Post-Production, Uncategorized

Adding Graphics to Edit

When adding the opening titles to my film, I decided to have it display on the wall in the background of one my shots. This made quite a boring shot more interesting so it was helpful from that perspective but it also looked light quite a nice design because I picked the font to be the colour of the dressing gown and it rolls off it nicer.

Applying the effect was much easier than I had anticipated using the ‘mask’ tool and it only took a few minor adjustments on a few frames to make it look completely seamless. I maintained the same font for the end credits because I felt that helped create another link between the beginning and the end of the film.

Post-Production, Uncategorized


Films/TV Shows

No Country for Old Men, 2007, directed by the Coen Brothers, Scott Rudin Productions [DVD]

Barton Fink, 1991, directed by the Coen Brothers, Working Title Films [DVD]

Nightmare on Elm Street, 1984, directed by Wes Craven, New Line Cinema [DVD]

Nightmare on Elm Street 3, 1987, directed by Chuck Russell, New Line Cinema [DVD]

Friday the 13th Part 5, 1985, directed by Danny Steinmann, Paramount Pictures [DVD]

Fargo, 1996, directed by the Coen Brothers, Working Title Films [DVD]

The Wrestler, 2008, directed by Darren Aronofsky, Fox Searchlight Pictures [DVD]

Scream, 1996, directed by Wes Craven, Dimension Films, [DVD]

IT, 1990, directed by Tommy Lee Wallace, Warner Bros Television [DVD]

Yoga Hosers, 2016, directed by Kevin Smith, Invincible Pictures [DVD]

Creature from the Black Lagoon, 1954, directed by Jack Arnold, Universal Pictures [DVD]

Sleepaway Camp, 1983, directed by Robert Hiltzik, United Film Distribution Company [DVD]

Trigger Happy TV, 2000-2003, directed by Dom Joly, Absolutely Productions [TV]

Clerks, 1994, directed by Kevin Smith, Miramax Films [DVD]

Chasing Amy, 1997, directed by Kevin Smith, Miramax Films [DVD]

Sleepaway Camp III: Teenage Wasteland, 1989, directed by Michael A. Simpson, Anchor Bay Entertainment [VHS]

It Follows, 2014, directed by David Robert Michell, RADiUS-TWC [DVD]

American Beauty, 1999, directed by Sam Mendes, DreamWorks Pictures [DVD]

Good Will Hunting, 1997, directed by Gus Van Sant, Miramax Films [DVD]

Taxi Driver, 1976, directed by Martin Scorsese, Columbia Pictures [DVD]

Knock Knock, 2015, directed by Eli Roth, Lionsgate Premiere [DVD]

The Green Inferno, 2013, directed by Eli Roth, Universal Pictures [DVD]

Halloween, 1978, directed by John Carpenter, Compass International Pictures [DVD]

The Shining, 1980, directed by Stanley Kubrick, Warner Bros [DVD]

Misery, 1990, directed by Rob Reiner, Columbia Pictures [DVD]

Gates of Heaven, 1978, directed by Errol Morris, New Yorker Films [DVD]



Lee, S, 2013, Amazing Spider-Man Omnibus Volume 1, 1st Edn, MARVEL – US, United States

Field, S, 2005, Screenplay: The Foundations of Screenwriting: A Step-by-Step Guide from Concept to finished Script, Revised ed, Delta, United States

Snyder, B, 2005, Save the Cat!: The Only Book on Screenwriting You’ll Ever Need: The Last Book on Screenwriting You’ll Ever Need, 1st Edn, Michael Wiese Productions, United States

McCarthy, C, 2005, No Country for Old Men, Reprints Edn, Picardor, United States

Lumet. S, 1996, Making Movies, New Ed Edn, United States

  1. Mascelli, J, 1998, Five C’s of Cinematography: Motion Pictures Filming Techniques, 1st Silman-James Press Ed Edn, Silman-James Press, United States

Katz, S, 1991, Film Directing Shot by Shot: Visualizing from Concept to Screen (Michael Wiese Productions), United States

McCloud, S, 2001, Understanding Comics: The Invisible Art, 1st HarperPerennial Ed Edn, William Morrow Paperbacks, United States

Keaton, B, 1982, My Wonderful World of Slapstick, Da Capo Press, Unknown Edn, United States

Ronson, J, 2015, So You’ve Been Publicly Shamed, Main Market Edition, Picador, United States



No Film School. (2018). 24 Life Lessons for Filmmakers from Werner Herzog. [online] Available at: [Accessed 15 Jun. 2018].

No Film School. (2018). This Video Might Be the Most In-Depth Exploration Into the Making of Kubrick’s ‘The Shining’. [online] Available at: [Accessed 15 Jun. 2018].

Ebert, R. (2018). Interview with Martin Scorsese | Interviews | Roger Ebert. [online] Available at: [Accessed 15 Jun. 2018].

Grove, E. and Grove, E. (2018). zero budget filmmaking tips from Raindance Film Festival. [online] Raindance. Available at: [Accessed 15 Jun. 2018]. (2018). ’18 Sundance Film Festival – Short Films Programs. [online] Available at: [Accessed 15 Jun. 2018].

Sandhu, S. (2018). Errol Morris: creating reality. [online] the Guardian. Available at: [Accessed 15 Jun. 2018].



Editing ADR

After reviewing my footage, it became extremely apparent that I was going to need to do some ADR work, specifically with the opening exchange in the coffee shop. A lot of background noise like people talking and doors slamming can be heard so I really wanted to eliminate these.

I booked an editing suite and sat my actors in there with a sound kit at a time they were available and we went through the lines. We realised that looping clips would help the actors find the rhythm so they could just say the line with the flow. A great perk of the looping is that if the actor messes up the line, they could instantly retake the line in seconds.

I found this process extremely enjoyable because it was refreshing to be with the cast in a comfortable and controlled environment and not really feel the pressure of time when trying to work.

Post-Production, Uncategorized

Editing – 1st Rough Cut Feedback

After assembling an extremely rough cut of my film, I called my tutor for advice on what I should look to improve when tightening it. In all honesty, I really wasn’t happy with my film and I had lost passion for the project so at this time I felt in a really bad place.

After watching it through once, we both agreed that it felt slow and like it was lacking something. We discussed various different ways we could improve this, tightening cut times, adding more angles, using more coverage, but in the end we decided to experiment and switch the order of the film.

The opening studio scene would now act as the end and the scene in the canteen would open the film. I made an edit as quickly as I could with this new order and just watching it through the first time, it made a lot more sense already.

Everything fell into place perfectly and it really surprised me that I hadn’t seen the structural enhancement that this decision would have earlier. The end line “Yeah, you’re done” now takes on a new meaning and adds a final theme and closure to the film that I desperately needed.

My plan now is to tighten what I have and then record the necessary audio and ADR before compiling my final edit.

Post-Production, Uncategorized

Editing – Sharpening Shots

When looking at my FMP footage, I noticed that I hadn’t checked the focus on one of my most important shots. This was an amateur mistake and I was really disappointed in myself considering the fact I had remembered to do it for most, if not all, of the other shots. I was looking for a solution to this problem, as a re-shoot wasn’t really a plausible option at this point.

When looking through various tricks and correction techniques on Premiere Pro, I played with a few different adjustments and found that ‘Sharpen’ really separated the background from the foreground and made the shot look presentable.

This is a technique that I would not like to rely on but I am glad I discovered it because it saved one of my most important shots and in future, I will make sure that these shots are in focus.