Editor ○ Colourist 

This was my second time being part of a big crew, sharing a vision and successfully producing a film together. This project featured many different challenges to the previous group project I worked on, mainly working with a new group of people and adapting to their style of filmmaking, their vision and techniques. I was editor once again, but after the pitch of the project, I knew a lot of the techniques and overall style in the edit would differ from The Surrey Job. I also needed to learn to communicate with a new director who was more definitive on their vision than previous directors I had worked with. This required a lot of collaboration between us in the crew. I also worked very closely with cinematography on set. This was mainly because the film was shot at night, and this provided a lot of issues and problems that I had to tell the cinematographer about, what could potentially be fixed in post-production, and what could not. Continuing into Post-Production, I was once again working closely with sound, this time using new software, so we adapted together to find a way to still collaborate with ease. I would take notes on how the edit was flowing and how I felt audio would help in specific moments. There was a particular sequence where the film required a series of cuts, which seemed awkward at first, but I mentioned that a constant drone and ambient track over the clips would create a smoother sequence, sound and the director agreed. 

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