In my third and final year at university I wanted to challenge myself to make more movies and do more in general: during the pre-production process of my grad project I undertook to be a sound mixer, recordist and engineer for other 2 different short films and SFX makeup artist and assistant production designer for 4 projects. For the very first time I got to entirely focus on one job role; I actually had time to properly prepare for the job, do my research and be completely trustworthy of the other crew members. I had the exciting opportunity to work with different people in various locations and environments, that led me to improve my recording techniques in capturing dialogue both with the boom pole and LAV mics. The first outside university project I got to be a part of since the start of my third year was Seek (2019), directed by Luca Tropea, this drama piece had internal and external locations; the most challenging places to record in and then edit in post were Canary Wharf and an extremely echoey stairwell. Regarding the post production stage of such film I had very limited time to go through the whole editing process - it being the cleanup, adjustments, foley and the composition of a score - as I had a precise deadline and the actual editing workflow got interrupted beforehand due to the editor’s other commitments.
Emma Granger (me) and the rest of the crew filming Seek, directed by Luca Tropea, 2019.
Another piece of work I had the pleasure to be a part of was Deathful (2019), written and directed by James Descutido, a drama realised half in English and half in Korean; it was very interesting to shoot, starting from the fact that I was challenged to record in a language I did not understand, it was also very amusing to record in unusual environments like a church and cemetery.
Emma Granger (me) on set of Deathful, directed by James Descutido, 2019
Meanwhile - as the editor - I was preparing and doing my research on my actual grad project, Detached (2020), directed by Jose-luis Aldridge-Flores, studying editing techniques - to evoke different feelings and emotions on the viewer - and colour theory for the grading - to subconsciously influence the audience’s point of view -. The film is currently in its pre-production stage, with the shooting beginning on 17th February 2020; what specifically I want to achieve with this future piece of work is to build a way to construct meaning and in particular how to make the audience go from a serene emotional state to make them project themselves into the main character and relate with his discomfort and way of thinking, this will be achieved throughout a specific editing technique that consists in making the shots linger in order to give the viewer time to realise that something is not quite right.
Emma Granger (me) building the set for Detached Teaser Trailer, directed by Jose-luis Aldridge-Flores, 2020
At the moment I am focusing on being a production designer assistant and a SFX makeup artist on set of the short A Twist in the Tail (2020), directed by Maren Ekrheim, I am facing quite a lot of challenges with wanting to make the set and effects look as realistic as possible, taking care of even the tiniest of details is crucial - like making objects dusty to blend with the settings or choosing the right colour of paint for the scars and wounds.
Emma Granger (me) on set of A Twist in the Tail, directed by Maren Ekrheim, 2020
Overall this last year of university has taught me that limits and obstacles are almost all in my head and that if I can see myself reaching a goal I’m already halfway there, schedules are tight and the energy and dedication required are high but in the end it’s all worth the effort and commitment always pays off.
Bibliography
Aldridge-Flores J. (directed by), Detached, 2020
Descutido J. (directed by), Deathful, 2019
Ekrehim M. (directed by), A Twist in the Tail, 2020
Fairservice D., Film editing: history, theory and practice: looking at the invisible, Manchester University Press, 2019
Tropea L. (directed by), Seek, 2019