The final evaluation for my FMP

1. EVALUATION
Rhys Sadler-Scott

2. Summary of my FMP
For my FMP this year, I decided to create a Web series, centred around
four main characters and their struggles with various mental health
conditions. My aim was to display mental health in a more positive light
and show how, with the proper help, it doesn’t have to be a negative
influence on young people’s lives. I decided on making five episodes,
one focusing on and narrated by each main character and one at the
end to tie the storylines together. I’ve been successful in creating a
fifteen minute pilot and finale, but haven’t been able to complete the
other three episodes in the time constraints given. However, I will be
sure to complete them in my own time and will also submit the scripts
for all five episodes. As well as the trailer and other supplementary
material.

3. Research Effectiveness
In terms of researching the conditions, I found my research very effective. This was mostly due to recruiting a full-time
psychologist to the production crew. As it was her early influence on the project that shaped the characters and their
conditions. Through our sessions and her commentary on my early drafts of the characters, I was able to ensure that the
conditions each character suffers from is portrayed accurately. For example, when presented with some early planning around
the character JJ, who I envisioned as a fake-sociopath with Narcissistic personality disorder. Upon studying his planned arc and
character motivation, I was informed that his traits were closer to that of someone with Borderline Personality Disorder.
Which is how JJ’s final condition came about. The Psychologist also had a hand in the casting, with Donna Kitching being her
favourite choice for the role of Dr. Elizabeth Baker, as she recognised a lot of “practiced therapeutical behaviour” In the way
Donna acted in her audition tape. The same can be said for Fraser Hardwick, whose audition tape was complimented heavily
by the Psychologist. Noting that he behaved similarly to a schizophrenic patient she had treated in the past. Finally, I was
gifted with several comprehensive textbooks on the human condition and various psychological disorders, which greatly
influenced my characterisation of the four leads. I also asked each lead to research their characters conditions in whichever
manner they saw fit. Cassie Fonth drew heavy inspiration from the film “Split” which features a character with D.I.D as the
lead. Olivia Maiden researched women in the media with mental disorders, most prominently Jessica Jones and so on. I also
heavily researched the format of other televised web series. Most notably, I looked into the formula of Netflix’s original series.
That being the idea of ending every episode on something of a cliff-hanger, in order to keep the audience invested and make
them want to see the next episode. As well as having a carefully crafted opening credits sequence, with all of the billing for
the cast and crew located there instead of towards the end. I set out to follow this formula from the beginning and in that
respect, I think I was successful. Each episode of PsychoTherapy features an opening credits sequence and ends on a cliff-
hanger. Which helps to tie the series as a whole together tonally. Though I did research into the format of posters with an
ensemble cast like my series. This research was ultimately unneeded, as I abandoned the idea of a poster in favour of simple
photographs of all seven main characters in costume. I also researched the soundtracks of other dramatic ensemble based
series. Most prominently The Haunting of Hill House. Which features heavily dramatised piano themes. Which is where I got
the idea to create a full original soundtrack for my series based almost solely on piano pieces. This I think, was one of my
biggest successes.

4. The main textbooks I used in my research

5. Methods I used
The most prominent method I used in terms of camerawork was employing a large amount of handheld shots over traditional tripod shots.
This was done to give the footage a looser, more unstable quality, akin to the more unstable nature of the characters than usual television
normalities. It also allowed for more dynamic movement when shooting a scene, allowing for a longer take in several different angles. Best
displayed in the mental breakdown scene of Jessica in episode five, where the camera slowly moves closer to her as she shifts alters and
realises the bad thing’s she’s done. This was a very effective shot because of the freedom of movement of the camera. And this trend
continued with most handheld shots, though there was the occasional stumble, which led to some distracting shaky camera movement.
However, these moments were few and far between, and for the most part, the use of handheld tracking shots and medium close ups works
well with the tone of the series. Though I did also employ tripod shots whenever it was necessary and this also allowed for some interesting
camerawork. For example, when introducing the character of Skye Matthews, who suffers from bi-polar disorder. I chose to constantly flip the
angle of the shot in order to emphasize the duality of the character and to make the audience subtly aware that something was off about the
characters. This I think worked well in it’s execution. I also made heavy use of focus when transitioning between scenes. Often a scene would
start out of focus and then slowly come into focus as the viewer gets their bearings. Or a scene would come out of focus towards the end, only
to be refocused in the next shot. This gave the series an almost dreamlike quality. Almost as though what’s being displayed isn’t always
genuine. Since some of the characters have a shaky grip on reality. This method helped to emphasise this I think. For certain tripod scenes
between two characters, we also adopted the method of shooting the scene three times. Once with both characters in full view, and once as a
close up on each character. This provided much more variety when editing a scene together, as I had three different angles of the same scene
to choose from. Though it sometimes meant that the sound quality in a scene could be inconsistent as the wind would often pick up in
between takes. This wasn’t a huge issue however, as the wind didn’t overpower what the actors were saying. So the dialogue is at least legible.
In terms of sound, I always recorded any voiceover narration in the studio, with the rode shotgun mic, the result is very clear audio. Though
there is the occasional background noise of people in the corridors outside of the studio, it’s not loud enough to be a real issue. This voiceover
recording also proved useful for dubbing, when there were no other options and dialogue had to be dubbed over. For the dance scene, I
wanted a more open, rounded feel to the scene than I could achieve with a normal camera, so I commissioned the drone operator who worked
with me on my last project to get some shots of the actresses dancing. The result is a unique, colourful scene that sets itself apart from the rest
of the series and helps my project to stand out. I edited the entire project on PremirePro, with occasional uses of Adobe Audition for sound
clips I wanted to change. The is colour grading throughout the project to make the colours stand out and give the series a more vibrant feel.
However, I used ShotCut to edit the blooper reel, which I released on Facebook for promotional purposes. This was done because I didn’t have
premiere pro available at the time.

6. Methods I usedTo cast my actors. I sent out a wide array of casting calls on Facebook, Starnow, backstage and within York College. The very first
person cast was Donna Kitching as Elizabeth Baker. Who auditioned for the role of Skye Matthews on Starnow. Though, at 31, I
thought she was too old for the part of 19 year old Skye, I did see some potential for her as Elizabeth, so I asked her to audition for
that part instead. She happily agreed and upon sending a stellar audition tape. In which she improvised a backstory for her character, I
knew she was perfect for the role. She was cast in early February in the role and agreed upon three weeks of unpaid availability in
York when it didn’t clash with her work schedule. This was easy enough to work around. Olivia Maiden emailed me directly upon
seeing the casting call for Skye on facebook and lobbied for the part. At this point, I had already auditioned three actresses for the
part and thought Olivia may be too young and far for the role. As she was only 16 and living in Gloucestershire. However, she assured
me this wasn’t a problem, and after a brilliant audition tape. I offered her the part and helped her to find accommodation in a hostel
in York. She agreed to come to York for three weeks. Staying at the hostel Monday to Wednesday each week. Adding up to 9 filming
days. She also offered to take on the responsibility of creating a call sheet. For the shooting. Though as she was forced to leave the
production just before her third week, this didn’t come to pass. However, Olivia’s enthusiasm and fast work meant that she was able
to finish nearly all her scenes in just those two weeks. And my method for getting around this was simply to use a body double in the
place of Olivia and shoot her scenes from behind. Through this method, the difference is negligible and the production was able to go
full steam ahead. Fraser Hardwick was the first of the main four characters to be cast. After giving a great audition and agreeing to
appear in my film if I would appear in his. This meant that Fraser was available throughout the production. I decided to appear in the
film after struggling to find an actor to appear in the part of JJ. Since none of the actors who had applied on Starnow were close
enough, or they didn’t agree to an unpaid role. Therefore, I decided to fill the role of Joshua Jordan myself. Cassie Fonth was the last
of the four main characters to be cast, as I had originally written the main role for a male. However, I struggled once again to find an
actor. Therefore I decided to change the main protagonist to a female. Cassie responded to the call on facebook, and gave a great
performance of Jessica’s opening monologue for her audition. Since she was happy to come to York whenever needed. This was a
good fit. India Harrison’s casting came about when I decided to create the character of the twins mother midway through the casting
process. As India bore a good physical resemblance to both Fraser and Olivia. Since she was available throughout production, this too
was a good fit. Finally, Angie Sutcliffe joined the production on the heavy recommendation of Olivia Maiden, who helped Angie
organise a trip from Bury to York, where she joined the production for a day to finish her scenes in one shoot. The casting was a
lengthy process, but after going through so much work and getting to know the actors well, we were all able to work very efficiently.

7. Methods I used
There were certain moments in the series where wounds were required on
the characters; when Elizabeth is killed and JJ is attacked by Jessica. In order
to accomplish this I enlisted Abbey Glancy as a production assistant and
makeup artist. She applied some tester makeup to me first to see if we
could get a good effect. When we were satisfied, she applied the same
techniques to myself and Donna Kitching. I’m very happy with the final
makeup effects. And thanks to completing everything we needed with them
in one shoot, we ensured there’d be no inconsistency in the wounds. Abbey
also served as a general production assistant when we needed an extra
hand to record sound. As well as a choreographer for the dance scene,
though as I wanted it to also be a genuine moment, Abbey mostly just
showed the actresses some basic moves, before we allowed them to
improvise when the time came to film. The result is a genuinely sweet,
natural moment that I’m very happy with..

8. The final Makeup effects.

9. Methods I used
For my music, I decided very early on that I didn’t want to rely solely on
royalty free music from various sound libraries. So I instead commissioned
the same musician who scored my factual project. Except this time, I wanted
a full original soundtrack. He was only too happy to comply, and after
studying the early designs for the characters and scenes. We created several
draft themes for the characters and the main theme of the series. However,
we ran into an issue with how it would be recorded, as I disliked the sound of
the recordings on the college microphones. It was the musician who solved
this issue by plugging his keyboard directly into his laptop and eliminating
any dead noise. This also allowed him to add several effects and synths to
the music. Which made it sound much more professional. Through nearly
two months of hard work. We managed to create 40 minutes worth of
original soundtrack. Which I then supplemented with 20 minutes worth of
royalty free cover songs. Altogether, this had made the music by far one of
the strongest aspects of the production. And has helped my solidify my
contact with a good soundtracker, which I hope to keep going on to
university.

10. Missed Opportunities
We certainly missed an opportunity in not adopting a three take scene structure throughout the
entire production, that is to say, filming the same scene from three different angles to provide more
options when editing. If I had done this throughout the production. I might have been able to get
around several minor sound and focus issues that plagued the final production. Since I would have
had more footage available to choose from. So this is a missed opportunity. I would also have liked
the chance to feature more drone shots. Most prominently in the opening credits, where some
drone footage of York and the actors would have helped set the credits apart form the rest of the
series proper. However, the drone operator joined the production after I had written the scripts and
begun editing. So there unfortunately wasn’t enough time to implement these ideas. Instead the
drone footage is confined solely to the dance scene in episode two. I also wish I had had more time
to find a set for the inside of a house, as I feel it would have made more sense for the scenes
between JJ and Maria to include showing them during their home life. Finally, I wish I had more
time altogether to edit the series together. As due to the surplus of footage I had compared to
previous projects, I wasn’t able to complete all five episodes of the series during the production.
Instead I will have to complete episodes 2, 3 and 4 in my own time. Though I am happy with how
episodes 1 and 5 turned out, I would have liked to have been able to submit the entire series. Aside
from this. I think I took advantage of most of the opportunities with the cast, locations and
soundtrack I was given. So I don’t regret missing these opportunities too heavily.

11. Planning – ups and downs
The planning phase was for the most part, a large success. Once the scripts and casting had been taken care of, my first priority was location scouting. I
wanted to ensure I had the sets all taken care of before I started filming. The most important and the most difficult set to find was Elizabeth’s office. As I
couldn’t find a room I deemed appropriate. Eventually I settled on one of the smaller classrooms in York College, which I booked out during specific
shooting times. I was sure to remove any memorabilia related to York college from the room before shooting started. The result was adequate, though I’m
not sure the interior set of the office matches the exterior I later chose. Which was simply an unoccupied house. However, this isn’t a huge issue. Though
the interior set was only available for the first half of the production. Meaning that scenes filmed later requiring this set had to be rewritten. I also quickly
decided to take advantage of York’s natural aesthetic by filming at the Ouse river, the York wall, and the Museum Gardens. Finally, I chose the underpass
on sim balk lane and a field near the race course for the twins’ camp. As well as the woods near Middlethorpe for the climax of episode 5. Though I was
originally going to use a house set for scenes featuring Maria Jordan. I wasn’t able to find one and so her scenes were moved outside instead. I also wasn’t
able to film at Hoggs pond as originally intended, which is where we were going to shoot the scene of disposing of Elizabeth’s body and the emotional
scene in episode four between JJ and Maria. Instead, we shot the scenes of disposing of Elizabeth by the river Ouse and the scenes between JJ and Maria
at the exterior set for Elizabeth’s office. I was careful to plan each shooting day around each actors schedule. For example, Cassie was available every day
except Tuesday and Olivia was only available Monday to Wednesday. This meant that our main shooting day became Monday. As it was my longest day at
York college and it was the only day that every single actor was always available on. Leaving Thursdays and Fridays free for paperwork and early editing. I’d
say the weakest part of my planning was the order we shot the scenes in. As we usually simply filmed all the needed scenes in a certain location before
moving on to the next location. This means we made some occasional errors in continuity. For example, clothes and hairstyles might subtly change
between scenes. One prominent example was a scene that required my to have head wound makeup being shot before it was applied. Leading to me
having to edit creatively to hide this fact. However, this weakness in my planning wasn’t a huge obstruction. As the actors were usually careful to keep
their costumes consistent. I made sure I had the outlines and general personalities of the characters carved out before the casting process began. But I
also left a lot of room for the actors to improvise. I also allowed all of the actors to choose their own wardrobe. Giving them some simple guidelines for
what to wear and what colours to employ. For example. I asked Donna to wear something professional, but neutral and non-threatening. Which lead her
to choosing a dress and cardigan for Elizabeth’s main costume. Through this early definition of the characters and the freedom given to the actors. We
were able to get into the groove of filming very quickly which meant we could be very efficient with how much footage was captured on any given day.
Often running ahead of schedule. The actor I planned the most with in terms of their performance as Cassie Fonth. As she had more than one character to
portray, I instructed her on how I planned to show the transition between the Jessica and Jamie alters. However, I also worked very closely with Olivia
Maiden behind the scenes. She helped me to plan and co-ordinate actors before shooting and was very enthusiastic about the project. Even offering to do
the call sheets. Unfortunately, this didn’t come to pass as Olivia was forced to leave the production early. Meaning we had to do without the call sheets.
Most days of shooting. We all agreed to meet at York college at 10am for a debriefing, before heading out into York to film. This quickly became the
routine, meaning we could be very efficient as each actor made a point of alerting me well in advance if they weren’t going to be on time. Overall, the
planning aspect of the project came along very nicely. Though I did sometimes leave things a little bit too loose, once the production started properly, we
were all able to be very efficient with our time and it shows, as we were able to film all five episodes of PsychoTherapy with only minimal hiccups.

12. Production – ups and downsThe main production is where I hit the most snags. Nearly every day presented a new challenge to overcome. On the first day of shooting.
We had scenes in the underpass near college. Sound quickly became an issue, as nearby traffic and wind made dialogue very difficult to
capture. Requiring extensive reshoots until we had useable audio. In the end I decided to relocate the set of the twins camp to a nearby
field instead. Cutting off the sound of traffic and making the shoots more manageable, though wind still remained an issue throughout the
entire production when filming scenes outside. Especially as we recorded a good chunk of the entire series on a broken microphone, which
wasn’t discovered until after the fact. I was luckily able to mitigate this through the use of careful shot changes, occasional voiceover
dubbing and a heavy use of the soundtrack as a tool to tell the story instead of dialogue. With these methods, I think I was able to mitigate
the worst sound issues of the episodes I have submitted. Production also hit a snag when Olivia Maiden had to leave the production
suddenly. As this barred any reshoots with her and even left one scene completely un-filmed. Though we did get around this, we lost some
time in the production as we figured out how to compensate for the loss of Olivia. (Which was accomplished in the end with body
doubling) There was also an issue when Fraser and India both became unavailable without notice on the same day. Leading to my having to
cancel filming for that day. And causing inconvenience for Cassie Fonth, who had already travelled to York by the time I realised I would
have to cancel. Though I did compensate her for her bus fares. Aside from these issues however, I didn’t experience many problems with
the cast and crew during production. Although Abbey Glancy did step down from her role as choreographer for the dance scene due to her
own workload. This wasn’t a huge issue as the actresses were able to improvise the scene themselves in the end, and Abbey continued to
do the make-up effects. We also hit a large problem during production when a tripod went missing from the set. We weren’t able to locate
it, and had to shoot several scenes with a handheld camera as a result. There was also an issue on the day we filmed Angie Sutcliffe’s
scenes. As the location I had picked for us to film at Hoggs pond was unavailable. Therefore we had to quickly come up with another
location to film in. We decided on the exterior for Elizabeth’s office in the end. Overall. Despite coming up with problems throughout
production. Both the cast and the crew remained determined and enthusiastic throughout, and worked as a collective to overcome any
issues that arose. This meant that no problem was too drastic to put a severe strain on the production. So thankfully, despite these issues.
Filming overall was a success. This is shown most impressively on the longest shooting day in the production: A nine hour shoot from 10AM
to 7PM that required six actors and two crew members. We shot all the scenes in the twins camp in the field, the entirety of the dancing
scene, and all the scenes in the woods for the climax of episode five. It was a long, taxing shoot for everyone. But each and every actor
gave their all. Despite considerable discomfort in some places. For example, a scene required myself and Olivia Maiden to be tied to a tree
for the better part of an hour. While another scene required Cassie Fonth to be tackled twice in the span of five minutes. Despite this. None
of the actors complained and were all very professional. This day was a great example of the overall sense of camaraderie between the cast
and crew that allowed us to work together very well throughout the whole production.

14. Post Production – ups and downs
Post production was the lengthiest part of the project. I had a great amount of footage to compile and edit.
Luckily, I had already completed much of the editing process by the end of filming, so I had a good base to
start off of. I was able to complete both Episode one and Episode five to a good standard and submit them
by the end of the project. I wasn’t able to complete the other three episodes in time for submission.
However. All of the footage was filmed, so I will be sure to complete them in my own time. I will also submit
the scripts for all of the episodes. Throughout the production, I have advertised my product on social media
through the use of a trailer and several behind the scenes photographs, character stills, blooper reels and
scene previews, as well as general character information. As this was shared amongst my actors and their
circles of film makers. I have actually managed to create a fair amount of hype and following for my product.
Which I will premiere online on the 24th of June. Coinciding with the screening of the pilot at the old folk hall
in New Earswick. My biggest issue in post production was editing my sound together. As wind resistance, a
broken microphone and me being forced to rely on the on camera mic heavily affected the sound quality of
some scenes. It can sometimes be difficult to tell exactly what the actors are saying. However, these
moments are few and far between and thanks to heavy use of voiceover dialogue and music. I was able to
mitigate this issue somewhat, Though it does still stand out as probably the largest issue in the production. I
also had an issue with time management somewhat, as a personal issue caused me to fall behind in my
work. As I had no real control over this. There’s not much else to say on the subject. Overall the editing
process went very well. And I’m happy with the final products. I do regret somewhat that it will be the pilot
that is screened on the 24th. As I actually prefer the 5th episode. I feel by then, the actors and the crew had
such a string grasp of their roles that the final product turned out the be the best episode in the series.
However, I am still happy it was submitted. And it will be screened to online audiences at a later date. In
conclusion, despite being the lengthiest part of the production. The post production was also the least
eventful. And I encountered a much smaller amount of issues compared to the rest of the project. So I am
happy with the post production,

15. Examples of the photos I shared on social media.

16. Technical problems
I encountered a fair few technical problems throughout the shoot, some minor, some major. The largest issue
arose when a tripod disappeared from the set. As neither myself, nor the cast and crew were able to locate. I
was forced to compensate college for the cost of the equipment and went several days without being able to
film tripod shots before obtaining a replacement. The result is a few shots that are shakier than I would have
liked. However, I don’t think it affected the overall production too poorly, as we were careful to keep the
camera as static as we could through the subsequent shoots until we had a tripod again, and the lack of
stability is only noticeable in two or three shots that made it into the final piece. It’s still an issue that deserves
mentioning however. The next issue that arose, and by far the most consistent. Was that of sound. For a large
majority of the filming, we had been issued with a broken microphone. We had no way of discovering this
however, until it was too late. As the audio came through clearly when using headphones. The result was
around 75% of the microphone audio we recorded was completely unusable and I therefore had to rely on the
on-camera microphone. Which often suffered from a large amount of background noise, wind resistance, and
other audio glitches. This meant I had to be very careful and creative with how I edited the project together.
Since reshoots weren’t an option, I instead opted to replace several dialogue heavy scenes with some short,
silent musical ones. Thanks to the stellar soundtrack work by our musician, this works almost as well as what
was originally intended. But it did cause a lot of extra work in what was already a very bloated project. Finally, I
met a technical problem in terms of storage; the sheer amount of footage filmed meant I quickly filled up four
separate memory sticks. And I experienced difficulties in trying to email my work to myself. This lead to a
period where it was very difficult to locate a lot of my work. And some might have been lost or not properly
employed as a result. In the end I solved this problem by borrowing a laptop from a friend and storing all of my
work on it, ensuring it was all in one place and I could work anywhere for the rest of the project. Overall,
despite experiencing several technical difficulties. Between the talented cast and crew, we were able to
overcome and complete the project to a good quality despite them.

17. Emotional problems
For the most part, emotional problems didn’t take a large toll on the production. Though there was
a level of stress throughout the production around how much footage I would be able to film and
how well the actors would work together, these worries dissipated fairly early on, as we quickly
established a firm rapport and worked at a good pace. So emotionally, everybody kept pretty
upbeat. However, midway through the production, there was a brief blip when Olivia Maiden
suffered a personal issue and had to be excused from the production. This was stressful for all the
cast, as we had come to care about Olivia and worried for her as she left, as well as the overall fate
of the production without her enthusiasm. However, through the use of careful editing and a body
double, we were able to complete the rest of the production in her absence and we were sure to
keep her updated as to what we were doing. The only other issue emotionally came towards the
very end of the production, as when it came time to evaluate, I myself suffered a very personal issue
as a loved one was sent to the hospital. I quickly lost my focus and motivation to work as I visited
them and worried for their safety. I lost a full week of work time as a result before regaining my
confidence. Though my evaluation hopefully won’t suffer too heavily, it does mean that I came close
to missing the deadline altogether, which was altogether a very stressful affair. But I was more
determined than ever to see the production through to the end. As I had brought together a cast
and crew of 11 individuals and didn’t want to see their hard work go to waste.

18. Does my product meet the criteria I set out
with:
Overall. I feel this project has been a great success. The standouts being the music, the acting and the hardworking cast and
crew that brought the production together. Great care was taken throughout to ensure that the mental health issues were
displayed in an accurate, ultimately positive light. With both the pros and cons of living with a mental illness being explored.
For example, Skye’s bi-polar disorder often makes her moody and sullen, but also allows her to enjoy her happier moment
much more strongly. And once Riley begins to accept his condition and his visions. He’s no longer afraid of them. These little
moments between the characters added up to ultimately fill out my brief: To create a mystery webseires that ultimately
teaches the audience about mental health and those that suffer from it. Throughout the production. I've had the chance to
learn about casting actors and how to build them as contacts in the media industry, as well as building my own experience as
a director. I’ve also learned a huge amount about sound tracking films and television with Jamie Fox. Who I hope to work
with again in the future. There was also a surprising happy moment when I was given a free pass from the backstage
academy to use their resources to cast for my projects now and in future. Which helped me forge another connection in the
industry. Despite several cut plot points. The story does flow in a way that is understandable and the script was translated
well onto the screen by the talented actors. The crew maintained a professional demeanour throughout and were always
ready to offer their opinions on how best to shoot a scene. What really made this production though, was the cast. The seven
members of the cast all developed a strong bond throughout shooting the series that seriously aided our performances and
work on the project. Working with experienced actors like Donna Kitching and Angie Sutcliffe has taught me a great deal
about the acting community and acting as a profession. And working with up and comers like Olivia Maiden and Cassie Fonth
has taught me about building contacts, and the benefits of determination, dedication and professionalism. Working with Dr.
Emila Frith has taught me so much about mental health and how it is portrayed in media, which I may go on to explore
further later in my film making career. Though we did hit snags along the way. Actors lost, equipment missing, etc. It was the
stellar cast and crew that prevented these from becoming huge losses and allowed this project to be an unmitigated success
in my eyes.

19. Peer feedback – Fraser Hardwick
Fraser claims his favourite part of the production was meeting the
external actors and developing an easy rapport between the cast and
crew. Which made the overall experience of filming enjoyable. He did
mention though that he thought the actors could have had more of a
say over the story and the lines that they were given. Which was not
something I explored very heavily and should have been more open to.
He also mentioned that some more work could have been put into the
location scouting. Which I can also agree with. As finding sets and
locations to film proved somewhat difficult and we often had to settle
for less than manageable sets because of this.

20. Peer Feedback – Olivia Maiden
• What did I enjoy most about the production? The opportunity to
work with such an amazing script & work with upcoming director like
Rhys. Really enjoyed working with such an amazing team.
• If I could have done something differently? Not anything but if I need
to say something then perhaps location sound when under the bridge
but not anything really.
• What was your favourite moment on the production? Filming Episode
5 in the woods with the whole cast & crew and doing the drone shots
in the field clearing. Was very fun and a great opportunity! Also
enjoyed the alleyway scenes.

21. Peer Feedback
Those who completed my peer feedback both seemed to find the experience
enjoyable. Each pointed to the good rapport between the cast and the
talented individuals that made up the team. They also specified the location
scouting as the weaker part of the production. Which I can agree with. As it
was simply difficult to find suitable locations for what I hope to film. In the
future. I hope to spend more time deciding and testing on where is best to
film my works.
Overall though. Both actors described having a positive experience the
majority of the time. With no issues of management or other similar
discomforts. So I think my working with the large cast and crew was a nearly
unanimous success.