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Any work I do with my DIRECTOR OF PHOTOGRAPHY role will be in purple.

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Any work I do with my ACTING role (Mystic Michael) will be in yellow.

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Hannah Hamlin, a 22-year-old musician, struggles with friendships, love, and self-worth. After a disappointing date, she discovers a chilling secret: her friends, including her flatmate Morgan, are part of a cult worshiping her. Rituals and paranoia escalate, leading to a confrontation at her gig, where the cult's twisted devotion blurs admiration with obsession. In this darkly comedic thriller, Hannah must confront betrayal, question trust, and face the unsettling price of adoration.

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Hannah’s emotional state is depicted through empty spaces, such as her quiet room, her lonely dinner date, and her solitary walks. These emphasise her feelings of disconnection and isolation.

The cult’s seemingly friendly exterior contrasts with their darker rituals. Visual cues include lighting shifts, contrasts between casual and ritualistic scenes, and symbols like the bloodied pillow.

The cult elements juxtaposed with Hannah’s mundane life suggest a blend of dark humour and psychological thriller aesthetics. This requires transitions that blur the line between reality and absurdity.

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What my role as director of photography (DOP) will include during the post production process.

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What my role as director of photography (DOP) will include during the post production process.

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In my role as one of the DOP's, I bear the responsibility of the "visual concepts and technical planning imagined by the director" (Utami & Arifianto, 2019, p.167). This entails orchestrating the camera movements to align with our chosen stylistic direction. To achieve this, I will meticulously outline each shot in advance through a script breakdown, detailed shot lists and storyboards. Once the visual style is established, I collaborate closely with the lighting department to ensure that every scene is illuminated to enhance the desired aesthetic. By effectively communicating our vision, we synchronise camera movements and lighting setups to bring the director's creative vision to life on screen.

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Here's a clearer version:

Here’s an example of how I broke down the script into its various sections. I started by identifying where each cast member was mentioned, then marked specific points where the prop and costume departments would need to reference the script. Additionally, I made brief notes on potential shot ideas, which I later refined into an official shot list.

Following this, I’ll include a concise description of the visual themes I plan to incorporate based on my script breakdown, along with thematic considerations and camera requirements for each scene.

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Scene 1: Hannah's Bedroom (Morning)

Theme: Loneliness and lack of validation.

Camera Needs: Close-ups of Hannah’s face and phone screen, using soft lighting to evoke a quiet, sombre atmosphere. The lingering alarm sound builds tension.

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Scene 2: Living Room Interaction with Morgan

Theme: Hidden tension under casual banter.

Camera Needs: Medium shots for dialogue exchanges, close-ups on facial reactions, especially during pauses or beats. Emphasise spatial distance to reflect emotional separation.

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Scene 4: Front Garden (Night)

Theme: Suspense and revelation.

Camera Needs: Low-angle shots and shadow play as Hannah approaches the window. POV shots through the window to intensify the mystery. Flashlights create sudden, high-contrast lighting.

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Scene 5: Cult Ritual in Bedroom

Theme: Absurdity and horror.

Camera Needs: Overhead shots of the ritual circle. Close-ups on ritual objects (candles, coffee beans) for symbolic focus. Dark, atmospheric lighting with bright, unnaturally red light to highlight expressions.

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Scene 7: George's Apartment

Theme: Trust and vulnerability.

Camera Needs: Steady, intimate shots reflecting calm but uncertain emotions. Natural lighting contrasts with the earlier, surreal scenes to ground reality.

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Scene 14-15: Theatre Confrontation

Theme: Climax of psychological conflict.

Camera Needs: Wide-angle shots to capture the imposing cult circle. Use tracking shots to follow Hannah’s panic. Spotlight effects on stage add a theatrical, surreal quality.

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I took heavy inspiration from Mission impossible for what I wanted to incorporate into the film.

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Dutch angles can enhance the script’s visual storytelling by emphasising the unsettling and surreal elements. Here's how:

The story blends mundane realism with bizarre absurdity. Dutch angles subtly signal something is off, aligning with Hannah's growing paranoia.

During scenes like Hannah discovering the cult’s worship, Dutch angles exaggerate the psychological shock and absurdity.

In tense moments, such as cult rituals or Hannah’s window scene, Dutch angles heighten drama, contrasting with straight angles in calmer scenes.

Using Dutch angles during emotional or disorienting moments reflects Hannah’s internal chaos, like in the climactic confrontation.

Dutch angles can exaggerate absurd, ironic scenes (like the Hanites chanting "Copacabana"), adding a visual twist to the dark humour.

In confined spaces, Dutch angles make settings feel alive and dynamic, reflecting the tension beneath the surface.

In summary, Dutch angles align the visuals with emotional shifts, emphasising absurdity and immersing the audience in Hannah's unsettling journey.

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I used this video (StudioBinder, 2023) tutorial to heighten my knowledge on dutch tilts before going into the film's production.

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How to Use The Dutch Angle Shot [Cinematic Techniques in Film] #dutchangle

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After developing specific visual styles, I collaborated with the director to gather their insight. They concurred with the critical decisions I made and recognised that these choices effectively captured the envisioned style for the film. With this feedback, I provided inspiration to the set design and props departments based on these styles. For instance, I talked with the lighting team to determine the most suitable lighting equipment to complement these styles effectively. We started discussing the possibility of using cooler lighting instead of warm orange and yellow tones to better convey the cold, atmospheric nature of the film.

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"While a script is text, a shot list is the blue print for how to visualize that script" (Smith, 2016). A shot list serves as a blueprint, breaking down the script into a comprehensible visual format. Me and the 1st AD meticulously compiled a shot list, detailing each shot required to effectively convey the story's narrative visually.

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Storyboards are ordinarily "used in film production as a pre-visualisation technique, in order to help the DOP plan the film and try out different scene ideas and orderings of camera shots" (Walker, Ap Cenydd, Pop, Miles, Hughes, Teahan & Roberts, 2015). Fortunately, we had access to a rehearsal space and equipment, allowing us to practice various shots hands-on. Once I settled on a shot I liked, me and the director updated and refined it in the shot list. Additionally, as a reference and for continuity purposes, me and the director created storyboards to visually depict each shot, complete with descriptions of the shot and movement details. A section of these storyboards, shown across the images here, provide a clear blueprint for the first scene.

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Now that I'd had a shot list, it gave me chance to book out a camera and try practicing a few of the shots. We had access to a mirror so, I decided to practice some of the shots from the dressing room in scene 13. Anything that either me or the director didn't like, I could directly change on the shot list.

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We decided to utilise the Blackmagic 6k camera for our project. Despite weighing the pros and cons, we found that its advantages outweighed any drawbacks, making it the optimal choice for our needs.

Pros

Excellent image quality

Button placement

Open Gate

In-body anamorphic desqueeze

Wide range of built-in exposure tools

Menu system

Large tilting LCD screen

(Mini) XLR audio

Cons

Battery life

Limited autofocus

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I aimed to solidify my understanding of lens variations before production commenced, ensuring I was fully prepared. While I already had some confidence, I wanted to sharpen my knowledge. Additionally, the director mentioned providing an anamorphic lens. An anamorphic lens compresses the image onto film or digital sensors, enabling wider aspect ratios beyond what traditional lenses offer. This results in cinematic images characterised by a shallower depth-of-field and a distinctive oval bokeh effect.

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This shows the equipment I booked out. On top of this list is also the easyrig, which I've used before, that helps take the weight off of the camera when doing handheld shots. This is something we plan on using during tense or chaotic scenes (e.g., cult rituals) to add urgency.

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Floor plans were created as soon as the location manager finalised the locations. Floor plans are a vital tool due to them helping visualise scenes, plan camera angles, and coordinate cast and crew movements. Here, the actress is labelled by the "L". The "star" is the camera and the "box" is the lighting, also keeping in mind of the closest plug sockets in order to plug in said lights.

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What my role as an actor will include during this pre production process.

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What my role as an actor will include during this pre production process.

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Preparing for an acting "role can be divided into three great periods: studying it; establishing the life of the role; putting it into physical form" (Stanislavski & Hapgood, 2012). This mean that I need to conduct thorough research into my character's background, motivations, and personality. By delving into relevant source materials from written or visual mediums, I can gain essential insights. Additionally, studying real-world individuals who share similarities with my character provides valuable inspiration and depth to my portrayal.

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Mystic Michael is an enigmatic figure in Mad About You, serving as a member of the Hannite cult that worships Hannah. While his screen time is relatively brief compared to other characters, his presence is pivotal in illustrating the absurd yet sinister nature of the cult. Here’s a breakdown of his character traits and function in the story:

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Mystic Michael is portrayed as a person of notable intellect compared to the rest of the cult. His speech and demeanor indicate he is calculated and thoughtful, in contrast to Ryan's erratic behavior or Kirstie's whimsical devotion. This distinction gives him an air of authority and credibility within the group.

Key Moment: He predicts, “It’s been foretold that blood will spill in this town soon,” implying a mystic foresight or at least a dramatic belief in the cult’s destiny.

Impact: This proclamation elevates the tension and underscores the stakes for Hannah, as Michael’s predictions come across as both ominous and credible, even in their absurdity.

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Mystic Michael serves as the "oracle" of the cult, legitimising their actions through supposed prophecy. His role is less about physical involvement and more about guiding the group’s ideology. This mystical angle adds depth to the cult's devotion, taking it beyond mere fanaticism into the realm of ritualistic belief.

Function: His prophetic tone lends an air of religious energy to the Hannites, making their adoration of Hannah feel less like blind obsession and more like a structured, albeit twisted, belief system.

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Though not overtly aggressive like Ryan or excessively effusive like Kirstie, Mystic Michael represents a quieter, intellectual menace. His calm demeanor contrasts with the irrationality of the cult, making his contributions chillingly deliberate.

Key Line: His interjection, “This was foreseen a long, long time ago,” not only reinforces the cult's lore but also dismisses Hannah's distress, framing her as a pawn in a preordained plan.

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Michael’s devotion to Hannah seems less personal and more rooted in the cult's mythology. Unlike Morgan, whose adoration is deeply emotional and rooted in personal history, Michael’s reverence is more abstract and ceremonial. This detachment makes him intriguing but also more dangerous, as his actions are guided by belief rather than sentiment.

Dynamic with Others: He frequently interrupts or clarifies others’ statements, showcasing his dominance over the narrative of the Hannites. For example, he cuts off Kirstie’s personal anecdote with “You’re really fem, we get it,” redirecting focus back to the ritual and the cult’s mission.

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Mystic Michael symbolises the rationalisation of obsession. While the cult’s actions are absurd and comedic on the surface, Michael’s calm and prophetic nature amplifies the darker undertones of groupthink and loss of individuality.

Theme of Control: Michael embodies the insidiousness of cult dynamics, where intellectual figures manipulate others into adhering to a belief system.

Theme of Fear and Paranoia: His predictions and presence heighten Hannah's paranoia, contributing to her sense of alienation and mistrust.

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Mystic Michael is a compelling supporting character who enhances the surreal yet darkly comedic tone of Mad About You. His intelligence and composed demeanour provide a stark contrast to the zaniness of other cult members, elevating the Hannites from a simple gag to a nuanced commentary on obsession, devotion, and the fine line between adoration and danger.

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Appearance: Perhaps his robes are slightly more ornate, suggesting higher status. A piercing gaze and deliberate, slow movements convey his gravitas.

Speech Style: Calm and measured, with a tendency to speak cryptically or with layered meanings.

Demeanor: Polished, self-assured, but slightly detached from reality in a way that’s unnervingly confident.

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David Bowie in The Man Who Fell to Earth (Roeg, 1976)

Bowie's ethereal, otherworldly performance could serve as an archetype for Michael. His unique energy can translate to a more mystical, enigmatic vibe.

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Drawing inspiration from Leslie Nielsen's character Frank Drebin:

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Drawing inspiration from Leslie Nielsen's character Frank Drebin:

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In order to channel Leslie Nielsen’s comedic brilliance in The Naked Gun (Zucker, 1988) for Mystic Michael, I should combine deadpan seriousness with absurdity.

Key Traits: Commit to being serious yet ridiculous, use small but deliberate movements, and maintain genuine belief in the cult’s mission. This blend of sincerity and silliness will make Mystic Michael hilariously unhinged yet lovable.

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Any bibliographies are included at the end of each section

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Roeg, N. (1976). The Man Who Fell to Earth. British Lion Films.

Smith, D. R. (2016). Movie Script Shot Lister. San Jose State University.

Stanislavski, C., & Hapgood, E. R. (2012). Creating a role. Routledge.

StudioBinder. (2023, 12 September). How Dutch angles enhance film storytelling [Video]. YouTube. https://www.youtube.com/watch?v=R9FUEScjB1U

Utami, C. D., & Arifianto, B. D. (2019). Symbolic Interaction of Director of Photography in Film Production Organizing at Camera (11th ed.). Jurnal Komunikator.

Walker, R., Ap Cenydd, L., Pop, S., Miles, H. C., Hughes, C. J., Teahan, W. J., & Roberts, J. C. (2015). Storyboarding for visual analytics. Information Visualization

Zucker, D. (1988). The naked gun: From the files of Police Squad!. Paramount Pictures.

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On the basis that I play as only a small role with Mystic Michael, I primarily focussed on my role as DOP throughout most of this week. This gave me chance to test out all that I had researched in pre-production and to see first hand how to handle the equipment to capture the shots required, and ensuring it also aligns with the directors vision.

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I discovered early on, that the better the communication within a group, the better we can align all our ideas so that we all get the finished frame looking perfect. For example, on this day of shooting, lighting was essential for provoking the desired emotion we wanted but also how it illuminates the characters subtly, so I therefore spent most my time helping the lighting department fulfil their roles, so that they looked best of camera.

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As we decided in pre-production, we would use the easyrig instead of a dolly track. One notable challenge I encountered was maintaining camera stability - I found it difficult to prevent shaking while using the rig. Despite this difficulty, we opted for the Easy Rig to save time on set, eliminating the need to set up the tripod on the dolly track repeatedly. While I felt comfortable using the Easy Rig, it inevitably resulted in less stable shots compared to those achieved with a dolly track. However, given the time constraints we faced, we had to prioritise efficiency over perfect static shots. Furthermore, the shaky shots in some ways actually mirrored the shaky nature of the shots we used the easyrig for. So in this case, it may have actually been beneficial.

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Later in the week, I focused on the acting aspect of my roles with portraying Mystic Michael. This behind-the-scenes shot captures me embodying the character. To align with the character profile I created for Michael, I aimed to give this small role a significant on-screen presence. By combining over-the-top makeup and costume with a performance that was both theatrical and comedic, I believe I achieved this. It was important to introduce a sense of comedy, as my character represents the first opportunity for humour in the story. This comedic element enhances the film's absurdity and ensures Mystic Michael is a character the audience will remember.

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Rule of thirds and over the shoulder shots

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Rule of thirds and over the shoulder shots

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I enjoyed experimenting with the rule of thirds in some of the over-the-shoulder shots we captured this week. In this example, the out-of-focus shoulder occupies the left quadrant, while the main subjects are in focus in the middle and right quadrant. This creates a visually appealing frame while guiding the audience's attention to the key elements of the scene. Over-the-shoulder shots also help orient the audience within the space. Transitioning from a shot of a character to an over-the-shoulder perspective allows viewers to map out the environment and understand the spatial relationship between characters.

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Building on my pre-production research, I drew inspiration from Mission Impossible to incorporate Dutch tilts into my shots. Much like the movie, I employed this technique to underscore moments of disorientation and unease. For example, during a pivotal confrontation, I tilted the camera to mimic the protagonist’s psychological instability. In this particular shot, I used the lines of a staircase as leading lines, directing the audience's attention toward the main subject positioned at the bottom of the stairs. This approach not only heightens the tension but also creates a visually engaging frame.

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Acting in a theatre boosted the theatricality of this character, and coupled with my last line of, "And so blood spills", it really boosted the performance I was able to give with acting this week.

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Initially, I struggled to maintain the same energy across multiple takes. Feedback from the director helped me focus on key physical traits, like exaggerated hand gestures and a dramatic voice, which added consistency to the performance.

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The shift in tone for the later scenes of this film was interesting, as it allowed us to delve deeper into the horror elements, enhancing the creative potential of the narrative. This shot exemplifies that shift, with its cold lighting and the ominous presence of a hooded figure. The composition heightens the tension by revealing the lurking danger to the audience while keeping the character oblivious, effectively amplifying the sense of suspense and horror.

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Balancing my roles as both Director of Photography (DOP) and actor on set was challenging, but I managed through planning, communication, and adaptability. Key strategies included:

Time Management: I scheduled tasks to focus on DOP responsibilities during setup and rehearsals, delegating camera operation during my acting scenes to maintain performance quality and visual oversight.

Visual Consistency: Pre-visualisation and detailed shot lists ensured alignment with the director's vision. I also reviewed playback and gave suggestions to the rest of the crew, especially lighting on how improvements could be made in the consistency.

Transitioning Roles: To switch effectively between technical and emotional demands, I used the prepared character work from pre-production and took moments to centre myself before acting.

Scene Continuity: I relied on the assistant director and script supervisor to monitor continuity while I focused on my performance.

Balancing technical and creative roles has improved my ability to multitask and prioritise. As a DOP, I learned to trust my team with certain responsibilities, while as an actor, I discovered how to quickly shift between technical and emotional demands

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For some low-angle shots on the shot list, the director and I wanted to emphasise the looming presence of a character, which required positioning the camera close to the ground. Unfortunately, the tripod we had on set could not be lowered enough, forcing me to use the Easyrig in a cramped environment. Although challenging, this limitation taught me to think creatively - adjusting the camera’s angle to maintain a dramatic perspective while accommodating the tight space. In future projects, I plan to include smaller or more versatile tripods in the equipment list to better handle such situations.

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During a complex tracking shot, I struggled with maintaining consistent focus using the easyrig. To overcome this, I marked the actors’ positions with tape on the floor and rehearsed movements several times while adjusting the focus pull manually during each take. By the third rehearsal, I was able to keep the subject in sharp focus despite the dynamic movements. This taught me the importance of preparation and adaptability when working with dynamic equipment.

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The last day of filming in week 3 was a difficult one because I was already feeling ill and we had a whole evening of shoots to do outside in the cold. This was perhaps my most difficult day of filming, but thankfully I was able to rely on the second DOP who helped when I had to retire back inside.

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As the DOP, incorporating shadows into the film's visual style was a deliberate choice inspired by the iconic use of shadows in the Indiana Jones series. In those films, shadows often serve as a storytelling tool, enhancing the mystery, adventure, and drama of the narrative. I assisted the lighting department to achieve this look on the frame. This also helped build up the mystery and tension of a character too.

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While I haven't yet seen the finished film, I consider this entire experience to be a success regardless of the final outcome. It has ignited a passion within me to continue developing my own films in the future. I've gained invaluable knowledge about various camera equipment and the collaborative process of crafting a cohesive visual style alongside other departments. Additionally, this experience has enhanced my approach to understanding and portraying characters, which I believe will make my future acting endeavours even more seamless. Overall, I view this as a valuable learning experience that I will cherish and remember fondly.

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As DOP, I used a range of lenses - 14mm, 24mm, 35mm, and 85mm - to create various visual effects and perspectives. Each lens had its challenges, but by understanding their strengths, I overcame them to enhance the film's look.

14mm Lens: Ideal for expansive shots and emphasising isolation, but distortion near the edges was a challenge. I kept subjects centred and avoided extreme close-ups to maintain visual integrity.

24mm Lens: Balanced wide coverage with a natural perspective, but struggled with shallow depth of field. I used a wide aperture (f/2.8–f/4) and strategic composition to isolate subjects from the background.

35mm Lens: A versatile, natural lens great for medium close-ups and environmental shots. In tight spaces, achieving subject-background separation was tricky, so I used a wider aperture and controlled the background through careful location and lighting choices.

85mm Lens: Perfect for close-ups and creating intimacy, but required more distance in confined spaces. I adapted by positioning the camera at a distance and used props to create depth, ensuring proper framing.

Overall, I selected lenses to match the tone of each scene - wide lenses (14mm, 24mm) for expansive, disorienting moments, and the 35mm and 85mm for more intimate, character-driven shots. Each lens choice supported the film's emotional tone while navigating challenges in distortion, depth of field, and framing.