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Reflective Journal - Wulver is wrapped!
Although smaller in scope than Queen of the May, time and budget meant it was pretty similar in intensity. A very demanding and stressful shoot, but definitely a shoot I’m incredibly proud of.
I really wish I’d made a couple of very quick adjustments to the wulver’s costume, shredding the cape slightly more and adding a fur hood to the top would’ve done wonders in adding visual interest. I was however, unfortunately limited by time and resources.
I think I did well with the brief for the other costumes though, and the set-decoration was also really well detailed and believable.
Wulver is a really incredible story, and I really love this film. I’m so grateful to have been part of the team bringing it to life, and I’m really proud of what we came up with.
The wulver mask and deer antlers were made by me, and detailed using the same dry brushing technique I learned for Queen of the May. It was incredibly effective on both shoots, and it’s something I think I’ll continue to use in future.
I learned a lot about resource allocation on this project. Much like Queen of the May, I had to pull a couple of all nighters to get things finished for the first day of the shoot. Unlike QOTM, I had to continue to pull late nights during the shoot to keep producing things as the shoot went on. I really stretched myself thin, as due to the limited number of spaces in our accommodation and all the other art dept specialists I know and trust being busy, I was also the only member of the art department on set. This meant I was working as costume, hair and make-up, on-set art director, prop handler, set dresser and production designer. It was truly exhausting and I really should have been more careful about my limits. I know for future shoots that this is not a healthy workload, and I should have advocated for myself more and made sure I had at least one other team member.
(Me asleep on set)
Whilst there are definitely changes I would make if I had the opportunity to re-do the shoot, I really am proud of what I achieved given the restrictions on the project. It was a brilliant shoot, with an incredible team, and I think we really made something brilliant.
Reflective Journal - Queen of the May is wrapped!
Queen of the May has now wrapped! It was the most intense shoot I’ve ever been a part of, but I’m so proud of how well it went!!
Getting all of the costumes and set-dec ready required back-to-back all nighters, but it looked incredible and I’m so happy with the results. I did end up having to make several props on set, however I had planned accordingly and as I had an assistant to keep watch of set while I prepped other props, it went as smoothly as it possibly could have.
(Before and after: All of the art department resources and luggage)
If I was able to do the shoot again, I would’ve made sure I had an easily available reference breakdown for props, costume and set-dec. I did have a breakdown document, but it was long and overcomplicated, and intended for pre-production rather than as a quick reference resource for on-set use. A short list with a format of [Scene - Set - Props Required] would’ve been incredibly useful.
I think the costumes worked incredibly well, and they were made of a suitable fabric to keep the actors as warm as possible in very challenging conditions. The colours I chose worked really well against each other, and the weathering was believable and effective.
(The costumes!)
(Neil's armour and props)
I did mix up the dates for hair and make-up coverage when we came back to Edinburgh for the interior shoot, however Hope was such an incredible help and managed to cover for me. Both Hope and Bea worked double shifts as both my art department assistants and hair & make-up, and both did absolutely incredible jobs.
I’m absolutely exhausted, but proud. Time to rest up and get ready for Wulver!!
The real star of the show, Müller the Hare (He made a full recovery)
Reflective Journal - Queen of the May's Prep week
This week is the final week before QOTM shoots, and there is a lot to do. Leave a Like, which I was DoP on, wraps on the 16th and we’re heading to Glen Coe for QOTM on the 18th. So roughly 48 hours to do final checks and last minute prep. Currently, the plan is for me to spend each night after I get home from LEAL’s shoot doing as much prep as I have the energy for. I’ve still to detail and weather the costumes, and create several props, some may need to be fabricated on set depending on how much time and energy I have after each shoot day for LEAL.
The current to-do list:
Remove stuffing from hare and refill with rice
Cut and sew capes for Marjorie and Elizabeth
Weather all costumes
Embroider lion rampant onto tabard
Fabricate camp pack
Fabricate grain sack
Fabricate Neil’s bag
Check all existing props are accounted for and packed
Final checks
Collect key props and armour from Cole (Actor playing the English solider)
Collect key props and armour from Bo’ness hire company
My dad has very kindly agreed to make and paint the English soldier’s shield, which is a massive help as I just do not have the time to make it myself. Luckily, despite being a very large scope of project, QOTM actually has quite a small art department scope. As the characters are on the run, they wear the same costumes and carry the same props for the whole film. Each character’s costume is also fairly simple, each wear a beige under layer and a colourful over layer, with Neil also wearing light armour and Marjorie and Elizabeth wearing cloaks. That’s not to say there’s not a lot of work to do, it’ll still be a very tight turnover, just that it’s much more manageable than it initially seems.
(Photos from the costume fitting)
Last week I dyed Neil’s tabard, it went really well! It came out exactly the colour I was hoping for, which is great because although I consider myself a jack of all trades, I have a definite costuming blind spot. I now need to sew the bright red lion rampart onto the chest, and weather the whole thing. I’ve already cut out the lion shape, and I’m going to embroider it with gold thread and weather it on the 17th.
(The dyed tabard and lion)
To weather the costumes, I’m employing my usual technique of dip dying them in a brown dye bath to give a worn and muddied effect. I’ll then take a cheesegrater, and distress the costumes in high use areas like the elbows, knees, hems and neckline. On top of that I’m going to try a new technique, dry brushing. I’ll dry brush acrylic paint and fabric paint on these high use areas, and this should build a more naturally stained and damaged look. Finally, I’ll take a knife and some scissors and add some extra patches of damage in natural areas, to give the idea that the characters have been running through forests or fields and have gotten caught on branches and ripped their clothes. It’s important to not over-distress the costumes, the characters are still from noble backgrounds, and it needs to be clear to the audience that these are rich characters newly on the run, and not that they are long disgraced or used to being in exile.
The two day turnaround for this shoot is an incredibly stressful prospect. Ideally I would have liked to dedicate a full week to final prep for the film, however the shooting order for projects this year doesn’t allow for this. I have asked my peers for help, and Lou and Monica have said they can step in to help with a few bits and pieces.
Additionally, our original prop and armour company ghosted us, and I’ve had to source a last minute replacement. The new equipment is to be picked up on the 18th, which means myself and all the art department equipment will need to travel separately to the rest of the crew and equipment in order to collect the shield from my dad, and collect the props from Bo’ness. Luckily my dad has offered to drive through and help with this.
(Prop + set dec breakdown doc)
Ultimately, it’s looking like I’ll probably need to pull a couple of very long shifts right before the first day of the shoot. Which is not ideal, as I am also the standby art director and will need to be on the ball for a very long and cold couple of shoot days.
If I was able to do this shoot again, I would ideally have gotten far more of my prep done before LEAL started shooting. Unfortunately I was limited by factors outside my control, script changes and actor confirmations meant I couldn’t order a decent amount of the key props and costume until the month before the shoot. This shoot has been an important lesson in doing the best with the things I can control, and planning for the things I can’t.
Leave a Like - Test Shoot Storyboard
WULVER (FKA Sodom's Bite) - Location Recce
We were given permission to shoot in the bathrooms of Summerhall and took a trip over to recce the location, block the movements and have a production meeting to discuss the space. The space really fit what I was envisioning for production design, however it wasn’t a good fit for sound or camera. There are limited places to hide lighting, sound and camera equipment without them showing up in the mirror. This room is additionally below street level, with a large trench allowing light into the window, this makes blacking out the window and controlling the light in the space very difficult.
Ultimately we will be using this space to film the test shoot, but will be looking for other options for the full shoot.
Leave a Like - Establishing two cinematic spaces
Two cinematographic looks to show the split between Brad's reality and what is presented online
Reality takes on a much colder, darker cinematic look using low-key lighting and specific composition and framing to trap Brad and separate him from his background.
The vlogs hold a warmer, brighter look, using mainly ambient lighting to create softer shadows and give Brad's footage a less polished look.
Two different cameras using a different movement methodology to define the spaces in camera
Reality will be filmed on an Arri Alexa Classic or Mini LF, it will be entirely operated on sticks or on a dolly. Smooth and clean movements only. The viewers attention is on the content of the shot
Vlogs will be filmed on a DLSR, the test shoot used a Canon 70D. Movement will be handheld, shaky and unpolished. The viewers attention is drawn to the operation of the camera.
Sodom's Bite - Proposal Pitch Moodboards
Queen of the May - Proposal Pitch Moodboard
Queen of the May - Production Design Research Board
Oct 31, 2025 - Explore sbeebsnorp's board "Queen of the May" on Pinterest. See more ideas about medieval clothing, medieval fashion, histori
Sodom's Bite - Production Design Research Board
Explore a hand-picked collection of Pins about WULVER on Pinterest.
Queen of the May - Colour, Texture and Shape Exploration
Colour: Medieval society valued colour, however they were limited to only the colours available with natural dye. In it's pursuit of historic realism, the clothing colour palette for QOTM must therefore build itself around a natural pallet.
Texture: The fabrics available at the time varied wildly by class, which makes the texture of each character's clothing an important storytelling device.
Cut: The cut and style of each characters dress also tells a lot about their character. The practicality of clothing tells a lot about the role in society a person holds, people in regal classes don't need to engage in manual labour and so tend to wear more decorative, impractical clothing.
Sodom's Bite - Monstrous Reality Exploration
The Wolf - Monstrous appearance exploration
The Doe - Monstrous appearance exploration
Sodom's Bite - Initial SFX Exploration
The Wolf - Ripped mouth SFX research
Inspiration:
Existing prosthetics similar to inspiration:
The Doe - Existing neck wound SFX research
Violent & grizzly:
Clean cut:
Leave a Like - Initial Cinematography Research
SPREE (2020, Dir. Eugene Kotlyarenko, DoP. Jeff Leeds Cohn)
Follows key idea of man obsessed with online fame
Simulating real vlog style footage
Uses consumer cameras for immersion
Cloverfield (2008, Dir. Matt Reeves, DoP. Michael Bonvillain)
Shaky cam throughout
Immersive, cinematography fits with the character operating the camera
Lighting fits enviroment
The full story of how I got cucked by Chat GPT (2025, Dir. Daniel Hentschel, DoP. Daniel Hentschel)
Poorly lit, sets the tone of a character who is not a film professional creating their own set-up
Features a character loosing grip on reality and documenting it for social media
Character very obviously filming themselves without anyone else in the room
Kevin Can F**k Himself (2021, Dir. Anna Dokoza and Oz Rodriguez, DoP. Adrian Peng Correia)
Two defined spaces seperated by cinematography, lighting and set design
Different camera methodologies in the same story defining spaces
Reality filtered through camera work
Queen of the May - Initial Production Design Planning
Initial character exploration boards
Elizabeth De Burgh
Key points:
Sage green and brackish green clothing
Finer fabric - fine cotton or velvet. Not ceremonial.
Underdress layer
Longer flowing gown, impractical for outdoor wear
Plain gold/brass circlet on top of headdress
Marjorie De Brus
Key points:
Gold or yellow clothing, lighter more playful colours
Braided golden hair, think Primrose Everdeen
Slightly oversized clothing to make the actress look younger
Simpler, rougher fabric than elizabeth, these are play clothes not court clothes
Neil De Brus
Key points:
Rusty red key colour, contrasted with golden yellow lion rampart heraldry
Well worn equipment and costume
Practical clothing
Partial chainmail, not equipped for battle but equipped to fight if needed whilst staying light
Isla
Key points:
Deep red key colour
Working clothes, dirty and stained with natural colours
Layered dress
Thick linen or cotton fabric.
Leather pouches and belt
Sodom's Bite - Initial Production Design Planning
Initial character concept exploration boards
Edie/The Wolf
Melora/The Deer