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The schedules for filming. Because the film was designed to appear as one long take, much more time was put into the planning and blocking phase of the production. This meant much of the filming could be condensed into a little over a week to minimise any issues with continuity.

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A schedule for some ADR recorded after the initial filming weeks. The schedule for this film was a little more complicated, with much of it being condensed into the final week of the project.

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An example schedule from one of our pre-production days. I worked very closely with the director during this time; ensuring we had a solid plan for our work was vital, especially during the second filming week when we were at more challenging locations.

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A wider schedule for the whole of the pre-production week. During this time, I also worked pretty closely with the lighting operator. We had to work closely to ensure that our planned shots were viable with the lighting options we had. Since a lot of our shots had the camera moving along a slide rail, it was important to have a plan for where our lights would be.

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An example risk assessment made during pre-production week. While some of the risk assessments were relatively simple, since we were often filming in an indoor location, risk assessments for later in the week were more complicated. We were often filming outside and in more complicated locations, like on the street and in a restaurant. Because of this, there was a lot more to consider to ensure the safe and smooth running of production.

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An example shot list made during pre-production week. We did our best to plan our shot lists before we started filming. For the most part this was successful but we ended up making a lot of changes on the day. I think this was pretty successful, with a lot of the more improvised shots feeling a little more natural and doing what we needed at the time.

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Here I was using the shoulder rig properly for the first time.

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Some photos from set. I was less involved in the general goings on onset for this production as my role as less intensive. I could work the lighting from my phone, meaning I only had to initially set it up and could then control it from a side room.

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The side room I was watching the production from, turning the lights on and changing their colour when needed. We had a marked script with us to keep track of the shots and mark where I would need to make lighting changes.

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A photo of the other set we had. The hallway outside had a lot of deep saturated blue lighting, meaning I had to be careful to change from blue to white as the characters entered this room.