On-Set Production – Critique of Process
On-Set ProductionOne More Day – Final Film Link
Critique of Process
I was the cinematographer for the short film ‘One More Day’. My creative process began with reading the script several times to create a script breakdown of the characters, setting, and tone. This helped to establish the narrative to inform the visual aspect. Alfie had reference images on the shared Milanote, establishing a visual look through repeating themes and techniques. Without a script breakdown and reference images for my mood boards, the film wouldn’t have the consistent visual aesthetic it does.
The next step was our first location recce. We visited the bunker so Alfie and I could visualise the space through a shot list and storyboard. This was crucial as we planned lighting setups, power outlets, and reference shots. The recce prompted creative and thematic choices with camera and lighting.
Alfie and I met to collaborate on a shot list. We brought Vanessa to create a storyboard to see what shots worked and which didn’t. We established a preliminary shot list together, which Alfie refined and confirmed with me. Our collaborative approach worked well as I focused on the composition, framing, and lighting and what that conveyed, whilst Alfie focused on the story.
Our filmed rehearsal was a test for ideas we had post-recce. This allowed us to see what worked and what didn’t so we could make adjustments and plan accordingly. For example, we created red lighting, which was very stylised but looked flat and unmotivated by the story world. This directed us towards utilising the practical lights in our bunker room and adding practical lamps to motivate lighting.
On our second location recce, we took dimensions to plan setups. Alfie created blocking plans, whilst Duncan created lighting plans. I spoke with Saskia about production design and planned shots to complement that. I wish we had booked the camera to test our shots beforehand, as this would have saved time on set.
Alfie, Duncan, and I met to create lighting plans. It would be best to approach the shot list with the lighting plan in mind, as our master wide shot made lighting plans challenging. Our meeting with Andrew presented the skirting method to control fall-off from practical lights. We had ambitious ideas for lighting but hadn’t experimented early enough to achieve it realistically for the shoot, so I would push for lighting rehearsals in the future.
I brought creativity and visual literacy to the film and communicated my ideas clearly as a DP. As I was new to the role, I wasn’t always aware of the planning and technicalities involved, which meant pre-production could’ve emphasised lighting more. As a result, our lighting is not as ambitious as initially planned, yet it is motivated by the story world. ‘One More Day’ was intended to feel claustrophobic, dark, and gritty, and my camera and lighting setups achieved that aim. I am proud of my contribution as a first-time DP and excited to continue learning.