Sarcastic & Witty, Delivers deadpan, cynical one-liners and often mocks mainstream culture. Uses sharp wit to push people away and challenge

authority. Doesn’t speak much, but when she does, it’s often weirdly profound or dryly funny.

Emotionally Guarded & Distrustful

Jughead – Prefers being an outsider and actively avoids deep emotional connections.

Kat – Puts up walls due to past experiences and refuses to be vulnerable.

Allison – Creates a mysterious, impenetrable persona to keep people at a distance.

Rejects Social Norms & Expectations

Jughead – Sees high school cliques as pointless and prides himself on not fitting in.

Kat – Hates popularity and mainstream trends, preferring alternative music and literature.

Allison – Dresses and acts in a way that deliberately makes her seem "weird" to others.

Unique, Often Dark Aesthetic (Anti-Mainstream Fashion)

Jughead –Beanie, layered clothing, and a darker color palette than his peers.

Kat – Minimal makeup, thrifted clothes, and a grunge-adjacent aesthetic.

Allison – Wears all black, oversized layers, and looks deliberately "messy."

Deep Thinkers / Philosophical Outlook

Jughead – Loves writing and analyzing people, always narrating the world in a detached, literary way.

Kat – Reads feminist literature and challenges the world around her.

Allison – Expresses herself through art and abstract thoughts, often saying something unexpectedly deep.

Misunderstood / Seen as "Difficult"

Jughead – People assume he’s brooding and difficult, but he just doesn’t conform.

Kat – Labeled as "the shrew" because she refuses to be nice for the sake of it.

Allison – Ignored until people realize she actually has a lot to say

How can i incorporate all of this into my character?

For this project, my main goals are to set the right tone, maintain a steady pace, and highlight the emotional moments using the right colour grading techniques, and visual effects. My aim is to relay the themes of psychological thriller and ensure that the edit has subtle foreshadowing and the appropriate effects are used.

My role is going to be mainly visual effects, colour grading, finalising the rough cuts and making everything seemless

Identify any potential editing challenges early on

2. Collaborate with the Director & Camera Operator

Discuss the visual style, pacing, and mood of the film.

Assist with Shot Planning

3. Liaise with Continuity

   
   

4. Plan Colour grading techniques and visuals for each scene - communicate with director on this

   
   

5. Advise on file formats, naming conventions, and media management for smoother post-production.

   
   

6. Organise workflow planning

   
   

7. Decide on which software we will be using

   
   

8. Build a Post-Production Schedule

Estimate how long different editing phases might take (assembly, rough cut, fine cut, final cut).

Water Effect - Again using optics conversion effects but adding a warp tool to create waves.

In my monologue for Maxine I went into depth on why she is wearing the layers and tried to get into Maxine's personal voice. I added a few light-hearted comments.

My personal aim as an actor is to portray an interesting character. Although Maxine has the least lines and the intention for the character is to be 'covered up', I am going to try and use a series of gestures, body movements to show how my character feels - potentially over exaggerated reactions to.

• Visual Inspiration: Mood boards of clothing layers, textures, colors—things you imagined Maxine would wear.

• Psychological Map: A mind map or bullet-point list showing her internal struggles and defense mechanisms.

• Rehearsal Logs: Short diary-style entries about how rehearsals went, key discoveries, challenges.

• Photos / Videos: Clips or images of early rehearsals, blocking, or exercises (e.g. working on awkward pauses or stillness).

• Voice / Movement Exploration: How did you physically and vocally shape Maxine? Maybe some audio clips or movement sketches.

We have had some trouble with Maxines characters and sourcing different clothes and ways to cover her face. The main idea from the costume department was something lace or balaclava like that is white to go over her face. We also had the idea of a veil almost bridal.

Unfortunately, sourcing these materials in time became a major issue. Nothing was prepared ahead of schedule, and when I checked alternative options myself, all delivery times were at least a week out. The day of filming arrived, and the only item the costume team had managed to find was a black piece of fabric.

This fabric was ultimately styled to resemble a hijab.

As a white actor, I immediately felt uncomfortable with this choice. The use of a hijab, especially without any cultural, religious, or narrative context felt ethically inappropriate. I raised my concerns on set and to the director, explaining that this was not just a costume issue, but a matter of cultural respect and representation. Unfortunately, my discomfort was not taken seriously at the time, and the team proceeded with the look.

Later, the footage was reviewed and the decision was made to scrap the entire day of filming due to multiple other people raising concerns.

It was frustrating, both creatively and personally, because I had flagged the issue early. It was a moment where I felt unheard, and where a lack of foresight and inclusivity from the production team created consequences for everyone involved.

Still, I think it’s important to reflect on these moments. This experience made me more aware of the responsibility we hold as artists, not just to our characters, but to the real people and cultures we represent or reference. It also reminded me to advocate for what feels right, even if others aren’t ready to hear it.

Lighting played a crucial role in shaping the final cuts of the film, especially in terms of creating mood and highlighting key elements within the frame. The green lighting we used to emulate a David Fincher-inspired aesthetic was designed to enhance the psychological tension in the group therapy scenes, and made a big contrast compared to the other scenes.

However, working with the Red Komodo camera presented certain challenges, particularly with its sensitivity to low light. The footage often required additional adjustments in post to maintain the desired level of detail in the shadows without introducing too much noise.

In contrast, the Blackmagic camera offered more forgiving performance in lower-light situations, which allowed for cleaner images straight out of the camera. This difference in sensor characteristics required us to adapt our approach, especially in scenes that relied heavily on controlled lighting, particularly in the outdoor clips of Lena walking to the therapy session, where you can see the struggles i found with light. Despite these challenges, the distinct visual qualities of both cameras helped us achieve a dynamic range of looks in the edit, each suited to different parts of the film, but balancing them in the edit required careful colour grading and sometimes additional shot tweaking.

However, the process of transferring audio from Premiere Pro to DaVinci often introduced synchronisation issues, especially when dealing with complex audio mixes or multiple layers. We occasionally faced challenges where the audio would either slip out of sync or fail to import with the correct settings. This added a layer of complexity, particularly under a tight time crunch, as we had to manually relink and adjust the audio tracks to match the picture. These struggles were compounded by the need to ensure precise sync for key moments of dialogue and sound effects, which required both technical attention and time that was already stretched thin in the final stages of post-production. Ultimately, it highlighted the importance of thorough testing and backup plans when working with multiple software tools in a compressed timeline.

After watching the video The ONLY NODE STRUCTURE you'll ever need! (Runhaar, 2023) it showed me node structures in a visual and practical way. It broke down the concept of nodes, showing how they store data and link to other nodes. The visual examples made the ideas easier to grasp, and I especially appreciated the step-by-step coding demonstrations. The video also highlighted how node based structures are used in real world applications, which gave me a better understanding of their importance in programming.

Watching the video on replicating the Wes Anderson color palette really helped me understand how to achieve that signature vibrant yet controlled look.

Reading Color Correcting and Color Grading CinemaDNG with DaVinci Resolve (Lancaster, 2014) really helped me understand the fundamentals of colour grading and how to apply it effectively in DaVinci Resolve. The book breaks down the technical aspects of CinemaDNG files and how colour workflows, giving me practical insights into enhancing the visual quality of my projects. Lancaster’s had a clear explanation of colour correction, balancing, and applying effects and this allowed me to experiment with different looks and achieve more professional results.