turns on the lamp to see her game and also one of the Ledgo lights outside the door to shine a green light through the edged open door to add dimension to the outside.
After this scene was shot we moved over to the Robert Powell Theatre to shoot Scene 10, the dressing room scene where the characters have an argument about what their next steps would be. This scene started with a dolly in from the door to reveal the group arguing with one another. The dolly in took a lot longer than anticipated due to the tracks we had being uneven therefore we took time to adjust them to make sure the shot was smooth. We then moved onto the whip pan which we had planned in pre production to move in the correct way to which character was speaking next. This process took some time however once I got the hang of knowing how far to pan and in which direction the shots worked quickly and effectively. On the shooting schedule we had planned to shoot the video logs today however due to the dolly and whip pans taking longer than anticipated we moved this scene to a different day.

Day 4
Today we picked up the equipment and moved it over to Hemsley House, where we would be using the state room which contained a grand interior to film numerous green room scenes. We began by shooting the dolly scene, where the camera tracked into Taylor holding the VHS camera watching a previous clip of her and Finn having fun. Finn was placed laying in the background of the camera meaning the VHS camera could be held over his face which was reflected onto the camera then as the dolly tracked closed Finn (Brent)would be revealed laid down.
We then moved onto Scene 9 where Taylor begins to fall asleep before Olive comes in and disturbed her. Due to Lucy (Olive) being absent for shooting this day we had to quickly come up with an idea of how to get around her being unable to enter the room and shot. I came up with the suggestion to have Irium react as if she had been awoken and shouted and place Lucy's voiceover in ADR on top in edit to appear as if she has been called from the door and Lucy hasn't entered the shot. I think this worked really well to focus on Taylor's reaction rather than having Olive enter behind create the fact she is falling asleep more impactful to the audience.
We then moved onto shooting Scene 14 which involved all the characters within the shot, taking it in turns to move in and say goodbye to Taylor before exiting. It was important to contain every character within this shot, adding dimension and depth placing some of the character in the foreground and some in the background acting in different ways. This took some time to ensure that when each character entered they hit their correct mark to make sure they were fully in the shot.

Day 5
Today we began by shooting Scene 1A which involved a protestor leading a group of people in protest against the governments handling of current events. Filming this at the location of the Old Adelphi was something which excited me as a cinematographer due to the location being vast and grand in its exterior. We began this shoot by setting everything up and I spoke to CJ about ideas I had once at the location. Shooting on the Panasonic 180 was a creative choice I had due to it reflecting a camera which would often be used within a news report setting. The protest worked well on camera due to the actors getting involved in an expressive way which was obvious on camera. I feel that the actors getting up close to the camera and speaking directly into the lens will be one of the most impactful shots within the film.
In the afternoon we moved over to New Adelphi to shoot the roof scene 5 where Taylor and Max spoke about what was going to happen next. We set up the equipment and blocked this scene in the rehearsal room first so once outside us as crew and the actors knew exactly what was going to happen. Due to the weather being windy and rainy today it was going to prove quite a task to ensure that all the equipment, actors and crew were kept safe at all times. Due to the rain being very strong on top on the roof this was quite a problem for continuity of the actors hair due to it getting wet.Despite this problem we continued shooting the whole scene in order to reflect back on the footage after and see if it was usable. After the scene was shot we left the camera outside in order to shoot a time lapse of the sun going down over the buildings. We made sure to keep sandbags on the camera and the rain cover on to ensure the camera would not move nor get wet and I continued to go outside to check on the camera.

Day 6
Today we began shooting Scene 4 where Max entered the stage and shouted at Taylor, Harper and Olive to find the whereabouts of his cigarettes. It was essential that James (Max) hit his mark which we made on the stage to ensure he made the correct positioning within the shot. We then moved onto the campfire scene where all the characters sat in a semi circle around various campfire items having a conversation. This proved a task in ensuring each character was positioned correctly and keeping continuity when moving around the circle for over the shoulder shots. We then moved onto the video logs we hadn't shot on Thursday which took place in the dressing room. I decided to shoot these on the VHS camera to give the effect that the character has found the camera and began shooting themselves but also on the Black magic Ursa as a back up incase the VHS footage was not suitable. I tried to position the camera to reflect each character and how they would record themselves, with Taylor holding it towards her face in confidence and Casey placing it on the floor whilst still playing her game.

Day 7
Today began shooting Scene 6, 6a and 6c which involved Casey meeting Morgan when she visits her old house. Due to the weather being incredibly rainy it proved quite a task to ensure that none of the equipment would get wet. Despite me asking for extra assistance with umbrellas from the members of the crew whom were not busy at that point in time they continued to sit in the house leaving only me and CJ outside to set everything up. Once outside the dolly took awhile to set up on the unsteady ground to ensure that this would not be visible on the camera. Once shooting I had asked Stanka as my assistant to keep hold of the tripod whilst it was moving along the tracks as it was hard to watch the camera and ensure everything was in shot whilst moving at a 306 degree angle whilst the rain cover was on. A number of times the tripod fell off the dolly slightly but was okay due to me holding on to it, this wouldn't of been an issue if I had people assisting me on making sure this didnt happen as my priorities were focused on the shot and complicated movement.
Following on from this in the afternoon we began by shooting the nightmare scene we had previously rehearsed the week before. Upon knowing what movements we were going to take and the set up of the lights the shoot began swiftly and went well. We had time to do a number of takes to ensure everything was in shot that I wanted it to be and that minimum wobbling was scene on camera despite some awkward movements being needed from myself such and stepping off the bed, around the room and kneeling back on to the bed and tilting forward.

Day 8
Today we shot Scene 1 in the Quays News studio in Media City. This was quite a simple shoot compared to the rest with the camera in a fixed position to create a lifelike replica of a news report. We shot some close ups of George as a back up incase needed in the edit to use as a glitch like effect.
In the afternoon we moved bak over to the Robert Powell theatre to shoot Scene 15, the nightmare scene where Taylor and Morgan enter the nightmare to be faced with Finn laid on a slab. This scene was shot on the Ronin and was one of the shots I had the most fun creating as a cinematographer due to it being so different to what I had done before. Upon blocking my movements without the ronin and camera alongside where the actors would be moving we also ensured that other crew who were not needed were stood on the stage wings holding closed the curtains to ensure no light was shining through to get rid of the spotlight, darkness feel we were going for to reflect the eternal darkness. Once the scene was blocked with the actors and also our producer Seb who was in charge of moving the spotlights at the correct timings I picked up the ronin and started shooting. It was hard at first to ensure I held the ronin on each subject long enough for it to auto focus and also member exactly where I was moving and how safely I was doing it whilst still looking at the camera. Despite this I picked the technique up quite quickly and managed to get a few good takes of the shot in a swift and flowing way. We then moved onto the dolly tacks to shoot Finn and Taylor's intimate scene where Finn wakes up and speaks to Taylor. This proved a problem due to having uneven tracks with little that could be done about it but adapting my flow along the tracks to be slower meant that the wobble of the tracks was less noticeable. I then moved the camera slightly as we got closer to an extreme close up of Finns face before he turns and speaks directly to the camera.

Day 9
Today we began by shooting Harpers flashback bedroom scene where she entered the room to see her family on the bed before exiting with her bag. The lighting for this shot proved an issue due to us wanting yellow tones and getting the right consistency of this and the shadows from the dark room however we overcame this issue and this ended up being one of my favourite lit shots. I then did an extreme close up of Harper as she moved across the room with a family picture before exiting.
In the afternoon we did a reshoot of the roof scene due to the previous days footage having too may continuity issues. This scene went much better due to us having more cast and crew helping us out holding the equipment, ensuring continuity was kept on top of and umbrellas were held above the actors and crew.

Pictures in order of shooting.

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Being given the role of Cinematographer was a great honor for this film due to the narrative and directors visions suiting my cinematography style greatly. Upon reading the script I knew the narrative had a lot of creativity to be had in terms of visuals and this paired with locations, set, costume and lighting would be something that could captivate audiences in an abstract and cinematic way. Upon having my interview for the role, I showed CJ, Sebastian and Nathan my showreel to give them an insight into work I had done before which would follow similar styles on how I envisioned their film. I also spoke about ideas I had upon reading the script, asked questions about it and viewed CJ's mood boards which gave me a very good understanding of exactly what they were wanting the film to look like.

Day 1

We began by having a briefing from Sebastian our producer discussing how the pre-production and filming process would work and which roles we were given. This followed on with CJ taking us through the themes of the narrative and a look at each character in depth along with their attributes. This gave me a greater understanding visually about how I could get these themes across to the audience purely visually without any dialogue. Understanding each character’s aims and objectives and which actor was going to be playing them also allowed me to think about specific techniques and shot styles that may be used in order to shed that character in its specific light. We then had a full script read through to understand exactly how the narrative played out with directions and actors speaking their lines. This gave us the opportunity to ask any questions we had and understand how each scene would flow.

I then began looking through the script scene by scene thinking of shot ideas which would fit the scene and tell a story. I along with Stanka on lighting and grip came up with ideas which reflected the scene, characters and location but in quite an abstract way to engage audiences and be as creative as possible. This also allowed us to list all the equipment which would be needed for each scene such as which cameras we would be using, any supports such as a dolly or stabiliser, which lenses would work best to capture the mis-en-scene and which lighting style and equipment would give the overall look we were going for. Deciding one scene was going to be styled as a VHS camera, I spoke to Livvy on edit who originally planned on adding a VHS effect, however due to my previous experience in using a VHS camera I knew the look we were going for was not something which would look as realistic with an effect. I came to the decision to shoot this specific scene on my own VHS camera along with a tape and spoke to Livvy about how we would get the footage from the tape onto the screen which she felt confident in doing. Due to my past experience in editing a variety of different films it was very important to me to have in depth conversations with the editor allowing us to work from the same page, allowing the shots I capture to be pieced together in same way myself and the director had visioned in order to create a story and work of art.

Day 2

Today we began with another meeting to discuss what preparations we had all made for the shoot. Once this was complete me and Stanka continued to read through the script and plan through the rest of the scenes in terms of shots. Once the script was complete, I referred to my list of equipment and highlighted which items would be needed for the length of the shoot and which only for specific days ready for our meeting with Tom in the store. Upon meeting with Tom, we extended all the equipment we needed for the two weeks along with Stanka’s lights and Joel and George’s sound equipment therefore we would be fully equipped for every shoot day. After lunch, the whole cast and crew read through each scene of the script and each department spoke about their ideas for the specific scene. I think this helped us all within the group to fully understand the logistics of the film and pull each departments idea’s together to form successful film. After voicing my opinions of shot ideas I had for each scene, it was good to have feedback from the actors or crew from different departments on slight adjustments that could be made to make things better or the general passion for the shots I created which would be present when on set. This also gave the director and actors an idea of blocking and where they were going to be moving within the scene. It also gave the sound departments ideas of where they could position themselves to get the best quality sound and which mics they specifically wanted to use for more intricate sections. Costume and Set could furthermore push their ideas to fit within the mis-en-scene of the shot, paired with mine and Stanka’s ideas for lighting working together to form an aesthetically pleasing shot.

Day 3

Today began with another briefing to discuss where we were all up to in terms of preproduction. Me and Stanka then met with Connell from the Equipment Store to have an induction on the Ronin, a handheld stabiliser that allows you to move and control the camera with a remote in order to create a cinematic feel and flow throughout the movement of the shot. Once the induction ended, we headed over to the Robert Powell Theatre along with Seb our producer and Lewis our locations manager to get a feel for the set and work out the logistics of the stage for shooting. We also looked in the dressing room at the side of the stage which would be the location for one of the scenes which worked out perfectly for the shot I had in mind. However, due to there being mirrors positioned round most of the room, this flagged up a problem we may have with the reflection of the crew and camera within the mirrors. To solve this problem, we discussed using posters on the mirrors and props such as flowers and costumes to hide parts of the mirror where crew would be seen. After this we spoke with the technician of the theatre who showed us a variety of different lights we could use and effects which could change the way they looked. A particular effect we wanted to use was one which made the lights on the auditorium flicker which would add to the ‘end of world’ feel the film would have. Also, the technician showed us the spotlights on the stage which allowed me to plan further how I would position the camera in order to show the sense of fear and movement in the final shot of the film. I also planned out exactly where the dolly would be place in one of the earlier scenes within the film where the camera would track Taylor's character along the stage. This allowed me to feel confident about the shoot days with the first shoot location being the theatre therefore I knew exactly where equipment would be placed and how the camera would move in order to be prepared once the cast and other crew were on set on the day. After this I had a one to one meeting with CJ, our director, who I discussed tech rehearsal plans with and how we were going to go about this in terms of cast and crew. We decided to rehearse our key shots with the actors, sound and lighting in order to work out logistics of where the actors would be placed, how the sound would move along with the movement, which equipment would be used and lighting. After this meeting myself, our Producer Seb and Art director Natalie visited another of our shoot locations to work out exactly how this shoot would also work out. Having an insight into the set and Natalie’s ideas of how she was going to dress it gave me a great insight into how myself, as cinematographer, could move through the set comfortably, safely and mostly creatively in order to get the best shot possible. Due to the whole scene being a long shot it was important I knew exactly where I was going to be moving so that once rehearsed and on set, I could shoot it to its best possible standard.

Day 4

Today we underwent tech rehearsals for the more complicated scenes. This was a great way for me and Stanka to get a feel for how the actors were going to play the scenes therefore angle and move the camera to a way which would best reflect their character on screen. It was also very helpful to work with CJ to get a feel for her directing technique but also her allowing me creative freedom in my shot ideas. One of the scenes we practiced was the argument scene where I had previous had the idea of placing the camera in the middle of the group circle and whip panning to each person when they say their line. This helped me to understand exactly which way I was going to be panning in and out and at what speed I would be doing so. Upon shooting we realised some challenges such as working out exactly which way to pan in and out so the argument would make sense and flow in the edit. It was good that we realized this within the tech rehearsal meaning after we could make an ordered structure to which way we would be panning in and out. Once all the footage was recorded and onto the SD card I handed it over to Livvy ,the editor, who began looking over the footage and further highlight the small mistakes that were made, meaning we could ensure this would not happen on the shoot day. I also attempted to test out the Ronin for one of the scenes, however realising the technique of use was something which took months to master and lots of experience I realised that a tracking dolly was something which would be better and more effective for the type of shot we were going for.

Day 5

Following on from the previous days tech rehearsal we use today to complete furthermore complicated shots to ensure they would run smoothly. I used today to plan the movements for the nightmare scene long shot to make sure my movements, along with the actors, ran smoothly and the shot had the steady and flowing effect I wanted. I also strategically angled the camera to ensure no lighting would be seen around the set due to the bed itself being surrounded by lights and stands. I think it would have been more beneficial on Day 4 and Day 5 to have the director with us for the tech rehearsal due to the actors not knowing where they should be positioned or how exactly to play it out due to having no direction. I tried to direct the cast as much as possible around the knowledge I had from CJ and my shot ideas however I did not want to go against the director's vision and eye for the film. It was also hard to balance concentrating on the shot, camera and the way it would flow whilst also directing the actors at the same time. However, despite this me and Stanka managed to try out every shot planned and felt confident for the two weeks production to be had. The day ended with a full group meeting to discuss how the shooting would be organised and any questions to be had.

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(SCREENSHOTS AT END OF LOG)

Day 1

OFF

Day 2

Began with a meeting with James our Director and Alice our producer who filled me in with the previous days meeting. I was given the script and added on the scene numbers myself adding any notes of scenes which I would be editing and how they would be done. James highlighted the fact he wanted me to edit the past flashback scenes and James Johnston to edit the present day scenes. This therefore suited my edit style specifically creating something more abstract, working with colour and sound in a more creative way. I then moved onto creating a website for the first scene of the film where Hayley is scrolling through social meeting seeing all the posts about her missing sister. For this I  began researching missing peoples news articles to see the ways in which journalists commonly compose articles about the subjects. I used these as a guideline and made my own posts about Lyndsey’s disappearance listing her appearance, where she was last seen with pictures and news stories which are commonly linked such as public outcry. For the website I also created a logo and colour pallet to make it as realistic as possible and also a logo for the news broadcasting posts ‘BOLD NEWS’.

Day 3

Me and James began creating news articles in the style of social media posts pairing screenshots from google earth to give the realistic feel. Once each individual post was linked together on a long document I placed it onto the website meaning Kelsey can scroll through it easily on her phone on the shoot and pause on parts for herself and the audience to read.

After some of the test footage was shot from the scene where Liam feels Lyndseys leg I began editing this, using the master shots and close ups to create a flashback/dreamlike section. It was initially hard to piece the footage together exactly how James and Stanka wanted due to being unaware of the shot list and only going by small notes James had given me however I edited to the style I thought worked best for the piece.

Day 4

Today I continued editing the test footage, adding sound to the appropriate sections and testing ways in which I could position it for creative purposes. I also created another better laid out website due to the previous one having my email address at the top of the page and when viewing it on a phone the images were made smaller so could not be seen as effectively. I therefore set up an email for the website specifically to get rid of mine at the top of the page and used a better website layout that was similar to the layout of twitter.

Day 5
I finalised the test footage and showed James the work I had done which he was extremely happy with. This helped me understand the scene and the dialogue which I would be editing after the real shoots. I also made sure the website worked appropriately and looked good on a phone screen.

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Day 1

This evening we shot Scene 4 which was a flashback between Lyndsey and Dani when exiting the club and having an argument. For the shoot I began by standing in for the actors, so the crew could set up lighting, positioning and sound in order to get the best logistics for the shoot. This also gave me a good idea of how the scene was going to play out therefore when editing I would be fully aware of the movements and how they would be pieced together. After this I sat with the equipment due to everyone being needed on set to ensure it was safe due to people walking past. I think it would have been more beneficial to be sat closer to the set in order to watch everything taking place to have a feel for what the shots were and what I would be editing however I was the only person available to watch the equipment so had to sit away from where the shooting was taking place.

Day 2

This afternoon we began shooting at Kelseys flat later than anticipated due to getting everyone to the location and taking time to set up. Whilst the shoot went on I carried on editing Scene 4 making the changes and adjustments that had been discussed in a meeting with James prior to shooting. This involved me changing the flow of the ronin shot to have more cut aways to over the shoulder shots and also adding music rather than a ringing tone to the beginning of the scene to create the idea of faded club music being heard in the background. This would be a good guideline for the composers to follow
For the rest of the shoot days I continued to stay in the editing suite, gathering footage after the shoots and ensuring it was safely stored on the hard drives and backed up. This enabled me to use the log sheets to sort through the best footage and start creating a rough outline of any scenes which would need reshooting or any ADR due to sound issues.

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Due to gathering most of the footage within Production I already had most of it organised, the usable shots labelled and in folders with Scene numbers and all the sound linked to the correct footage. The log sheets helped massively with this process due to knowing exactly which shots James was happy with along with the sound that worked best, I could therefore link these up in an orderly fashion. On the first day of Pre production I had already pieced together most of the scenes and put them into an order that made linear sense. Knowing that I would be editing the flashback scenes that would be similar to a dream like sequence having unusual unilinear sequencing I knew this would be something that i could build up from the original linear sequence. Upon watching similar videos for inspiration a dreamlike flashback still needed to make sense to an audience, however in a order jumbled up, unusual manor, similar to how we all remember past memories. I knew significance of important objects and locations is something I wanted to play upon making them stand out on the screen or repeat numerous times. From my own experience of memories or dreams I know that every element is not remembered but only memorable parts such as facial features and clothing or the sound of a voice therefore I would use my own experience to put this into my work and the film.

Day 2
After showing James the footage I had already edited and my updated version of edited Scene 4, he gave me positive feedback stating that Scene 4 was edited exactly how he imagined the final product to be with the changes in opacity over the over each shots playing on the significant features of each character. This paired with the close ups of the location and music made the scene fast paced and flowing- exactly what we were going for. James also gave me some notes on the other scenes, tightening up some shots and making it quicker paced.

Day 3
I began today by adding more of the opacity changed into all of the scenes, understanding exactly what it meant to have that image placed other another. I knew that each persons eyes would have the most impact when placed over other shots to show the raw emotion of each character, with the audience feeling as if they were made part of their world. I also tried to match different shots of different actions in order to make use of all the good shots and add more dimension and impact to the arcs within the narrative.

Day 4
After editing together Scene 7 I knew that this was the most impactful scene due to its quick pace and tension created from the shots along with the opacity changes. I knew this was something which I wanted to reflect further into the rest of the flashback scenes and after showing it to James he agreed. I looked back over the scenes and made sure that every other was snappy and had the scene effect as scene 7 adding the dreamlike dimensions we wanted.

Day 5
Today I focused more on Scene 10 which involved Hayley and Lyndsey going back to the flat. The long pause between Hayley leaving the room for a 'blanket' and her entering the room again to grab the mug as if she is making tea was something which I wanted to focus on more. I knew the pause was something I wanted to keep due to the dramatic tension building after Lyndseys shocking line however at the minute it felt quite awkward and too silent. Obviously this would change once music was laid within the scene however this part still felt quite flat compared to the rest of the scene. I chose to take more shots of Lyndseys eyes and face and overlay them over the top to show her reaction to the awkwardness and what had been said which I felt reflected those emotions onto the audience in a more impactful way.

Day 6
Today I began by further looking into the Liam and Lyndsey scene to add more sharp cuts and flows but also adding the location establishing shots in the middle lowering the opacity with the shot of Liam and Lyndsey walking down the round to suggest that something bad is going to happen due to the shots of 'deep water' signs and the water itself. I wanted to play around with effects more creating an overlapping effect at the point when Liam places his hand n Lyndseys leg to show the blurred like vision Liam would have over the things he had done wrong.

Day 8
We began today by piecing mine and James scenes together on one big timeline therefore meaning we would both have copies of this and work from a master timeline rather than two separate ones. We also did this to look at the timings and see if the film needed to be cut down or added on to. Luckily the film hit exactly 14 minutes 49 seconds which fit perfectly with the time frame that was given meaning myself and both James' were very happy that no significant changes would need to be made.

Day 9
Today I went over the sound within my scenes to play around with the dialogue levels and ensure they were at the right point to be heard correctly through the speakers at the levels we wanted. Some of the dialgue need to be turned up slightly on quieter, whispering parts and some turned down for the shouting such as Spencers scene but over all the sound we gathered on set worked well.

Day 10
Due to having an ADR session with the actors tonight we made sure to note down all the scenes and specific lines which needed ADR meaning the actors had clear direction from James on which lines they would be saying. Only a few of the lines out of my scenes needed ADR due to most of them working well already. We made sure to timecode these scenes and export them ready to be shown on the screen for ADR.

Day 11
Today I began by piecing together the music sent over by the composer to ensure that the different levels and changes with in the music matched the action seen on screen. Due to us having a good composer this task wasnt too hard as the music was already matched with the action however I had to play with some of the levels and adjust the length of some of the clips slightly to suit the scene. I then moved on to further adjusting the volumes of the dialogue to ensure it could be heard over the music. I then placed in the recorded ADR over certain clips however the majority of it didnt work within the scene due to the actors being too close to the microphone therefore it seemed too out of place and obviously ADR. I made the decision along with James to not use this due to the music disguising most issues we had and my sound mixing playing with the levels. If we had time to do more ADR I definetely would as some of the lines and scenes I had specifically asked to be done hadn't due to the sound team creating a confusing and incorrect spread sheet however I think the sound mixing I did helped the sound a lot.

Day 12
I went over most scenes again today sharpening up the cuts, ensuring every cut was then replaced py a transition or opacity change rather than a quick cut. I wanted to focus on this to create the dream sequence but also show a significant change from James' scenes in the present day which only focus on the cuts with little transitions. Getting the music for Lyndsey and Hayley's scene today due to the previous one we were sent not working for the scene I think the new music worked amazingly and definitely was something which stood out to me out of the whole film due to the drop in the middle and the sudden change in mood.

Day 13
After watching the final cut we exported last night James gave us some final adjustments to add to our scenes. He suggested that I could make my scenes even more dreamlike by adding an effect onto the top. Despite this being a massive decision to make on the deadline day I took the suggestion with ease and knew I could use my past experience to create even more blurred memories through the effects in the scene. I added a blurred edging to the shots with a focus point where the action was happening appearing like it was someones eyes looking in in a very subtle way. I think this sudden decision payed off in some of the shots however I was very conscious of it taking away from the cinematography itself. Once these changes were complete me and James exported the film and watched it back on the big screen. Upon noticing that one of the names in the credits was wrong we re-exported it with time to spare, watched it back being happy with the end result and handed it in. Also uploading it to youtube unlisted and Medial.