Problem Solving and Experiments

Why am I Problem Solving?
Problem solving is incredibly important for a project as typically at least one thing goes wrong during production, and if I don’t have a back
up plan, this could cause severe issues to the overall project, leading to mis-representation, incomplete narratives, lack of characters, low
quality etc. By mapping out practical and theoretical issues before planning and production, I face the best chance of making a high quality
project despite any aspects that may go wrong, as problem solving will allow me to have solutions and potentially even back up solutions to
be extra secure. For me, practical and technical problem solving is the most important, as I don’t have much experience in film making, so I
want to be sure that I know how I’m going to accomplish each aspect of production that I researched into to a standard I’m happy with. This
also allows me to experiment with these different aspects, and make something that is similar to certain shots and scenes I have in my mind
for my short film in order to give me practice and inspire confidence in myself that I will be able to make something of high quality despite
not being the most experienced. Theoretical problem solving is also significant in the fact production can be unpredictable, especially when
it comes to cast and crew. It’s important to have back up plans for production before I start so I’m not left with no idea what to do if an actor
can’t make it for example, or if the weather/setting isn’t what I imagined.
COVID-19
A big aspect that my problem solving will tackle is the ongoing pandemic against the virus, COVID-19 in 2021. Due to high cases in the UK
(22 thousand people testing positive every day), the UK is currently in it’s third national lockdown and it is unclear whether this will be lifted
by the time production begins, and what the exact restrictions will be. This can get in the way of multiple things, such as cast, crew and
filming locations, which is why it will be such a main focus of problem solving. The fact that we have no way of knowing how the virus itself
or restrictions will have changed by production means it’s mandatory I have at least one back up solution for every angle. It would be
difficult for me to have a camera crew as my family aren’t very knowledgeable of film and it would be time consuming to teach them, and
actors other than would be impossible due to the fact I need people my own age. I am hoping that the rules will allow me 1-2 people to help
and act, even if it’s outside, but this problem solving is especially important when it comes to this pandemic as I need to plan in case I am on
my own, as the future is uncertain and the virus itself is unpredictable. My main priority is keeping myself, family and friends safe, so though
the quality of my project could be reduced even with back up solutions, it’s my responsibility as a film maker to deal with that by possibly
adjusting the script or focusing more on post production, rather than put people at risk.

Lighting
Potential Problems
• The main issue I can see with lighting is the fact that if I am only able
to film with my own equipment due to COVID-19 restrictions, the
quality might not be as good as desired due to the fact I have no
professional equipment that I’d normal have access to at college.
This means it could be difficult to get specific shots I had envisioned,
such as the silhouettes, as I’d have minimal light and power source
options. This is extra difficult due to the fact that I don’t have much
experience of making films, so without the extra support at college
due to restrictions, I could struggle even more.
• Expanding further on this, it could be difficult for me to achieve the
colour of light I want to due to the lack of equipment. Most light
sources in my house are warm in hue, like orange and yellow, which
doesn’t work for the scenes in which my house would be the setting.
Even the whitest lights I have still have a yellow undertone. This
could cause issues with the overall atmosphere of my film, and could
ruin the tone of the ‘depressing’ scenes in my film.
• Finally, the third biggest problem I can see occurring in terms of
lighting and production in general is the fact that due to potential
COVID-19 restrictions during production, I may be forced to use my
family as my camera crew rather than peers who would be
comfortable around production techniques. This could cause
multiple issues and make production a slower and more tedious
process, which I would have to account for if made to go this route.
However, the restrictions for the future are still unknown.
Solutions
• My first solution, the the issue of non professional lighting, can be
solved in multiple ways. The cheapest and easiest method is to use
phone torches. Phone torches are bright and able to be directed in a
specific way, as well as being white light that gives a neutral tint and
therefore won’t alter the tone of the footage. I could also use lights in
the living room, such as a reading lamp, that have a movable stalk and
hence can create different lighting techniques like butterfly and eye
focused lighting, as well as silhouettes. I could look at tutorials for
how to do these in a simplistic way with minimal equipment, which
I’d then be able to apply to my own video using home equipment.
Worst case, I buy a ring light or two, though I’ll try avoid this due to
not having a big budget for the film.
• Furthermore, I could look at tutorials and ‘hacks’ on how to change
lighting colour, such as using coloured paper and/or thin fabric in
front of a phone camera in order to give off a specific hue of light.
This means I could create a cold hue for my scenes despite having
mostly warm lighting in my house. Furthermore, I could use colour
correction in post production to edit my short film to seem more blue
toned using filters and colour controls.
• A solution in terms of crew is to use my family, but before filming go
through all the process they’re assigned to and explain in a simple but
efficient way, as we wouldn’t have to keep stopping for me to explain
and it would allow me to still have a crew despite restrictions.
However, this will still take time which I will have to account for.

Camera Angles/Framing
Potential Problems
• Due to potential lack of equipment and crew due to COVID-19
restrictions, I may struggle with getting multiple angles for each
scene. This is due to the fact I will only have access to one camera if I
can’t book equipment, and limited crew means there is less people
to film different angles. This could result in my film looking amateur
and unsophisticated, plus the audience could lose interest due to
scenes all being shot from one angle as the tactic of multiple angles
is one of the main aspects of interest for an audience.
• Furthermore, I myself intend to play the protagonist as my video is
telling my own personal narrative, which means I won’t be able to
be behind a camera to film a lot of the time. I also don’t have a
tripod for my phone, which if I can’t have access to a production
crew, could cause multiple issues. Even if I ask family to help, they
have no experience with film making and I am more likely to get
blurry shots, or not positioned in the right way for the rule of 3 due
to them moving the camera slightly.
• Due to most of my filming occurring inside, it could be difficult to get
certain shots and framing techniques even with a desired crew due
to the limited amount of space. This means it could also be
challenging to get multiple different angles to be editing together for
once scene due to the risk of picking up a member of the crew in the
scene accidentally, or accidentally creating noise. This could also
make setting up a rule of 3 difficult as I’m not building sets, I’m just
using what I have in my home and local area for outside scenes.
Solutions
• For lack of equipment, I could ask my brother to help as he has a good
camera on his phone. This would help me get multiple angles of shots
in which I film myself too, such as setting shots. Furthermore, his
camera combined with mine on a tripod would mean multiple angles
of scenes I act in, which would solve the issue of only one angle
making my film look unprofessional. Though, worst case is I just refilm
certain scenes from different angles every time, which I can then edit
to look cohesive in post production. To achieve this to a high level I
need to have planned out in each scene in detail so I know exactly
what I’m doing for consistency, and the lighting needs to be the same
which means the sources can’t move or if I’m using natural light I
have to refilm the scenes consecutively.
• For the issue in terms of not having a tripod for my phone, I could
always use books stacked on top of each other as I have a lot of them,
or even buy a phone tripod if they’re not too expensive and fit in my
budget. This would most likely be the best option instead of asking
family who’s available as I’m more likely to get a clear shot.
• To avoid the issue of limited space, I just have to again make sure I
plan out my scenes in a lot of detail so I know exactly where the
camera will be positioned in order to coordinate multiple cameras
and/or crew. In terms of rule of 3, I can use props in my house, like
pillows, lamps, etc combined with my protagonist to create a rule of
3. Again this means I will have to plan out every shot very carefully
and make sure to include realistic framing ideas.

Video Quality/Technique
Potential Problems
• Video quality is a big differentiator between a professional and
amateur film. However, due to COVID-19 restrictions, my video
quality may be compromised. This is due to fact that I won’t have
access to professional cameras from college and only have my phone
camera, which doesn’t have the best quality. Though my phone
camera is decent with pictures, when it comes to videos it can give a
pixelated image that wouldn’t look good on larger screens. My
phone’s video camera also doesn’t pick up the best audio, which is
fine for the most part as my video will be based around music, but if
I want to record some sound effects for my video I might run into
some issues with quality.
• Expanding on this, my phone camera tends to produce a lot of noise
during darker shots, which is a big problem as a lot of my project will
be short in darker, depressing scenes which ideally wouldn’t have a
lot of light. Noise can make a video look incredibly unprofessional
and ruin the image quality for the audience, in some cases even
making it unwatchable which is obviously something I must avoid.
• I want my film to be an artistry based music video, which means
quality is exceptionally important as I want to provide and emotional
and immersive experience for the viewer, which is vital due to the
heavy subjects my video handles. If I don’t have good quality, it
could fault the entire video even if every other aspect is completed
to a high standard, therefore, even with COVID-19 restrictions, I
must find a way to film in higher quality.
Solutions
• The most obvious solution for better quality would be invest into a
decent camera or see if I can borrow one within COVID-19
restrictions. Amazon offers some good quality cameras for a few
hundred, which could be worth the investment, furthermore my
friend does have a video camera with good mic and video quality, and
if he allows me to borrow it, he could potentially drop it off at mine
with 0 contact if we’re still in lockdown, which would be the most
ideal solution. Furthermore, my brother does have a good video
camera on his phone, however this is the last resort as this would be
at great inconvenience to him.
• In terms of noise, I can look at tutorials online on how to film in low
light while still maintaining high video quality. My phone does come
with a ‘pro’ mode which allows me to adjust limited settings,
including the ISO, so even if I have to use my phone camera as a worst
case scenario, I could still reduce noise significantly and get my video
to be the best quality possible. I could also adjust my scenes to have
more lighting. Though this would go against my initial idea of having a
dark, depressing atmosphere throughout the majority of the scenes,
this would reduce the amount of noise throughout the video.
• Finally, I could also look at techniques which use the low quality to my
advantage, or hide it, like using purposefully blurry footage to create
a symbolic effect or add to the metaphor of confusion and feeling
lost. Though I shouldn’t over do this in order to give my audience’s
eyes time to rest, it could help cover up low quality and/or noise.

Actors
Potential Problems
• The main issue surrounding actors is due to COVID-19 restrictions,
there is a high chance that I may not be able to meet up with people
to film, that being either crew or actors. This means that I’d have to
make my video entirely by myself, and I wouldn’t be able to include
the other characters that I believed to be very important which
could have a drastic impact on my overall quality of film, narrative
and audience impact due to lack of representation. This would also
cause the filming process to be a lot more tedious. Furthermore,
even if I can have one or two actors, it would still limit the scenes I
can do and could cause planning to be redundant in some areas as
I’d have to make last minute changes.
• Another potential issue with actors is that due to budget and COVID
restrictions, I’d most likely have to use peers and friends who don’t
have much acting experience. This means that the narrative may not
be as compelling as I’d like, which could compromise the overall
emotion and tone of the short film. Furthermore, as the main
premise of the film is a narrative of my own experiences, it may be
difficult to translate that personal aspect to the actors as it can be
challenging to express complicated emotions surrounding heavy
subjects and themes. This would be a particular problem with male
actors, as typically they are less likely to understand female issues.
Additionally, some male peers may be hesitant to play an ‘abusive’
character as they’re not professional and not used to playing darker
roles, and they may not be comfortable with it, or feel like if they do
that’s what people will see them as.
Solutions
• Due to COVID-19 being out of my control, the only solutions to the
restrictions is to plan for both out comes, in detail. I will have to plan
two versions of my short film, one in which I have actors, and one in
which I do not. If I can’t use actors, I will still have myself for my
protagonist. As she is intended to be the main focus anyway, this
won’t be too much of an issue, and I will just have to find a way to
either use symbolism to represent my antagonist, or perhaps ask my
friend to film himself in his own home, as I know he has professional
equipment and would be able to do it, which I can then intertwine
with my own footage. This would work as my short film is meant to
represent the trauma and healing process after the abuse has taken
place, so the two being separated could work. In terms of side
characters, I’d either have to represent them in a similar way, or
perhaps write them out all together as they’re not as significant.
COVID-19 restrictions could allow us to meet up outside however, so I
could also just adjust my script to only film scenes with the other
characters outside.
• In terms of making sure my actors express the right emotions despite
not being professional, I think it would be easiest to use my friends as
they know first hand the personal experiences my narrative will be
based off, and hence will know the seriousness and the emptions I
both experienced and now want to convey. This would also solve the
issue of finding male actors willing to participate, as I already know
my friends fully support this project and would be more than happy
to help in anyway they can.

Cost
Potential Problems
• The budget will cause a few problems in my video. First of all,
equipment can be very expensive, and if I can’t borrow from college
due to COVID-19 restrictions, I’ll have to invest in some myself.
Cameras can range from anywhere between £50-£500, and for good
quality with multiple settings like ISO, they are usually on the higher
end of price. I simply can’t afford to spend this amount on a camera,
especially in the current economy due to COVID-19. Furthermore,
lights and tripods can also be quite expensive, which would further
add to the overall cost and make the process quite stressful to try
and find the money for them. However without this equipment, the
quality of my film could suffer a lot and I may not be able to use a lot
of the techniques I originally planned, like certain lighting or angles.
• Furthermore, a minimal budget means I won’t be able to pay actors
a proper wage, which means it would be very difficult to get
professionals in my film even without COVID-19 restrictions.
Additionally, I have to make sure I have enough for any potential
travel I may have to make (including gas, public transport, etc.) as if
restrictions allow it, I’d like to potentially film at a beach location
which is quite distant from where I live. Also, I need to make sure I
have enough for costumes and props that I would need throughout
my video, the main one being a ‘princess dress’. I would preferably
like to buy these costumes from ethical and environmentally friendly
websites, which means the outfit usually costs extra, and dresses
can already be quite expensive. This may be an issue, as this
costume is vital in my film due to it’s symbolism.
Solutions
• In terms of camera, the idea of me being able to buy a really good
quality one is unrealistic due to my lack of money. However, I could
always buy a budget camera as it is at least somewhat higher quality
than my phone. In addition, if I am able to meet up with at least one
over person to film, I could borrow my friend’s camera as his is really
high quality and it would be free. This means I would have money to
be able to afford lighting and a cheap tripod, as these don’t effect the
actual video quality and don’t have to be amazing. Worst case, I can
use light sources, such as phone torches and lamps, I already have at
home instead of buying professional lighting rigs, and use chairs,
stacks of books, shelves etc as places to prop my phone instead of a
tripod, as if I do this well and put the effort in, there wouldn’t be
much difference and the ‘D.I.Y’ wouldn’t be too noticeable.
• To avoid travel costs, I can film locally. Though I would prefer a beach
setting, I have many local locations that have the right look of nature,
peace and serenity that I’d need for some scenes. And for actors, I can
use my friends and pay them in snacks or a gift each. For costumes
and props, I need to be able to find budget items. This can be done
through charity shops or second hand sites, like depop.com and
everything5pounds.com. This means I don’t indirectly support
unethical sites for the sake of a cheaper price, but also means I don’t
have to spend a small fortune on ethically made clothes and props.
Additionally, a lot of my costumes can be made up using clothes I or
my actors already have. For example, I know the person I want to play
my protagonist already has a black hoodie.

Location – Weather, Light, Temperature
Potential Problems
• The main issue that could come up is the matter of weather. The
main scene that I want to shoot outside is the final scene, which is
meant to be a bright and happy scene. If it’s grey or raining, this
could ruin the atmosphere that I was going for and not provide that
contrast between happy/sad which is a key theme of my film.
Furthermore, depending on the amount of rain, could make it so
equipment could be potentially at risk or the lenses could get
droplets on them which would make filming near to impossible.
• Expanding on that problem, the lighting is a very important aspect to
my film. If it’s cloudy, it will make the lighting grey and desaturated
instead bright and warm, which would again ruin the contrast I was
going for between indoor and outdoor scenes. The time of day is
also a huge factor, as I’d either like to film at dawn or dusk. Both
these times can be difficult to get especially in spring, and would
mean I’d only have a limited time to film which means I can’t afford
to redo multiple scenes multiple times, and would most likely have
to spread out filming across multiple days, which could make the
lighting and weather inconsistent.
• Another issue could be temperature. As I’m aiming to start
production in March, it could be quite cold. Though this wouldn’t be
a visual problem, it may effect the actors especially the protagonist
ideally I’d like her to wear a light, flowy dress which wouldn’t add
much protection against cold, especially if it’s windy. This could
mean they would be uncomfortable and it may effect their acting.
Solutions
• Though weather is out of my control, I can use accurate weather
prediction sources to make sure I have the best chances of getting the
weather I need for my scene. If the weather changes while filming, I
should either think of a different scene I could perhaps include that
uses the weather to my advantage, or call it a day and film at a later
date. If worst comes to worst, I could try use colour correction to
make my scene less grey, which even if it still rains, could perhaps still
give that ethereal atmosphere that I wanted, as rain can still be
considered beautiful and happy with the right colouring and tone.
• Similar to the weather, in order to get the right lighting I’ll have to use
accurate prediction sources to find the right times for sunset and
sunrise, as well as use weather predictions in order to determine
whether the lighting will be roughly the same each day of filming
(cloudy, overcast, etc. could drastically change the lighting) in order to
keep consistent. Additionally, it would be best to try film in the least
amount of time possible as the more days it’s spread over, the less
likely it is to be consistent. Furthermore, I could also use post
production to create artificial lighting and colour correct if necessary,
though this is a last resort as it wouldn’t look very authentic.
• A solution to the cold would be to make sure the actors who require
non cold resistant costumes always have access to a big coat in order
to keep them warm between shooting. If there weather is too cold, I’d
have to re-think the costume idea, like perhaps using a dress with
thick tights underneath and an overlay, but this wouldn’t be ideal.

Location – Disruption, Accessibility, Restrictions
Potential Problems
• Noise and audio disruptions wouldn’t be an issue as clips will be
muted, but other disruptions such as the general public being
around or traffic being near could ruin the immersion and ruin the
atmosphere of the outside scenes, which are meant to be dream-
like and surreal. Traffic and other people would get in the way of
that sensation, and change the tone for the audience. Due to my
filming locations being in public areas that can be accessed by
anyone, this could come up a few times. Furthermore, if disruptions
are frequent, they could get in the way of consistency due to lighting
and/or weather changes while waiting to film.
• In terms of actual locations for outside scenes, I’d ideally like to film
at a location near the sea, such as a beach or clifftop. However, due
to COVID-19 restrictions regarding travel, this may not be possible.
Furthermore, it would be difficult to get my cast and crew there also
as travelling to the beach can be expensive, especially if we need to
go multiple days in a row to get the best lighting. For accessibility
regarding indoor filming settings, it could be difficult to work around
family members as my house is quite small, with only one living
space that is almost always occupied, which could lead to disruption
like with the outdoor filming locations. This could mean being
disruptive towards my family which can cause negative reactions, or
risking them being in the background of the shot. I’d also have to
change the lighting in some rooms which could also be a bother for
some, as well as perhaps adjusting furniture in order to make the
framing of my scene look the best it can.
Solutions
• To help prevent the general public from getting in the way of a scene,
I could film in locations that aren’t very well known or in places a lot
of people wouldn’t be. This would be possible due to the fact a lot of
my possible filming locations are in the village I grew up, and hence
explored a lot. There are multiple places with a secluded, natural
atmosphere that can be used, and quite a few of them are away from
roads and residential areas which would drastically reduce the
amount of disruption. This would not only make the process more
efficient, but would also reduce the chances of changes in lighting or
weather due to not having to wait between shots.
• To combat the issue of actual location, I need to thoroughly research
and develop an idea of specific locations during planning, and make
sure to to take into account locations within certain restrictions, like
COVID-19 rules and distance. If COVID-19 allows me to travel to the
beach and film there, it would still be best to make sure I only have
minimal scenes planned as it would be very difficult to be able to go
back multiple days to film, and especially get the same lighting each
time. This means most scenes shot there could only be done once or
twice, so I should take this into account for planning. However, the
better solution would most likely be to just film at a location local to
me with a similar atmosphere of beauty, as this would eliminate
travel and COVID-19 restriction issues. For the problem of limited
filming space at home, I could film late at night as I want a darker
atmosphere anyway which means the lighting wouldn’t be affected,
and it would mean I wouldn’t disrupt my family or vice versa.

Production Time
Potential Problems
• The main issue to do with production will be the fact that it could be
pushed back due to COVID-19 restrictions, which would mean I
either have to re-arrange the order in which I planned to film, or
push back filming entirely which would then lead to other problems
tying into equipment, crew etc. This change in direction could also
lead to inefficiency which would result in longer production time
and the whole project taking longer than planned.
• Furthermore, I’d most likely have to refilm multiple scenes due to
lack of multiple cameras, mistakes, my planning not resulting in
what I imagined etc, which would also lead to an expansion on how
long filming would actually take, especially in outdoor locations than
can have multiple other potential problems like discussed previously.
Additionally, though I have done a few other filming projects before,
I am still quite in-experienced with actual technique and production,
and I may not have any support from other crew members with
experience which can lead to a stop-start production which will
result in inefficiency and make it take longer than needed. Again,
this will set back the entire production process.
• Finally, editing can be inconsistent and multiple issues could arise,
such as software crashing, not working, lagging, etc. This could lead
to setbacks, as well as potentially even having to restart the editing
process if my software crashes completely or the save file becomes
corrupt, which could be very detrimental as editing is the last piece
of production, and I may not have time to restart to good quality.
Solutions
• Solving most of these issues is about planning ahead. In terms of
COVID-19 restrictions, it’s very important that I keep up to date with
recent news and estimations in order to be best prepared for
restrictions during production. Furthermore, it would be best to plan
a version within current restrictions as well as my ‘ideal version’, as
it’s highly possible that the UK will remain in COVID-19 lockdown
during production, and having a plan specifically for this would make
the production time a lot more efficient and less stressful.
• Expanding on this, I will have to keep reminding myself to take the
equipment and experience I have into account while planning, and
not to go too ‘over the top’ and make something that would be
extremely difficult for me to achieve. Though I believe I can make
something of high quality, I need to keep myself grounded in order to
not spend production time filming one scene multiple times, or
constantly having to readjust due to my plan not working within
restrictions. This would mean we could end up running out of time,
resulting in the first half of my project being amazing quality and the
second half being average at best. I need to find a balance.
• Editing is a vital part of production, and in order to avoid having to
restart, I should make sure I have multiple back up saves, as well as
save regularly/use autosave if possible. Furthermore, I should have at
least two professional editing software available just in case one
doesn’t work, in order to avoid having to spend time looking for a fix,
solution and/or replacement etc.

Production Crew
Potential Problems
• The main potential prblem with production crew would be the fact
that they may not be even able to be on set due to COVID-19
restrictions, which would make the production process incredibly
difficult as I’d have to act and do all the filming jobs myself. This is
the worst case scenario, but could be very likely due to the fact that
as of February 10th 2021, the UK is in a strict national lockdown. This
would drastically reduce the overall quality of my short film due to
lack of help, and could change the overall vision I’m going for.
• If crew are able to be on set, I still have to take into account crew
members not being able to travel on certain days, and potential
cancellations. A crew member not being able to make it for certain
days could mean production quality is reduced for certain scenes,
and could also result in inconsisency and a rise of stress throughout
myself and the other crew members during filming. This is the same
for actors, as if a certain actor can’t make it, I’d have to change what
scenes we shoot that day which we could be unprepared for.
• Once on set, I’d have to make sure I provide for their requirements,
like having snacks and water. I’d also have to provide the costumes
and equipment, unless previously discussed, and make sure I plan
for who will be doing/using each item each for every day of filming.
This includes making sure I have enough cameras, whether that’s
professional eqipment borrowed from college or phone cameras, for
each crew member. If this isn’t achieved, the filming process could
become very inefficient and crew members might become unhappy.
Solutions
• The issue of not being able to meet can’t be ‘solved’, but it can be
avoided if I make sure to plan for any possible outcome regarding
COVID-19 restrictions. For example, I need to have a detailed plan of
how I can make my short film even if I have to make it by myself, so
when it comes to production, I’m not left completely in the dark.
• Furthermore, I could be able to work within restrictions. This would
mean meeting up with one other person to help for outside scenes,
and maintaining a distance of 6 feet. This could be accomplished for
most outdoor scenes, and would definitely be an improvement of
having to do it all on my own, even if we can’t be as interactive as
previously desired. Additionally, if possible, I could ask certain crew
members to take a COVID-19 test before filming, which would mean
we can interact closely on set and be safe and not break any rules.
• When it comes to issues surrounding crew on set/cancellations, I
need to make sure I plan ahead. For example, if a crew member can’t
make it to set last minute, I should either change the scene we were
planning on shooting to one that would be easier, or give their job to
someone else that I know can complete it to a high standard. I should
also make a schedule for which crew members/actors will be on set
each day of filming, so I know how many people I need to provide for
in terms of food, water and equipment. I should also limit how many
people I have regardless of COVID-19 restrictions indoors to avoid any
injuries like tripping in tight locations. Expanding on this, I should
have guidelines for everyone on set to make it as safe as possible.

Equipment
Potential Problems
• There’s always a chance that when I go to film, my equipment may
not work for multiple reasons. For example, the camera may have
not been charged the night before like I thought it had been, or not
work completely for an unknown reason. Furthermore, the tripod
could not be balanced on the ground in which I’d want to film from,
or I may not be able to find a power source for my lights. This would
especially be an issue when I want to film outside.
• Furthermore, problems could arise during filming. The camera
and/or lights could run out of battery during filming which would
make it completely unusable, or the camera could run out of storage
space which would mean having to delete certain shots and sacrifice
certain camera angles for each scene. In addition, equipment can be
very fragile and could easily break on set due to mishandling or
accidents. For example, the camera could be dropped, the tripod
could fall if unbalanced, or the lights could either fall or be hit by
part of the setting, such as a branch if filming outdoors. This could
result in damaged equipment and loss of footage.
• Expanding on this, loss of film could also occur during the editing
process. I would edit using my PC, and my PC can crash periodically
which would result in a loss of progress, and in extreme cases a
corrupt save file which means even autosaves and regular saves
would be pointless. Furthermore, the PC itself could break due to
multiple reasons, such as spilled drinks, broken hardware, viruses,
etc. which means I’d lose all the project stored on it.
Solutions
• If possible, I should try to have as many cameras on set as possible.
Not only to get multiple angles, but just in case one doesn’t work for
whatever reason, as without a camera being on set would be
pointless and everyone’s, including my own, time would be wasted.
It’s also important I research my potential locations beforehand
thoroughly and make sure there are areas in which I can safely use a
tripod if necessary for that scene, and if there’s not, plan to either not
use one, or make sure a crew member can film. This is the same for
making sure that my light sources have power sources, and if there’s
no plug sockets, either use battery powered lights or natural lighting.
• To avoid battery issues, I need to make sure I have back up power
sources for all my equipment. An example of this would be making
sure I have at least one (two ideally) battery packs for my camera,
whether that’s professional or a portable charger for my phone. The
same goes for storage, I should use a SD card if using my phone in
order to have the most storage space possible, as my phone has a lot
of issues with base storage. To avoid damaged equipment, I need to
be very careful when handling equipment and risk assess any area
where I use them to avoid falling tripods, branches hitting lights etc.
• In order to reduce risk of losing progress and corrupt saves during
post production, I need to make sure I regularly back up all work I do,
preferably multiple times in order to be the most safe, as issues to do
with the hard drive are irreversible. Furthermore, I need to remember
to save very regularly in case of PC crashes.

Problem Why it’s a Problem Solution Back-up Solution Evaluation
Lighting – No professional lighting
equipment at home due to
cost/COVID-19 restrictions
Could make my film look
unprofessional and unpleasing
Use phone torches for specific
lighting techniques alongside lamps
and natural lighting
Buy a ring light or two, or maybe a
more professiona torch
Lighting looking professional can
make or break a film, meaning both
solutions are very necessary
Lighting – Most available lighting at
home is warm toned, the opposite
of what I plan on using
Warm lighting could ruin the
depressing atmosphere I’m going
for in certain scenes
Use coloured material over light
sources to change the hue of the
light given out
Colour correct in post production
and use filters/hue/saturation etc.
to make warm light cold toned
The first solution could potentially
be difficult to acheive, but if that’s
the case, ciolour correction is a must
Camera/Framing – One camera at
home due to lack of equipment
meaning one angle per scene
Could make my film look amateur
and uninteresting to the audience
Ask help from my brother who has
some filming experience and a
decent quality phone camera
Reshoot scenes consistently with
multiple different angles do edit
together
The back up solution will be very
time consuming so first solution is
ideal
Camera/Framing – Will be in front
of the camera a lot as I play
protagonist but no tripod
If COVID-19 doesn’t allow me to
have a proper crew, this could mean
I can’t film certain scenes
Buy a tripod if can as it’s within
budget for my phone, or use stacks
of books if not
Ask family for help with filming
certain scenes, preferably brother
as he has some experience
Ideally, the first solution is best as
my family helping film could result
in not ideal footage
Camera/Framing – Lack of space for
mutliple cameras/crew due to
filming indoors
Filming in small spaces means crew
members are more likely to
accidentally be in shot
Plan out scene and where camerasin
detail will be to avoid overlap
Reduce amount of cameras on the
scene at once and reshoot for
different angles
Planning ahead should be enough,
as it would be uineffcient to film
more than necessary
Camera/Framing – Could be
difficulty obtaining rule of 3 due to
prebuilt sets in my home
Rule of 3 makes yoru shot look
pleasing and sophisticated, so it’s a
must for my artists film
Use props I have at home within the
scene (pillows, lamps, etc) with
subject to make rule of 3
Adjust setting locations, such as
including more outside scenes, to
incporate rule of 3
Back up solution shouldn’t be
necessary but included due to the
importance of rule of 3
Video/Audio Quality – Low quality
phone camera, no access to
professional equipment due to
COVID-19 lockdown
Low quality can make a video
unwatchable for some audiences,
and reduces immersion/emotion
Borrow a friend/family member’s
better quality camera, or buy one if
within budget
Use tutorials to adjust minimal ‘pro’
settings on phone camera to imrove
quality slightly
The ideal solution would be to
obtain a good camera, as my phone
quality won’t be good enough for
the genre of my film
Table Summary – Practical and Technical Problems

Video/Audio Quality – Potential
noise during dark scenes which
would drastically ruin quality
Noise makes a scene look very
unprofessional and can ruin the
immersion for the audience
Look at tutorials online to see how
to improve camera settings for shots
with minimal lighting
Increase the amount of light in some
scenes, reducing noise but
compromising the atmosphere
Ideally, I’d like to find a way to film
low light settings with minimal noise
and high quality to keep dark scenes
Actors – Potentially can’t meet up
with some/all actors due to COVID-
19 restrictions
Could change what I had in mind for
the video, and could mean I have to
remove some characters
Plan for both situations (scripting,
storyboarding etc) so I’m not left in
the dark if there’s only me to act, or
film outside if restrictions allow it
Ask my friend to record himself in
his own home as the protagonist to
still include them somewhat
Both solutions could work, and
ideally if possible I’d like to include
the protagonist, but planning for
both outcomes is very important
Actors – Non professional actors
could result in lack of/not right
emotion I want to convey
This could shift the tone of the
narrative and emotion from what I
had in mind originally
Plan the scenes and characters
thoruoughly, and/or use friends
who know the background
inspiration behind the narrative
Use professional actors (if COVID-
19) allows it, and make sure to
direct them exactly
The back-up solution isn’t ideal due
to budgetting reasons, but
necessary if the first solution
doesn’t work
Cost – Equipment cost could be too
expensive for my budget
Potentially means I have a lower
quality video and can’t do certain
scenes/lighting/angles
Borrow if possible, and use D.I.Y
techniques at home for lighting
and/or tripods
Buy the equipment but sacrifice
quality for a cheaper price that I can
actually afford
It would be better to borrow
equipment for good quality as I can
only afford lower quality equipment
Cost – Can’t afford to pay actors
even if I can use them within
restrictions
Could result in a less immersive
experience for the audience due to
less characters than desired
Ask my friends to volunteer to act
for me, and ‘pay them’ in snacks or
a small gift each
Use the majority of the budget to
pay actors minimum wage, and use
them as little as possible
The friends option would definitely
be better as I would have more time
and it’d be less expensive
Cost – Travelling could add to
money spent in order to pay for
fuel, public transport, etc.
It could take away money in the
budget that could be used for more
vital/important aspects
Film at local locations, even though
they’re not preferable they’re suited
to the atmosphere and cost nothing
Travel on a budget through the
cheapest methods, even if this
means sacrificing comfort
Though travelling to a beach to film
would be ideal, if other apsects
need money, local is the best option
Cost - Costumes could be expensive
due to avoiding using fast fasion
sites as they are seen as unethical
Using fast fashion could cause
backlash on my film, but other sites
may be too expensive
Use any clothes either I or my actors
already have as costumes to avoid
having to buy new clothes
Use second hand sites like
depop.com to avoid fast fashion but
find good prices
For the majority of cosumtes
solution 1 should work fine, but for
the dress I’d need to use back-up
Table Summary – Practical and Technical Problems

Location – The weather could be
rainy/overcast/snowy and not sunny
like I’d prefer
This would get in the way of the
theme of new hope and contrast to
darker scenes that I’m going for
Use accurate weather prediction
sources to establish the best days
for filming and avoid bad weather
Colour correct grey scenes in post
production to be brighter and more
accurate to what I planned
It’d be better to film on days with
good weather predicted as colour
correcting can’t fix everything
Location – Lighting can be
inconsistent or undesired due to
weather and time of day
Outdoor lighting can make my
scenes look inconsistent as well as
not give the desired effect
Use accurate prediction sources to
avoid bad lighting, and try film at
the same time every day
Use post production to include
artificial lighting and colour
correcting to add consistency
The back-up solution would work to
an extent but could remove
authenticity, so prevention is best
Location – The temperature could
be really cold due to filming
potentially starting in March
Could cause actors to feel
uncomfortable while filming, hence
reducing acting quality
Make sure the actors have big coats
to warm them up between scenes
to reduce effects of the cold
Change the outfits to more weather
appropriate rather than focusing on
aesthetics
I’d rather not change the costume
as it could not give the desired
effect, so a coat is the best solution
Location – People and traffic
surrounding the location could
cause disruptions
This would ruin the overall tone of
the scene as it’s meant to be
peaceful and dream-like
Film in locations that I know and are
‘secret’ to the public so less chance
of disruptions
Ask people to stay away from the
area while filming, but this could be
seen as rude and disruptive
The back-up solution really wouldn’t
be ideal, so it’d be best to try find
secluded areas
Location – Travel to the beach (ideal
location) could be restricted,
difficult and expensive
If I plan only for a beach setting, not
being able to travel there could be
detremental
Try to plan minimal scenes for the
beach to avoid having to refilm and
be efficient in planning
Film in areas local to me with a
similar ‘pretty’ atmosphere to avoid
all potential restrictions
In this case the backup solution
might be preferable as it would be a
lot easier, but the beach is idea
Location – Filming at home could
cause disruptions for family or
disruptions with filming
Could mean family members are in
the background of shots, or negative
reactions from family members
Film at night when family members
are asleep to play into desired tone
and avoid disruption
Ask family to vacate certain rooms
when filming, meaning they don’t
disrupt the shot
For most scenes it’d be better to
film at night, and only ask people to
vacate when needing natural light
Production Time – COVID-19
restrictions could push
back/postpone filming
This could result in rushed filming to
reach deadlines, lack of quality,
delay entire project, etc.
Keep up to date with COVID-19
news and predictions in order to
plan ahead
Plan both an ‘ideal’ version and a
‘restricted’ version of my short film,
to be prepared for any outcome
Both the back up and first solution
are incredibly important, as having
enough production time is vital
Table Summary – Theoretical Problems

Production Time – Reshoots due to
multiple angles and inexperience
could take a lot of time
Spending too much time on one
scene could create an inconsistency
throughout due to time restraints
Plan each scene thoroughly,
including angles and settings to
make reshoots efficient
Find a balance between the quality I
want and my own skill level in order
to not go ‘too over the top’
Planning thoroughly would be the
best solution as I don’t want to limit
my video’s quality due to time
Production Time – Editing could
cause issues, such as software
crashes, corrupt saves etc.
This could mean I’d have to re-start
the editing process which would
result in lower quality due to time
Either use an autosave feature if my
software has it, or save regularly, as
well as find back-up software
Use back up saves in order to make
sure I still have access to my project
even if one save becomes corrupt
It’s vital that I use all these solutions
as an issue with editing could reduce
the quality of my whole video
Production Crew – Might not be
able to show up to set at all
depending on COVID restrictions
Could drastically change filming
process as I wouldn’t have the help I
originally planned for
Plan Film with one crew member
outside, wearing masks and keeping
6 feet apart
Plan a separate version of my short
film for in case there’s no cast or
crew members
Ideally, worst case I’d like to still be
able to film with one other person,
but planning for no one is important
Production Crew – Crew members
might struggle to travel to certain
filming locations
Might not be able to film in the
locations I want, or if I do anyway,
could result in lack of quality
Find out ahead of the time who can
and can’t make it on certain days to
plan around that
Film different scenes than planned
and assign/or the person’s job to
another crew member who can do it
Planning ahead is the best solution,
as though reassigining last minute
could work, it could reduce quality
Production Crew – Cast and Crew
may have to cancel last minute for
safety or personal reasons
Could throw off the whole day of
filming as may not have the right
actors, camera angles, etc.
If possible, have two people per job
so if one of them can’t make it, the
other can do it, like an understudy
Film different scenes than planned
and/or assign the person’s job to
another crew member who can do it
The first solution would definitely be
the best but not necessarily possible
with current restrictions in place
Production Crew – Could not have
enough supplies for the crew, like
food, costume, equipment etc.
This could result in the crew feeling
unmotivated and tired, which would
reduce quality of work
Make sure to plan ahead for how
many people are there each day in
order to have enough supplies
If last minute and filming in a place
which allows it, buy supplies while
on set from local shops
Planning ahead is definitely ideal, as
buying supplies during production
would waste time for filming
Production Crew – A cast or crew
member could be injured on set for
multiple reasons
Could result in discomfort for my
crew, and mean that crew member
or actor can’t work that day
Make sure to give a list of safety
guidelines to each crew member to
try avoid accidents
Have medical equipment, like a first
aid kid, available at every set
location just in case of incident
Prevention is the vital solution, but
it’s important to have precautions in
place if an injury does occur

Equipment – Potentially might not
work when we go to film for
multiple reasons
Could mean a whole day of filming is
wasted if camera breaks as cameras
are the most vital part of filming
Research into locations thoroughly
beforehand to make sure they’re
safe for all of my equipment
Bring multiple cameras to set in
order to make sure that even if the
main camera breaks, I can still film
Both solutions are necessary as
equipment is such a vital part of
filming, and it has to work
Equipment – Could run out of
batteries and/or storage while
filming
This could mean a day of filming is
cut short, or I’d have to sacrifice
multiple angles to make space
Bring back up battery packs for all
equipment, and use SD cards in
order to improve storage
Use crew member’s phone cameres
(if allowed) in order to still be able
to film with a decent quality
The back up solution isn’t ideal, so
it’s important I remmeber to bring
battery packs and SD cards
Equipment – Might be broken on
set, like being dropped or
accidentally hit against something
Broken equipment can cost a lot to
replace, as well as cause lack of
quality in my short film without it
Be very careful with how I handle
equipment, and risk assess every
setting for potential dangers
Put aside some of the budget to put
towards repairs just in case it needs
reparing or replacing
Prevention is key as repairs can be
very expensive, so the back up
solution is only a last resort
Equipment – Computer could be
faulty and result in crashing,
corruption in saves, etc.
Crashing and corrupt saves can
result in loss of either partial
progress or the entire project
Make sure to save regularly and
have multiple save files in case of
file corruption
Back up all the saves and finished
projects on a separate piece of
hardware in case of fault
Both solutions should be done in
order to make sure post production
has the least risk possible

Experiment 1 (Lighting) White Arrow – Where light is coming from | Green Arrow – Where subject is looking
1. The first light experiment I did was seeing if I could accomplish a
silhouette using a phone torch behind my subject. Through many
attempts, I’ve established that in order to get a proper silhouette like I
had in mind, I’d need a much stronger light with a plain, potentially
white, background if possible. This would be difficult to achieve to a
high quality/how I imagined without college equipment, but if I’m able
to obtain some more powerful lights, I could do something similar to
what I pictured. This means scenes I plan incorporating a silhouette
won’t be entirely unobtainable due to COVD-19 restrictions. Instead of
a silhouette, however, I did manage to accomplish the glow effect that
I wanted. Though I originally intended to only use this during the
‘hopeful’ scenes, I believe with the right colour correcting and angles,
it could work well during the depressing scenes too. For example, the
image on the left has a brighter atmosphere due to the higher camera
angle and hence more light coming through, whereas the second
image has a lower camera angle and causes less light, and hence a
more stark contrast ‘glow’ behind my subject, creating a darker tone.
2. After experimenting with light behind the subject, I referenced my research to see what lighting angles
would be most relevant to try next. Due to the fact I want quite a few ‘creepy’ lighting angles as the majority
of my project will be set in a dark atmosphere, I first tried a side angle shot. I wanted to create the feeling of
the typical ‘torch at a campfire’ lighting as that’s typically associated with fear, however I didn’t want to use
this fully as it can also create an unflattering effect. As compromise, I experimented with placing my phone
torch light to the left of my subject and facing upwards slightly. After a few tries I ended up finding the right
angle which light up my subjects face in a way that was slightly creepy, but not too unflattering. Next, I tried a
similar angle but with the light source coming from an above direction rather than below. This lighting effect
was more successful to me as it still has a creepy tone to it, but it’s much more flattering and combined with a
higher camera angle gives the feeling of weakness and vulnerability which is a desirable attribute for the
majority of my scenes. To improve this, I would perhaps move the light source more centre to make the nose
shadow shorter, as it can look a bit unflattering and looks slightly off. Finally, I tried the ‘butterfly’ lighting
angle as my research showed this expressed femininity, which is a key aspect of my short film and something I
need to represent. I was able to get this angle quite easily by holding the phone torch above my subjects head
to a roughly 45 degree angle. It’s incredibly flattering and definitely does show a feminine side to my subject
and was overall very successful even with just a phone torch. Overall, these experiments showed that I can
obtain my desired lighting shots even without professional equipment.

Experiment 1 (Lighting)
3. For my next experiments, I wanted to test how the direction my subject is looking rather effects the lighting rather than where the light is coming
from. I did this by using a lamp in my room as the practical source, as I wanted to experiment how it would look without a motivated light source as
this would be difficult to do with limited crew and small filming spaces (though not impossible if necessary, as I used both activated and motivated
lights during the other lighting experiments). For the first experiment, my subject looked up, just above the camera lense, with the lighting source
coming from her lower right. This created a Rembrandt combined split lighting effect on my subject, which looked both dramatic and flattering.
Though this wasn’t a technique I was initially too focused on, this experiment presented how effective and impactful it could look in scenes where
my protagonist is gaining back control, but still half stuck in darkness. For the next experiment, I positioned my subject to be looking further towards
her upper left, directly going against the practical lighting source. This again created a flattering angle, and focused more on the split lighting
technique, as half her face is in darkness. This lighting works well at highlighting my protagonist is in darkness while still making her visible to the
audience which can be tricky when trying to film at night. It also could be used in multiple ways in terms of artistry, such as reflecting the fact her
light is slowly overcoming the dark, hence the split lighting which favours the light. With the third experiment, I wanted to test how it would look if
my subject looked just slightly away from the light source. I wanted to test if this would create a unflattering, flat light image or if it could be an
effective technique. I found that it did the opposite of what I expected and actually worked well at lighting up my subjects face, while also still
providing shadow on the nose and around her right eye that isn’t too intense, but still gives the image depth. Finally, to focus more on the lighting
itself than the subject, I tested it using a hand. The hand lit up in a cinematic way with deep shadows making the whole image have multiple forms
of perspective, proving that this light source is an ideal one to use. Another thing to note is this lamp has 3 settings of intensity, which means when
it comes to actual production I’ll be able to change the level of light to reflect the tone of the scene easily, hence making it ideal.
4. I experimented with the
purple LED lighting emitted from
my PC to see if it could create
good, coloured lighting. Though
it could be potentially used for
some close up shots, from a
distance it doesn’t work due to it
not being intense enough. Also,
my experiments concluded that
the level of light just didn’t light
up the scene enough, and I’d
either have to find a purple
motivated light source which
could be difficult, or brighten in
post production which could
compromise quality, and hence
not worth it.
White Arrow – Where light is coming from | Green Arrow – Where subject is looking

Experiment 1 (Lighting + Colour)
5. Due to the fact that I was unsuccessful in creating a true silhouette effect in previous experiments, I wanted
to try again but this time with a bigger light source. I decided the best way to do this was to use the hallway
light outside my room, as it is very bright and would work well at creating a silhouette combined with a dark
room. In order to take these photos by myself, I used a timer on my phone camera and propped it against two
books on my shelf next to the door. For the first shot, I wanted a tilted angle as I felt it would add more depth
and emotion to the image, and I wanted to test how that combined with the lighting would look. For the first
attempt, my camera didn’t focus properly as I had moved into position to quickly after setting the timer,
which led to a blurry image. However, I believe in some cases this could actually work as the blurriness of the
image adds an element of a dream like state, which would work well from a symbolism perspective, as well as
combined with the tilt, at creating an eerie and uncertain atmosphere. However, my main priority was getting
a sharp contrast as my research showed that contrast can portray fear and discomfort, which is what my
protagonist is feeling. This time, I double checked that my camera has focused on the light in the doorway and
moved into position slowly as to not effect the focus, which resulted in me getting the shot I initially wanted. I
managed to get a glow through my hair too, which combines the silhouette and the glow lighting I want to
use and creates an aesthetically pleasing and almost powerful effect. Finally, I wanted to test a more
‘depressing’ pose where my character is on the floor, removing the power that comes from a low angle, and
reaching up for help. Again, this pose came out exactly like I wanted and gave the desired effect.
6. Once I had the shots I wanted, I decided to colour correct in order to
get a better visual of how they’d look in my film. I used a simple built-in
editor on my phone as this was for just a rough visual, rather than a
focus on colour correcting. I felt it was important to see how this
lighting would look with blue, desaturated colours as silhouettes tend to
work better with vibrancy, and I need to see if the lack of saturation
would be an issue. Out of the two photos, I believe the one on the left
looks better with this lighting technique as the colours blend better, and
though the silhouette is clearly noticeable, it doesn’t contrast too much
with the background, and the background itself isn’t too light for the
overall aesthetic and atmosphere. Though I believe the image on the
right could also be very impactful, I would have to change the camera
angle in order to centre the protagonist more, as in the shot above she
looks slightly off and doesn’t draw focus from the audience, especially
after adding the desaturation and hence removing the contrast. Overall,
I think this lighting technique could work well in my desired colour
scheme, but preferably with dynamic camera angles and contrast.

Experiment 1 (Lighting + Colour) Process + Summary
7. Due to my lighting being quite warm, I need to test if I could colour correct these images into more depressing hues with dark and lonely connotations. This was an
important aspect to test out due to the fact that most of my lighting in my house is warm hued, and due to COVID-19 restrictions these could potentially be the only light
sources I have access to. I found this was quite easy to do with warm lighting from the lamp as I just used editing software on my phone to change the hue to blue, give it a
cold tint and reduce saturation which completely changed the tone of the experiment with minimal effect on quality. This process can be translated into video editing
software during post production, which proves this to be successful. The overall outcome of the orange hued image is quite melancholy, giving off feelings of loneliness and
sadness due to the large amount of shadow mixed with desaturated, dark blue tones. However, when it came to the butterfly lighting image, this process turned out lesser
quality to what I was going for. Though the lighting itself was good in my opinion, the colour, despite going through the same process, ended up being a lot more contrasted
and brighter, which led to more of a fearful tone rather than lonely like I was initially going for. However, this can still be applied as I do want to translate fear that my
protagonist felt through production techniques, I just personally prefer the aesthetic of the warmer lighting shot. The second image was also done with a purple , transparent
glove on top of the phone torch to try create a purple glow, but the effect wasn’t as intense as I was hoping for which may have got in the way of the colour correcting
process. For colour, I will have to either stick to post production or invest in colour phone lenses. The point of these experiments was to test if I can still make a high quality,
cinematic video at home if COVID-19 restrictions keep us in lockdown throughout production. Overall, they were very successful and proved that my suggested solutions for
lighting would work, and even though I had doubts about the silhouette effect, I now believe that I can achieve this with a stronger source of light behind my subject rather
than just a phone torch to create a further contrast. Hopefully I will be able to do this at the studio in college as it would create a better effect, but if not I can use a ceiling
light and a doorway like in these experiments. Furthermore, despite not being able to get the initial silhouette effect I hoped for using just a phone torch, I still managed to
prove that I can get the glow effect I wanted, which is very helpful and reassuring.

Experiment 2 (Colour Correction) - Process
1. First of all, I made
sure to give the image
an overall blue tint and
reduced the amount of
red. However, I quickly
noticed that the image
had some large grain in
the centre, meaning I
had to reduce the
amount of editing as to
not irritate it and make it
more obvious.
2. I then reduced
saturation of the image
to create a duller tone,
which fits in with what
I’d want my scenes to
look like as dull greys
and blues have typical
depressing connotations.
I also decreased the
lightness slightly, to
make the image darker
and hence more sinister.
3. By now the image had
the glowing lighting that
I wanted. The lamp gave
off a moody atmosphere
to the lack of contrast
and saturation. This
creates a sense of
loneliness and sadness,
which is what I want the
lighting in wider shot
scenes, like this one, to
portray.
4. Now, my focus was on
making my light source
look blue. I used the
channel mixer, primarily
focusing on the blue tab.
I used past experiences
with photoshop as
influence when
experimenting with the
settings, and eventually
balanced the colours to
find an intense blue.
5. Though I initially really
liked the look of this
blue and thought it
created a very
aesthetically pleasing
atmosphere, the
intensity of it took away
from the lonely,
depressing atmosphere I
was going for and hence
I needed to change it to
be less vibrant.
6. At first, I tried
desaturating the image
but that took away too
much blue and
highlighted the grain, so
instead I experimented
with levels, adjusting the
highlights and shadows
until my image was a
toned down blue that
had a more ideal
atmosphere.

Experiment 2 (Colour Correction) – Summary
The main purpose of this experiment was to see if I could colour correct a setting in which I intended on using, despite only having warm lighting. I also purposefully took this
image in darker lighting in order to see if I could accomplish the desired effect with minimal grain. This was important as my actual video would be shot mostly at night in
minimal lighting, and I also wanted to experiment in more advanced colour correcting using tools in photoshop that would also be in Sony Vegas Pro 14 rather than just using
a basic photo editor on my phone like I used in experiment 1, in order to see how easily it would translate. I found this experiment to be both successful and unsuccessful in
certain areas. First, I believe the colour correcting itself went well as I got the desired colour and atmosphere I wanted, however, in my actual video I may reduce the intensity
of the lamp slightly and use a second motivated source, such as the fairy lightings on my wall or a phone torch, in order to draw less attention away from the light and more
towards my subject while also not making the setting too dark. Currently, I believe this image would be too dark to actually use aside from a setting wide shot due to the
darkness and lack of other light. Furthermore, upon editing, I noticed this image had a lot of grain. I did try to capture the image with a lower ISO to help but my phone isn’t
that advanced in terms of camera quality, and I don’t have any other equipment. This is something I’ll work more on during the video quality section of problem solving, but
was something that definitely has an affect on colour correcting a lot as the more I edited, the clear it became. Overall, this experiment was very helpful in multiple ways. It
allowed me to test colour correcting and how I can apply it to my video through editing software and proved that even warm lights can still be used. However, it also showed
me that making sure I’m in the right settings to film in low light is incredibly important to avoid grain, and if this is made difficult due to lack of professional equipment, I need
to consider compromising atmosphere to create more light in the scene, and use other methods to create a darker, depressing tone.

Experiment 3 (Camerawork) - Process
1. The first camera angle I chose to test was the Dutch tilt.
I decided to film all these experiments in my bathroom as
it has the brightest lighting. Though it may not be the most
flattering, I was focused more on the angle and not on the
visual aesthetics like lighting and colour. For this shot, I
balanced my phone camera on two cupboard handles to
work as a D.I.Y tripod, which I had to test in case I couldn’t
use professional equipment due to COVID-19 restrictions.
However, I believe the shot came out with too much of a
tilt, to the point where it looks unnatural and doesn’t give
the subtle effect that the Dutch tilt does. To combat this,
I’d have to think of another tripod method, or alter it in
post production but sacrificing quality in the process.
Though this shot didn’t have the desired outcome, I
believe it could still prove useful as the intense tilt is a
technique in itself, and gives a feeling of nausea and
uncertainty, which are emotions my protagonist would
most likely be feeling throughout the narrative.
2. I was quite anxious to test a ‘detail’ shot, as I knew I’d
need it for my FMP but was unsure if I would be able to
get one of decent quality without someone behind the
camera to help with angle, focus etc. Though it took a few
attempts, I did finally manage to get a shot in which my
eye was able to come into focus, as shown above.
However, it was very brief in the video, and wouldn’t work
for an actual scene unless it was only a split second of
footage. This told me that in order to get detail shots of
decent quality in my video, I’d need at least one other
person to help film, mostly due to the fact that my phone
camera defocusses quite easily even on manual mode,
and when filming by myself I can’t be checking the focus
while also having details of my face, hands etc be the main
focus of the shot. Though my initial intent with this
experiment was to have my eye centred, I do like the
framing end result as this angle gives of a sense of fear in
my subject, which links to the overall tone of my film.
3. Next, I wanted practice a tight shot as my research
found that these are good for showing a characters
emotion, and as my short film will be an emotive
narration with artistic aspects, exhibiting emotion through
a ‘show not tell’ method is incredibly important. I liked
the overall framing of this shot as I aligned my face with
the ‘Rule of 3’, and I believe the angle will be good at
capturing expression through eyes when it comes to
actual acting, however I will be careful to make sure the
shot is less tilted and more straight, as a tilt doesn’t work
in this shot and just makes it look ‘off’ to the audience in a
way that makes it unpleasing. Furthermore, like the detail
shot, it was difficult to find that quality in my camera
phone without someone behind it helping with angle and
focus, as it left the experiment with a bad video quality.
This is incredibly important in detail and tight shots, as
low quality tends to be a lot more noticeable when
focusing on specific details like eyes, mouth, etc.

Experiment 3 (Camerawork) - Process + Summary
5. Finally, I wanted to experiments with high shots. I
found this one very difficult to do, as propping a phone to
face downwards without professional equipment can be
challenging and potentially dangerous if the phone falls.
The best way I could think to try achieve this angle was to
use a small bottle below the camera on my phone to
wedge the phone between two things in order to get a
downwards facing angle without the need of a
professional tripod. Though this allowed me to get a semi-
high shot, I didn’t achieve the overall angle I wanted, and
the counter got in the way with left a weird,
unprofessional blur at the bottom of the frame, as I
couldn’t put the phone right on the edge like I’d do with
another, easier angled shot. In conclusion, I’d most likely
only be able to do low shots if I had help in terms of
camerawork, unless I found another method to do it D.I.Y,
though I don’t see a way that wouldn’t put my
phone/camera at risk of being damaged.
4. Low shots are primarily used in film to show power,
commonly to narrate that feeling of regaining control,
such as in superhero films when the protagonist makes a
comeback. As a theme of my film is the idea of my
portagonist eventually escaping torment and finding
herself again, I believe this would be a good angle to filter
in during the more ‘depressing’ scenes, and primarily
focused on near the end where the healing process has
become more prominent. To test this angle, I propped my
phone up against a basket, angling it upwards. I pressed
record before I put it down, with the intention of cutting it
during post production if I end up having to use a similar
method in my FMP. Overall, I liked how this angle turned
out and believed I was able to achieve the look and
emotion I set out to gather through this experiment,
though in future filming I will make my subject a bit
further back in order to fit better, though I like the fact
she is centred as this adds to the sense of power.
Overall, I think these experiments were mostly successful
in terms of displaying the limits I have without
professional equipment, and how this will effect my short
film. Though I can still do some shots that can be used to
symbolise certain aspects of my short film like desired,
some of them, like detail and high shot, will be much
more difficult to achieve and would most likely require a
second person. Hopefully this would be possible within
COVID-19 restrictions, even if it’s just one crew member,
though I have to take into account that it’s very possible I
will have to film entirely on my own. Thanks to these
experiments, I will be able to adapt my planning for both
outcomes and base what angles I will use around how
likely I am to be able to achieve it. For example, in my
scene planning for relaxed COVID-19 restrictions, I can
include high and detail shots without much doubt, but in
terms of planning for having to do it on my own, I should
use these angles scarcely in order to not overcomplicate
filming and being left with a plan I ultimately can’t follow.

Experiment 4 (Quality) - Process
1. The purpose of these experiments was to exhibit potential solutions to having an
unfavourable quality camera, like my phone camera. To start, I looked at how the
sharpening tool in Sony Vegas 14 effects low light video. Due to having to stay at
home because of the COVID-19 lockdown, I had to use a video from last year rather
than film another of an outdoor, night setting. I set the sharpening effect to 0.750
to try get the most effective effect without over sharpening, which usually ends up
worsening the quality. The effect definitely reduced the blur in the image and looks
good from a distance, but on a big screen it could be noticeable that it has been
sharpened, as some of the noise and detail have been made too ‘crisp’. This goes to
show that though this method of sharpening post production can be used to an
extent and in certain scenes, I shouldn’t rely on it for video quality.
2. When looking into enhancing video quality, I found the app ‘Remini’. However in
order to enhance video I have to pay a subscription, so I wanted to see the quality
of enhancing images first to experiment if it was worth it. I took this picture from
my lighting experiment, which though served it’s purpose of lighting, wasn’t the
best quality, and used the ‘photo enhancer’ in Remini. The app made my image
extremely clear without adding grain like sharpening does, though it only seems to
work on faces rather than settings, which I will take into account if choosing to use
this for my video. It also doesn’t seem very consistent, I nthe fact it can make some
images look weird and unnatural, but can be extremely useful for some scenes.
Here I have the before and after of the two images, and the quality difference
between the two is extremely noticeable. This could potentially be a good solution
for quality and correction.

Experiment 4 (Quality) - Process + Summary
3. Due to the issues with detail angles and camerawork, I decided a good experiment to test quality was to focus on the
eyes. I took multiple videos of myself and my eyes using my phone camera and a make shift tripod for my phone
camera, and then compared the outcomes with an experiment I did pre-lockdown with professional equipment in order
to evaluate the differences and whether it would be worth investing in professional equipment despite the price.
Despite the zoom in shot of my subjects eyes being cropped and enlarged a lot, the quality is still better than one of my
own tests using a phone camera. This just goes to show the difference in quality, which is something that can’t be
replicated with post production or apps like Remini. However, with my second test that doubled as a detail shot
experiment, my phone camera was able to focus and achieved a decent looking image. This was only after multiple
attempts, however, and only lasted a few seconds due to the fact my phone camera’s focus is very inconsistent even in
manual focus mode, and without someone else to help film while I am behind the camera, it could result in a lot of my
detail shots being blurry and unfocused, which wouldn’t be the case with high quality cameras like the one used at
college, due to their extensive settings and overall better quality. In summary, if I want a good quality video, I’m either
going have to rely on help from others, which could lead to issues if COVID-19 prevents that, invest in a higher quality
camera which could be expensive, or use minimal detail/tight shots. I’ll have to evaluate which option seems most
realistic when it comes to planning. It’s also important that I don’t rely on post production to ‘fix’ the quality, as though
it can help enhance certain shots, it won’t remove noise or ‘pixelly’ images, especially not for darker shots.

Experiment 5 (Quality) - Process + Summary
1. Video quality is such an important aspect of any short film, so I decided to experiment with
back up methods. In case I can’t avoid low quality and/or noise, I wanted to see if I could use
post production editing to make it look purposeful. Here, I have a picture me and my friends
took pre-lockdown in a dark location. The original picture is quite low quality and has a lot of
noise due to the low lighting, similar to how my project would look if I used my phone camera.
In this experiment, I edited the photo in a similar manner to how I would edit a video. I
increased the contrast, added a fade and then used a free overlay to add ‘damage’ to the
picture, as well as a dark grey border. Enhancing the low quality adds an aesthetic to the
image/video instead of making it just look cheap, that would be a good solution if I get to post
production and my videos aren’t the quality I imagined. Though this would be not my ideal
video style, it’s important for me to have multiple back up plans for the quality of my video as
it’s one of my biggest problems, as well as one of the most important. This experiment showed
me that not only is it possible, it can actually look good and add an extra level of tone, as the
‘home video’ style makes it feel more personal and authentic. Furthermore, the contrast and
fade editing adds more depth to the image, as exhibited by my friends in the back having more
shadow, and overall makes it more interesting to look at for the audience. This proved that if I
have to, making my video in the style of ‘damaged’ in post production is a viable solution.
2. Another technique I looked into using was my purposefully taking
unfocused videos/photos for my project in dark settings. Not only does this
combat the noise, it also can make the picture look aesthetically pleasing
and easy on the eyes. The blur can also add a tone of mystery and
uncertainty as well as adding to the video from an artistic perspective,
which would enhance the overall atmosphere for my video. However, this
only really works best with lights as displayed here by these images taken
just before Christmas, and wouldn’t work in scenes featuring my
protagonist. However, this means I could incorporate some darker scenes
(like filming a setting with minimal light) while still keeping high quality for
lighter scenes with my protagonist. I took this photo by turning on manual
focus on my phone, and not tapping the screen which means it won’t focus
on anything. The effect makes all the edges soft and even when brightened
there is no noise or grain, however, it can cause the light edges to become a
little sharp if over done, which is something I’ll have to bear in mind if using
this technique. Overall, this experiment was somewhat useful as it gave me
another way around low quality in some scenes, but not for the entire film.

Experiment 6 (Editing)
1. My aim for this
image was to give it a
dream-like peaceful
atmosphere. To begin, I
increased saturation to
make it brighter and
hence happier, and
adjusted the hue
slightly to favour the
green and reduce the
yellow tones.
2. Next, I added a
gradient over the
image which
incorporated blue,
green and gold. These
colours often represent
peace and serenity
which is what I was
going for. I then
reduced the opacity to
30% to make it subtle.
3. After the gradient, I
then increase
saturation again and
further change the hue
to favour greener
tones in order to make
the soil in the
foreground less
noticeablein the overall
image in order to
enhance the beauty.
4. I then used the
vibrancy tool in order
to make the setting
more eye catching and
‘lush’. I also used a
glow tool in order to
enhance the sun rays
and hence making the
scene for dream-like
and peaceful/euphoric
for my audience.
5. I then once again
worked on reducing
the yellow undertones
in the leaves and grass
by using the colour
balance tool to favour
greens and blues,
which removed any
murky colours, while
making sure to keep a
subtle golden glow.
6. I added a subtle filter
that upped the
contrast slightly and
enhanced the glow.
Finally, I used a filter
on my built-in phone
picture editor which
adds a dream-like blur
to the image. This tool
can also be found in
Sony Vegas 14

Experiment 6 (Editing)
I’d say I definitely achieved my overall goal of transforming my setting into a beautiful, ethereal type place that gives the audience a sense of dreaming and surrealism. This
was an important experiment to do as I want one of my locations to have this feel, as it’s mean to reflect that feeling of finally ‘waking up from a nightmare’ and peace that
my protagonist will feel when beginning the healing process. As there are no locations near me with this type of look, I’d have to add it in post production. With this
experiment, I used Photopea.com (a free website very similar to photoshop). I made sure to only use effects that I knew were available in my video editing software (Sony
Vegas 14) in order to make sure I could translate the skills and effects I learned/used in this experiment to my video despite the difference in medium/software. However,
one thing that could cause issue as this method of editing may only work with shots that are only the setting rather than incorporating a subject, as the effects I used may
cause a subject, such as my protagonist, to look strange and unnatural, which could ruin the immersion of the film as though I want my background to look like a dream or
fairy-tale, I want my protagonist to remain real and unromanticised. If this is the case, during post production I will have to adjust the settings I applied during this experiment
to find a balance between by desired setting look and not overshadowing my subject. Overall, however, I believe this exploration into editing could prove very useful, even if
it can only be used for wide setting shots, as the end result is exactly what I pictured.

Experiment 7 (Scene) - Filming
1. I shot all the scenes used in this experiment in my bathroom,
primarily focusing on the sink. I chose the bathroom as it has
bright light compared to the rest of my house which would be
best suited to my phone camera, and the bathroom is a setting I
want to use in my actual video. In fact, this experiment is a
concept of a scene I thought of for my FMP, and hopefully will
include to a more improved standard. I began preparation by
using some brow makeup that I had in the bathroom to draw on
some bands around my wrists. In my actual video, I’d flesh these
out more to look like grip marks or chains signifying control, but
for the experiment I just needed something to represent them.
After I’d drawn them on, I set up a jug weighted with bath
products as a stand for my phone to film. Due to the fact I do not
own any professional equipment, I wanted to test D.I.Y stands,
tripods etc to see to what extent I could make them work. For
my first shot, I propped my phone just on the edge of the sink
and filmed myself scrubbing at my wrists trying to wash off the
‘chains’, like my protagonist trying to rid of her abuser’s control.
For the next shot I propped up my phone to the left of my sink,
viewing the basin at an angle. This would be a close up shot,
focusing on the hands and trying to break free by washing them,
which is a common trope among themes of control. Additionally,
this close up combined with the other shots and different angles
would make the scene overall more interesting for the audience
and create more of an impact. Finally, for the last shot I propped
my phone looking up at the top half of my body. An up angle
shot can represent power, which is what I wanted to get across
because that is what she’s trying to reclaim. However, when she
can’t, she buckles, turning the shot into a low shot due to her
change of position in the frame.

Experiment 7 (Scene) - Editing
2. To start off my editing process, I
began by transferring all the videos to
my PC from my phone. Initially I tried
to use google drive, but my phone had
some issues and couldn’t connect. So,
instead, I used a USB cable. Once I had
all the videos, I placed them in a
folder named ‘Experiment’ and
imported them into Sony Vegas 14.
3. Once I had all the media I needed, I added all the videos onto
my timeline. I filmed each clip with the intent of intertwining
them during post production to make it seem like I had multiple
cameras all filming from different angles, rather than just one
with multiple clips. This is a technique I’ll most likely have to use
for my FMP, as it’s unlikely I’ll have access to more than one
camera even if I can borrow equipment from college, and/or
multiple cameramen due to COVID-19 restrictions. It was
important for this experiment to incorporate this in order to test
if I could still make a compelling scene using this method. Once I
had the video clips split up and sorted in an order that I was
happy with, I sped up some certain clips in order to match the
‘hand washing speed’, therefore making it all look cohesive as if
it was actually filmed at the same time. Finally, I added in a
sound of the tap running that I took from what of the clips and
duplicated where necessary to make it longer.
4. Upon starting editing, my first focus was removing the warm hues of the
bathroom light, as this scene would ideally have more depressing and lonely
connotations. The yellow made the scene look too casual and relaxed, which
wasn’t the tone I was going for, and added an overall bright atmosphere.
The plot of this mini experiment was my protagonist desperately trying to
wash off her abuser’s control from her wrists (like shackles), which meant
my vision for this scene was very dark and desaturated with blue tones. To
begin the process of colour correcting, I used ‘VEGAS Colour Corrector’ to
change all low, mid and high tones to have a blue hue, minimising the
amount of blue on the lower tones in order to maintain the darkness in the
shadows and keep a contrast. After I’d altered these I noticed that the
scenes were still very light, but this colour correcting had already began to
combat the overshadowing yellow and orange hues of the original clip.

5. Though I had achieved my initial goal of giving my film a blue tint, I now needed to reduce the brightness and saturation of the blue. As I was experimenting
with ‘VEGAS Colour Corrector (Secondary)’, I noticed a preset that read ‘Desaturate All but Reds’. Though red is a warm colour and I’m looking for blues, I
realised I could use this to remove the bright light blues and remaining yellow undertones from the video. I adjusted the saturation to make sure there was still
at least some colour left as I didn’t want my video to be entirely black and white, just faded to symbolise the loneliness and and depression that my protagonist
is feeling. Now my video was more red than blue, but I knew I could now easily use another tool to change the red hues into a blue like before and hence giving
the desired atmosphere, without having the yellow and orange undertones. In order to switch the reds to blues, I used the ‘VEGAS Colour Corrector’ again. I
used the base ‘remove all yellow cast’ to once again remove any remaining yellow undertones completely, and then adjusted the colour wheel to blue hues.
This time I kept the points quite close to the centre in order to avoid making my video too blue, as the combination of blue tints and desaturated is, as proved
by my research, the best colour combination to create a depressing, lonely atmosphere. However, my video still looked quite grey, and I wanted to add more
colour without the blue being too overwhelming and taking away from the atmosphere, which couldn’t be achieved with the ‘VEGAS Colour Corrector, as the
more blue it added, the lighter and flatter the image became which wasn’t very cinematic or pleasing to look at.

6. My next aim was to add a deep, desaturated blue back into the image, but I wanted to do this in a way that wouldn’t take away from depth and allow a
contrast. The ‘VEGAS colour corrector couldn’t do this in the way I wanted, so therefore I decided to experiment with ‘Colour Curves’, using the preset ‘Cool
Colours’ as a foundation. I don’t have much experience with colour curves and I wasn’t too sure of the dynamics, so in terms of colour correcting it was
important for me to test this feature out before my actual product’s post production. I set the shadows too a dark blue almost black colour and highlights to an
extremely pale, with a desaturated blue tinted grey in the middle. I then exaggerated the blue curve near the top to add more blue to the highlights rather than
the shadows in order to create more of a contrast and restore that perspective that previous colour correcting had washed out. However, my video still didn’t
have much depth despite having subjects in the foreground and background, which meant I needed to use another effect to enhance it. For this, I decided to
use ‘Bump Map’, which can add artificial lighting and shadows to my video. I used a preset I had made previously for a separate project, as I believed it worked
well as a foundation for this experiment. I changed the bump height to 0 in order for the video to still look clean and not pixelated/over sharpened, and reduced
the intensity to 0.25 in order to make the effect subtle while still providing the desired outcome. Finally, I moved the light points to the bottom left and top right
of the screen to provide symmetry for the overall shot, which not only brought the colour to a nice cold blue, but added depth into the scene.

7. I was mostly happy with the colour of my video now, but still felt it could be more atmospheric when representing the darkness and desperation that my
character is feeling. Furthermore, I wanted the band on my character’s wrist to be a darker almost-black colour rather than the brown it originally was.
Additionally, I noticed that at one point I look at the camera, and at this point it was too late to refilm so I had to find a way to cover it up without making the
video look unprofessional. I decided the best way to accomplish all these things was to use the ‘VEGAS Brightness and Contrast’ effect. I used this twice and
combined them to get the overall look, as I felt this would make what I wanted to achieve easier as it would be more precise. Overall, I lowered the contrast
slightly in order to lean more to the depressing atmosphere rather than fear, which is commonly done with stark contrasts. I also lowered the brightness to
make the shadows more black, which hid my glance at the camera and also made the bands look less brown. After I was content with the shadows and
highlights, I moved onto sharpening to try and improve my quality as I shot this on my phone. I increased the sharpness amount by 0.75, which made my overall
video look a lot more clean and professional while also making sure it didn’t highlight any noise, as this can be an effect of overdoing the sharpness effect. This
experiment proved very useful as it showed me that even with my phone camera, I can create a video with decent quality by making sure I film in a well lit
setting and use a balanced sharpness effect, which results in minimal pixilation and/or noise.

8. An idea I had for my actual short film was to make the video become gradually more saturated as it goes along. I thought about doing this as it would be a subtle technique
which would symbolise my character slowly regaining her control and healing from trauma, as black and white is typically seen as having sad and dark connotations whereas an
increase in saturation means a brighter and therefore happier toned scene. Though it wouldn’t have quite the same effect in this clip as it’s only a few seconds, I wanted to use this
opportunity to test if I could do this effect, and look into how to do it if possible. First, I found the effect ‘VGEAS Black and White’ and used the default template. I used to
animation option to create two key frames, one at the start of the scene and then one at the end. Like all other effects, this was added to the track rather than the clip to make it
more efficient, and in this case making the animation run better. At the start of the scene, I made the black and white amount 0.58 that combined with the already desaturated
colour correction, made the scene look almost black and white. Then, with the keyframe at the end of the scene, I adjusted the black and white blend amount to 0.177, which still
provided slight desaturated but was still different to the start of the scene. I purposefully made sure to make the two key frames not too drastically different to keep the effect
subtle, as if it was too much it could take away from the rest of the scene. Finally, I made both the key frames ‘smooth’ in order to provide a smooth transition throughout the clip.
This experiment proved that I could do this technique to a good standard and efficiently using Sony Vegas 14, and hence making it a viable technique option for my short film.

Experiment 7 (Scene) - Summary Overall, this experiment was extremely useful for my
short film as it combined the majority of the elements I
want/need to incorporate, and inspired confidence
that I can make what I envisioned even with no
professional equipment and just a phone camera. The
first aspect I want to note is the fact that despite
filming in bright, yellow hued light, I managed to use
colour correction to make my video have a dark and
depressing atmosphere which is what I’ll need for my
short film. This helps solve the noise issue in low
quality cameras, as it demonstrates that I can make
light settings look dark, which is useful as my phone
video camera tends to pick up a lot of noise in dark
locations and I’d have to film with a lot of light.
Expanding on phone quality issues, this experiment
also allowed me to look into quality improvements
during post production. Though it would be better to
have a good quality camera and not rely on these
methods, it’s a good back up solution for if I’m forced
to use a phone camera due to COVID-19 or budget
restrictions. Furthermore, this scene experiment
allowed to me to test re-shooting scenes from different
angles and putting clips together consistently in post-
production, which I believe to have completed
successfully. Furthermore, I carefully picked shots
which allowed me to have perspective in the frame,
such as have soap in the foreground from one of the
angles. One thing I could work on, however, is using a
larger variety of angle and framing techniques such as
detail shots on the eyes for emotive representation,
and using Dutch tilts to express uncertainty, as well as
putting more effort into incorporating the rule of 3. In
summary, I believe this experiment was very effective
in allowing me to test what I will be able to do with
minimal professional equipment, and inspired a
confidence that I’ll be able to make something of
quality despite potential restrictions.

Experiment 7 (Scene) - Final Product
Experiment – https://youtu.be/kt3kkcZdOYY
Experiment (Before vs After) - https://youtu.be/q7X9LkQUe4g

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