The combination of being DOP, camera operator and editor meant that throughout the shoot I was constantly thinking 1. What do I need? 2. What would I like? The shot lists I formed were a sort of mid-way between the two and after assessing the spaces, and logistical elements on the day i.e. the large amount of people in the very small space, I colour-coded the shot lists: green for need, pink for want. The green shots were the vital shots needed to set up relationships, characters and narrative and the pink tended to be more stylistic ones which we decided upon as the days went on. The pink shots were (typically) more handheld which was what I used most of the time compared to Patrick and Craig who tended to shoot the static ones on Patrick’s camera.

Something I will take with me next time I’m in a shoot (if I were to direct) is to allow the scene to flow and give the actors the time they need to convey what they want to after they have finished talking. In some feedback, people mentioned that some edits should be held longer to get the full reaction of the actor but unfortunately in many cases, “cut” has been called too early, disrupting the flow of the scene and the actors come to an awkward halt mid-reaction, this then impacted the ease of editing. The fact that we were working with an 11 year old and a non-actor made this harder and I think it impacted on their performance – it would have made a lot more sense to film the scene from start to finish multiple times, but with the time constraints we had that may be too idealistic.

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