Brittasb

[brittasb]

A Levels: Final Submission

Trailer Links

TRAILER 1

TRAILER 2

CREATIVE CRITICAL REFLECTION

CCR

Social Media Account

@crimsonoath_tips

Sound Links

TRACK 1

TRACK 2

Final Poster:

[brittasb]

Post-Production

Crimson Oath – The Editor's Cut

Filming was done. Nethra handed me the footage. Now came my part.

No more relying on wheelchairs for tracking shots. No more waiting for gardeners to fix pipes. Just me, Premiere Pro, and hours of footage.

Let me walk you through how I turned raw clips into a trailer.

My System: Simple but Effective

I don't do complicated folder structures. I don't spend hours renaming files and colour-coding bins.

I do one thing: I make a list of clip names and tick the box if the clip is good.

That's it. Simple. It works for me.

How It Works

After Nethra handed me the footage, I opened my notes and typed down every clip name.

Then I watched each clip one by one.

If the clip was good – lighting was right, performance was strong, focus was sharp – I ticked the box.

If the clip was blurry, shaky, or had a mistake – no tick. Move on.

Why This Works For Me

No overthinking. I don't need fancy folders. I just need to know what's good.

Ticking the box is satisfying. Small progress feels good.

One page. All the clips. All the ticks.

When Nethra asks "did you include that shot?" – I check my list. Yes or no. Instant answer.

What I Did NOT Do

I did not organise footage into complex folder structures. I did not spend hours renaming files. I did not create a colour-coded bin system in Premiere Pro.

That's not how I work. I keep it simple. List. Tick. Edit.

Review Session

Once I had my list of good clips, Nethra, our supervisor, and I reviewed everything together.

We watched the good clips. We compared them to the screenplay. We discussed what worked and what was missing.

The verdict: Most of the footage was usable. A few shots were shaky – the bike trucking shot, which we knew was risky. But we had enough to build a trailer. The wheelchair tracking shot worked beautifully. The rain scene captured during golden hour was visually striking.

Sequence Planning

Nethra and I sat down and planned the editing structure.

We used three things:

My ticked clips – only the good ones

Reference trailers – we rewatched This Is Going To Hurt to remind ourselves of pacing and tone

Our creative vision – what we had imagined in pre-production

We decided which scene came first, which moment should hit hardest, where to slow down for empathy and where to speed up for chaos. This plan became my guide for editing.

The Edit

I opened Premiere Pro and started cutting.

Rough cut: I put all the good clips in order on the timeline. No trimming yet. No sound design. Just the skeleton of the trailer. It was about four minutes long – much longer than our target. That's fine. The rough cut is supposed to be too long.

Fine cut: This is where I shaped the trailer. I tightened everything. Held emotional close-ups longer – a doctor's exhausted face stayed on screen for four seconds, which is an eternity in trailer time. Cut chaotic scenes faster – rapid cuts between angry faces, stones being thrown, doctors reacting. I used J-cuts and L-cuts for smoother transitions between emotional beats.

The open ending: I cut the trailer at the peak of tension. No resolution. No happy ending. Just a doctor's exhausted face, then black, then the title Crimson Oath. This was a deliberate choice – leave the audience wanting more, encourage them to seek out the full film.

Sound Design

Sound was my responsibility. I treated it as equal to picture. A trailer can look beautiful, but if the sound is wrong, the audience feels nothing.

My audio tracks in Premiere Pro:

Dialogue (main takes)

Room tone (for smooth cuts between clips)

Foley (stone impacts, footsteps, prop sounds)

Ambience (hospital beeps, crowd chatter, rain)

Music score

Dialogue: Masks muffle speech. That's realistic, but it's also a problem for clarity. I used Audacity to apply EQ and a low-pass filter. This cleaned up the dialogue without losing the authentic muffled quality. You can still hear the mask, but you can also understand every word.

Foley: I recorded sounds myself. The crack of a stone hitting a shield? I hit a cardboard box with a rock. The thud of a defibrillator? I slapped a raw chicken breast. Yes, really. It worked perfectly. Unconventional, but effective.

Room tone: I recorded thirty seconds of silence at each location. This sounds like nothing, but it's essential. Layering room tone under dialogue cuts prevents jarring audio transitions.

Strategic silence: The most powerful moment in the trailer, for me, is two seconds of absolute silence after the stone impact. No music. No ambience. No dialogue. Just silence. Then the doctor's face. Then chaos again. Silence forces the audience to sit with discomfort. It is louder than any scream.

Music: Nethra and I chose tracks from Pixabay and Mixit. Slow and sad for the consultation scene. Chaotic and intense for the protest scene. Emotional and sparse for the rain scene. I adjusted the volume so the music sat beneath the dialogue without overwhelming it.

Colour Grading

Our footage was shot under different lighting conditions:

Day 1: Warm consultation lighting + cold blue emergency lighting

Day 2: Harsh afternoon sun for the protest scene

Day 3: Golden hour fading to dusk for the rain scene

My job was to make them all feel like one film.

Using Premiere Pro's Lumetri Colour tools, I:

Warmed the consultation scenes – increased temperature, added a slight orange tint

Cooled the emergency scenes – decreased temperature, added blue tint

Desaturated the protest scenes – made it grittier, more like a documentary

Enhanced the rain scene – brought out the golden warmth

The rain scene transition: The natural lighting shift from golden hour to dusk – which felt like a crisis during production – became an intentional emotional transition through colour grading. I keyframed the temperature to cool gradually as the scene progressed. An accident became an aesthetic choice.

Export

Final export settings:SettingValueFormatH.264Resolution1920 x 1080 (1080p)Frame rate24 fpsBitrate10-15 Mbps

H.264 is the standard for online video. 24fps is the standard for cinematic trailers. Final file size was about 150MB for a 75-second trailer.

My Clip Log – The Real Evidence

My clip log. Every clip name. Every tick. No complicated folders. Just a list.

Challenges I Faced

Dialogue muffled by masks – I used Audacity to apply EQ and a low-pass filter, which cleaned up the speech without losing the authentic muffled quality of someone speaking through PPE.

Unstable bike shot – I ran the footage through Premiere Pro's Warp Stabilizer, which smoothed out the shake and made the shot usable.

Inconsistent lighting across days – I used Lumetri colour matching in Premiere Pro to balance the warm consultation lighting, the cold emergency lighting, and the harsh afternoon sun of the protest scene, making everything feel like one film.

Finding the right music – I listened to over 50 tracks on Pixabay before finding the ones that matched the emotional arc of our trailer.

No room tone for one location – I had forgotten to record room tone at one of our locations, so I extracted ambient noise from other clips shot in the same space and layered it underneath the dialogue to fill the silence.

What I Learned

Post-production taught me that you don't need a complicated system to be organised.

I don't use fancy folders. I don't colour-code bins. I just write down clip names and tick the boxes.

That's enough. Because the real work is in the edit – not the organisation.

I also learned that problems become solutions. The fading light became an intentional emotional transition. The muffled dialogue became authentic realism. The shaky bike shot got stabilised in post.

What looked like mistakes in production became aesthetic choices in post.

What I Would Do Differently Next Time

Record more room tone. I had it for most scenes, but not all. Next time: before AND after every setup.

Label clips on the shoot day. Would have saved me time. Next time: label as I transfer.

Shoot backup angles. The wheelchair shot was great, but I only had one angle. Next time: two cameras rolling for important moments.

Final Reflection

My system is simple. Clip names. Tick boxes. That's it.

And it worked.

I took the good clips – the ticked ones – and shaped them into a trailer that tells a story about exhaustion, violence, resilience, and moral injury.

No overcomplication. Just editing.

That's who I am as an editor. Keep it simple. Make it hit hard.

For my Creative Critical Reflection,

I used Adobe Express.

At first, I found the platform difficult to use – the layout was different from other software I had tried. But after watching a few tutorials, I became more familiar with the tools and found the editing process much easier.

[brittasb]

Production – Day 3

Rain Scene, Protest Scene, and the Gardener Who Saved Us

Welcome back. Day 3 was chaotic, stressful, and somehow beautiful in the end.

THE RAIN SCENE

On the third day, we focused on filming the rain scenes. This was one of the most technically challenging parts of the entire production.

With the help of the gardener, we used the available pipes to create a rain effect. I cannot stress enough how important this person was to our shoot. Without him, none of this would have worked.

Rehearsing Without Rain

The family scene was rehearsed multiple times before introducing the rain. We needed to ensure that the emotions appeared natural and realistic on screen. Water adds chaos – if the performances weren't solid beforehand, adding rain would only make things worse.

We ran the scene until everyone knew exactly where to stand, when to speak, and how to react. Only then did we turn on the pipes.

The Rain Effect Disaster

The main challenge we faced during this shoot was executing the rain effect as planned.

Initially, we intended to use water balloons and plastic bags. This seemed like a simple, low-budget solution. However, these did not work out. The water didn't fall evenly. The bags burst unpredictably. It looked fake.

We were also unable to find a functioning pipe at the location, which caused a significant delay. For about an hour, we just waited. Nothing worked. I started to panic.

Then, the gardener stepped in. After waiting for about an hour, he was able to fix the pipe. With his help, we successfully created the rain effect for the family scene.

The Lighting Gift

As time passed, it began to get dark. We were concerned that we might not be able to complete the shoot. Natural light was fading, and we didn't have professional lighting rigs for an outdoor scene at dusk.

However, the natural lighting in the area created a soft, evening mood with a yellow tone. This wasn't planned. It just happened.

And honestly? It looked beautiful.

The warm, golden light combined with the artificial rain gave the scene an emotional weight that we couldn't have created intentionally. Sometimes accidents work in your favour.

We filmed as quickly as possible before it became completely dark. Every take mattered. There was no time for mistakes.

THE PROTEST SCENE

After completing the family scene, we had the protagonist change his costume. We needed him to look different – more vulnerable, more exhausted – for what came next.

In a nearby open space, we filmed the protest scene, making use of the large area to enhance the visual impact. The wide open space helped sell the idea of a crowd, even though our actual crowd size was limited.

We also created posters for the protest, which were used by the cast members to make the scene more convincing. The posters had messages of anger and blame – things that real protesters had shouted during the pandemic. We didn't invent this outrage. We just reflected it.

MAKEUP FOR THE DOCTORS

After the family scene was completed, makeup was applied to the actors portraying the doctors.

This was done to maintain consistency with the hospital scenes – the same exhaustion, the same dark circles, the same pale skin. The doctors had been through so much by this point in the narrative, and their appearance needed to show that journey.

PRODUCER'S REFLECTION ON DAY 3

This was the day I learned that you can't plan for everything.

We had a vision for the rain effect. Water balloons and plastic bags seemed like a solid plan. They failed completely.

We had a schedule that depended on finishing before dark. The pipe delay almost ruined us. But the gardener fixed it, and the natural evening light ended up being perfect.

Sometimes production is about letting go of what you planned and accepting what you're given.

The golden hour light wasn't in our shot list. It wasn't in our storyboards. But it's probably going to be the most beautiful part of the final film.

Day 3 taught me to stay calm when things go wrong. Because things will go wrong. The question isn't whether problems will happen – it's whether you can adapt when they do.

Also, always be nice to the gardener. He might save your entire shoot.

[brittasb]

PREP DAY

On the preparation day, Nethra (director and cinematographer) and I (producer and editor) visited the hospital to make sure everything was in order.

We checked that all the props and costumes had been properly collected, stored safely, and kept in the allocated room. We also verified that the room was arranged as required – including the lighting setup and medical equipment positioning.

During our visit, we spoke with the nurses and gained a basic understanding of how to use a defibrillator. We also learned about the different types of surgical scissors. This wasn't just for accuracy – it helped us direct the actors later, so they could handle the equipment correctly on camera.

Later, we conducted trial runs to evaluate whether the shots in our shot division could be executed as planned. We needed to see if they would achieve the visual outcome we had initially envisioned. Some shots worked immediately. Others needed adjustment. That's why prep day exists.

DAY 1 – HOSPITAL LOCATION Once we arrived at the location with the cast, we entered the room and began the preparation process. The actors completed their makeup, changed into their costumes, and rehearsed their dialogue. This was followed by a full performance rehearsal to ensure everything was in place before we started rolling.

Defibrillator Training

We did a trial run with me as the patient, where the cast was taught how to use the defibrillator correctly. This was important for both safety and realism. You can't fake handling medical equipment – the audience will notice.

Makeup

The makeup was applied in a way that conveyed the fatigue of the doctors. Dark circles, pale skin, a look of exhaustion. This was done specifically to maintain a sense of realism. Our doctors needed to look like they hadn't slept, because that's the reality we were portraying.

The Tracking Shot Problem

For the tracking shot, we initially attempted to use a large rolling tray. It seemed like a good idea at the time. However, it did not function properly on that floor – the wheels wouldn't cooperate.

We then switched to using a wheelchair. This worked effectively and allowed us to complete the shot as planned. Sometimes the best solution is the simplest one you hadn't thought of yet.

Routine Hospital Shots

Additionally, a few routine shots representing everyday hospital activities were captured – collecting blood samples, checking on patients, the small moments that make a hospital feel real. These shots help build the world so the audience believes in it.

Operation Theatre Scene

After a short break, we adjusted the room's lighting to create the atmosphere of an operation theatre. This meant switching from the warm, gloomy consultation lighting to something colder and more intense.

We then filmed from the patient's point of view and used fake blood to ensure the scene appeared as realistic as possible. At the same time, we positioned the main DSLR at the centre of the room and additionally two iPhones on either side, to capture content at different angles. Having multiple angles gave me more flexibility in the edit.

Challenges on Day 1

We faced several challenges during the shoot.

There were frequent interruptions – hospital attendants often entered the room without warning. We had to pause, wait, and reset. This ate into our schedule.

Managing the lighting in the corridors also proved difficult. The existing lights were harsh and inconsistent, and we couldn't completely control them.

Additionally, while filming the lift scene, the elevator was repeatedly called to other floors. This caused delays, as the protagonist had to step out multiple times. What should have taken ten minutes took nearly an hour.

But we adapted. That's production.

DAY 2 – SCHOOL CAMPUS (CROWD SCENE) On our second day of shooting, we moved to the school campus – specifically the area where buses usually enter and exit. This was our location for the crowd scene where stones are thrown at the doctors.

Casting the Crowd

We gathered a group of people to act as the crowd. The crowd was given clear instructions on what to do and was briefed about their roles in the shot. Everyone needed to move together, react together, and feel like a single angry mob.

The Trucking Shot Experiment

After experimenting with different approaches, we decided to use a bike to capture a trucking shot. This was ambitious.

With the help of a staff member who drove the bike, I conducted an initial trial shoot. Once we were confident that the method would work effectively, we proceeded with filming the scene.

Fake Blood and Paper Mache Stones

We used fake blood to depict the injury scene, enhancing its realism.

For the stones, we created paper mache stones, which were then painted brown and black. They needed to look real on camera but be completely safe to throw near actors.

Reference Material

The cast was shown the original clip to help them accurately understand and replicate the scene. This ensured that the shot closely matched the intended scenario and that everyone understood the tone we were going for.

Challenges on Day 2

The main challenge I faced was executing the trucking shot. This was my first time attempting such a creative method, and it was difficult.

Managing the timing of the crowd's movement was tricky – at times, they ran faster than the bike, while at other times the bike moved ahead of them. We had to do multiple takes to get the timing right.

In addition, we experienced frequent interruptions, as school buses were entering the area during filming. We had to stop, wait for them to pass, and then restart.

Maintaining stability was also challenging – I found it difficult to keep the shot steady without noticeable shaking. A gimbal or stabiliser would have helped, but we worked with what we had and made it work through repetition and careful framing.

PRODUCER'S REFLECTION Two days of filming. Two very different locations. A hundred small problems to solve.

What did I learn?

First, always have a backup plan. The rolling tray failed, so we used a wheelchair. The lift kept moving, so we waited and reshot. Problems aren't failures – they're just the next thing to solve.

Second, multiple angles save your edit. Having the main DSLR plus two iPhones running meant I had options when I sat down to cut. That flexibility is invaluable.

Third, preparation only gets you so far. You can plan every shot, but you can't plan for the hospital attendant who walks through your frame at the worst possible moment. You just adapt.

Day 1 tested our patience. Day 2 tested our creativity. Both made the final film better.

[brittasb]

Pre-Production

Location, Casting, Screenplay, Costume & Makeup

This is where the real work began.

LOCATION – Hospital Room

The process of securing and preparing our location started with a professional approach. Nethra contacted the head nurse at a local medical facility to request access, while I focused on ensuring we followed all necessary protocols and respected the sensitive nature of the environment.

Before even visiting, Nethra researched colour psychology – understanding how different hues shape emotional tone. Meanwhile, I focused on the practical implications: what lighting equipment we would need, where power outlets were located, and how we could control natural light through the curtained window.

Upon arrival, we were given access to several room setups. Together, we compared each one against the visual needs of our script. One space immediately stood out: a rather gloomy room with neutral grey walls and a single curtained window. It seemed unremarkable at first glance, but we both recognised its potential.

The inherent somberness of the room suited the tone of our initial consultation scene perfectly. The curtained window gave us complete control over lighting – which was my department. This allowed me to plan a transformation for the emergency sequence: by positioning a strong blue-gelled light outside the window, I could replicate the cold, intense atmosphere of an operating theatre.

To further enhance authenticity, we arranged for key medical props, including an ECG machine and a defibrillator. Nethra focused on how they would look on camera; I focused on making sure they were safe, charged, and positioned where actors could use them naturally.

In the end, a seemingly unremarkable location became a versatile and visually compelling space through research, planning, and careful attention to detail.

LOCATION – Corridor

During our prior visit and setup, we captured a few trial shots that proved to be creatively effective. We also explored the hospital further to identify additional scenes that reflect the doctors' daily routines – shots that would help support the trailer.

Our intention was to maintain a natural feel, so we focused on working with the existing ambience of the location rather than trying to force something artificial.

One challenge we faced: our limited understanding of how a hospital actually functions. Due to a lack of resources and limited access to expert or adult supervision during filming, much of our work was based on research rather than real-life experience.

From selecting appropriate costumes to setting up the room for most scenes, we relied heavily on references, online material, and observation. This approach helped us build a basic level of authenticity, but it also made me realise how important deeper practical knowledge is when recreating real-world environments. Next time, I would spend more time observing real hospital settings before attempting to replicate one.

CASTING

These are the cast members who were selected through the audition process.

We held auditions to find people who could embody the exhaustion, urgency, and emotional weight that medical professionals carry. The actors needed to convey stress without melodrama – restraint was the goal.

From my perspective as producer, I created a schedule that accommodated each actor's availability and ensured we had understudies ready in case of illness or last-minute cancellations.

SCREENPLAY

Nethra and I conducted initial research together. We identified the topic and decided to approach it from our own perspective. We then carried out further research – separately and together – to develop and finalise the story.

The script went through several drafts. Each version tightened the tension and sharpened the dialogue. Less was more. We wanted the visuals and performances to carry the weight, not exposition.

As editor, I read each draft with an eye for pacing – identifying scenes that could be shortened, moments that needed room to breathe, and transitions that would work smoothly in post-production.

COSTUME AND MAKEUP

Medical Characters

In the hospital scenes, the doctors are depicted wearing PPE kits to emphasise the tension and seriousness of the situation, while also reflecting the realities they faced during the pandemic. In certain instances, they are shown in formal attire to maintain professional authenticity.

Their makeup is intentionally minimal, with a dry and fatigued appearance to convey exhaustion – suggesting prolonged periods without rest. Dark circles, pale skin, a slight sheen of sweat. The goal was to make them look like people who hadn't slept in days, because that was the reality for so many frontline workers.

Other Characters

Other characters are styled to reflect their roles and social positions.

The landlord is portrayed in casual attire – a lungi and shirt – which emphasises authority and dominance. Accessories indicate a sense of wealth. The inclusion of a mask further reinforces the gravity of the situation and the time period we're depicting.

The family members are dressed in simple casual clothing to reflect the sudden and unexpected nature of their displacement. They look like ordinary people caught in an extraordinary situation, because that's exactly what they are.

Props and Equipment

The PPE kits and surgical equipment were collected from the hospital for the shoot. Having real equipment made a huge difference in how authentic the scenes felt. The actors could handle props that looked and felt correct, which helped their performances.

Colour Palette

Costumes and accessories for each character have been carefully selected in alignment with the established colour palette and overall ambience of the film. Nothing is accidental. Every colour choice supports the mood and narrative.

FINAL THOUGHTS ON PRE-PRODUCTION

This phase taught me that good pre-production is invisible. If you do it right, nobody notices – the location just feels right, the costumes just look believable, the lighting just works. But if you do it wrong, everything falls apart.

I learned to plan for problems I couldn't yet see. I learned to research until I understood things I'd never experienced. And I learned that a gloomy room with a curtained window is actually a gift – if you know what to do with it.

My role in pre-production was not glamorous. I wasn't choosing camera angles or writing dialogue. I was checking power outlets, testing the defibrillator battery, making sure the wheelchair rolled smoothly, and creating schedules that gave us enough time for each setup.

But that work matters. Because when the filming day arrived, everything was ready.

[brittasb]

RESEARCH & PLANNING

MY ROLE IN THE PRODUCTION

Our team structure:

Nethra Ponmalar T K is our Director and Cinematographer, handling scripting and visual style. I support her vision with logistics and post-production.

Britta S B (Me) is the Producer and Editor. As producer, I am responsible for production schedules and deadlines, resource allocation and equipment management, sound design planning and execution, lighting logistics and setup, and risk assessment with contingency planning.

As editor, I am responsible for post-production workflow management, continuity and pacing, sound mixing and layering, colour grading (in collaboration with the director), and final export with distribution formatting.

RESEARCH METHODOLOGY

My research focused on the practical and technical requirements of bringing our narrative concept to life.

I analysed the same trailers as my director, but from a different perspective. Where she focused on emotional impact of camera angles, I focused on the coverage needed for editing. Where she focused on atmosphere in sound, I focused on layering and mixing feasibility. Where she focused on mood in lighting, I focused on consistency across multiple setups. Where she focused on narrative rhythm in pacing, I focused on shot duration and transition types.

TRAILER ANALYSIS – PRODUCER/EDITOR PERSPECTIVE

Trailer One – This Is Going To Hurt (BBC/AMC+)

After analysing a conventional medical drama trailer, I wanted something that reflected the darker, more exhausting reality of healthcare work. This Is Going To Hurt was the perfect choice.

Based on Adam Kay's memoir of his time as an NHS junior doctor, the trailer balances dark comedy with genuine despair – a tone that's difficult to achieve but incredibly effective.

From my perspective as producer/editor:

The most striking technical element was how the trailer used contrast in audio. One moment there's witty voiceover and upbeat music; the next there's the heavy silence of a failed procedure. This taught me that the absence of sound can be more powerful than constant intensity.

The editing pace also varies dramatically. Fast cuts during chaotic hospital moments convey urgency and overwhelm. Slow, lingering shots during emotional beats force the audience to sit with discomfort. This reinforced that pacing is a storytelling tool, not just a stylistic choice.

Unlike glamorous medical dramas that romanticise healthcare work, this trailer shows exhaustion, burnout, and moral injury – exactly the themes we wanted to explore in our film. The protagonist doesn't look like a hero. He looks like someone who hasn't slept in days.

Technical takeaways for my production:

Silence and minimalism can be more effective than layered complexity

Rapid shifts in tone need careful sound bridging to avoid disorienting the audience

Exhaustion is best shown through slow, heavy editing rather than fast, frantic cuts

Authenticity comes from showing the unglamorous moments, not just the heroic ones

This trailer confirmed that our decision to show doctors as exhausted, attacked, and abandoned – rather than as untouchable heroes – was the right creative choice.

Trailer Two – The Good Doctor

From my perspective, I noticed that the holographic effects required significant post-production time and careful planning. The pacing balanced fast cuts for tension with longer holds for emotion. I observed how the editors maintained continuity across VFX-heavy shots – matching eyelines, screen positions, and character blocking even when digital elements were added later.

This taught me that continuity becomes exponentially harder when VFX is involved. If our production had included any effects work, I would have needed to budget at least double the editing time and maintain obsessive shot logs – noting camera position, lens, and actor blocking for every single take.

FINALISED CONCEPT – PRODUCTION REQUIREMENTS

Our concept is depicting COVID-19 frontline workers' struggles through a fictional lens.

Logistically, we need a medical-adjacent space or an adaptable existing location. We need costumes including scrubs, masks, and PPE elements. We must handle sensitive subject matter with care, honouring real experiences rather than exploiting them.

For sound design, which is my department, I need hospital ambience – beeps, distant conversations, footsteps on linoleum. Dialogue spoken through masks will need post-production EQ adjustment to remain clear. Strategic silence will be used as a tension device. Layered sounds will convey exhaustion – heavy breathing, long sighs, the sound of someone who hasn't slept.

For lighting, also my department in collaboration with the director, I need harsh fluorescent lighting for clinical scenes to feel unforgiving and institutional. I need warm, exhausted lighting for break room moments to feel human and tired. The contrast between these environments will show the emotional whiplash doctors experienced.

RESEARCH ON NEGLIGENCE – PRODUCTION IMPLICATIONS

Using the same research categories as my director, I identified specific production implications.

For systemic negligence – chronic understaffing will be shown through empty corridors and a single nurse running between patients. Lack of mental health support will be shown through close-ups of exhausted eyes and characters staring into space. Inadequate security will be shown through doors that don't lock and characters looking over their shoulders.

For disrespect from the public – verbal abuse will use sound distortion and overlapping angry voices. Physical violence will be implied, not explicit, for ethical reasons. Online defamation will be shown through phone screens displaying hate comments, lit with cold blue light.

For COVID-19 specific issues – inadequate PPE will be shown through reused masks, makeshift protection, and visible fear when equipment fails. Forced triage is the most challenging scene – I need to show moral injury without exploitation. Burnout will be shown as a gradual collapse across multiple scenes, not one dramatic moment.

PRE-PRODUCTION CHECKLIST

For equipment, I need the camera (confirmed), lighting kit with both harsh and soft options (confirmed), audio recorder and lav mics (confirmed – masks muffle dialogue so clean capture is essential), backup batteries (to source – I cannot lose a take to a dead battery), and PPE props including masks, scrubs, and face shields (to source).

For the schedule, location secured is in progress, shot list from director is pending, buffer time for reshoots is built into the schedule, and actor availability is confirmed.

For contingency planning, I have identified potential risks: if an actor gets sick, we have understudies ready. If equipment fails, we have backup gear on site. If location access is revoked, we have an alternative space identified.

For post-production, the rough cut will be completed within one week of shooting. The sound design pass will happen in week two. Colour grading will happen in week two to three. Final export will use H.264 format at 1080p and 24 frames per second in week three.

REFLECTION

Research and planning for a producer and editor is fundamentally different from the director's process. While my director focuses on meaning and emotion, I focus on feasibility and workflow. Both are necessary. Neither can succeed without the other.

The COVID-19 frontline worker narrative presents technical challenges – sound capture through masks, lighting that shifts from clinical to human, and post-production pacing that conveys exhaustion without becoming exhausting to watch. I am confident that our division of labour and thorough planning will allow us to meet these challenges.

If I were to do this again, I would spend more time observing real hospital environments before production. Our research was thorough, but nothing replaces firsthand experience of the sounds, lighting, and rhythms of an actual healthcare setting. That deeper understanding would have made our authenticity even stronger.

[brittasb]

Theories Interpretation

Understanding how audiences respond to media

Today we studied theories that can be used to comprehend how audiences are influenced by the media we produce – and how to conduct in-depth analyses of media texts.

Every theory offers a different perspective on how audiences respond to media. Here's what I learned.

1. Hypodermic Needle Theory

This theory suggests that media 'injects' its content directly into the audience's mind, influencing their behaviour without them realising it. The audience is seen as passive, homogeneous, and impressionable.

An example I noticed:

When Jaws was released, many people became terrified of swimming in the ocean – even though shark attacks are extremely rare. The media "injected" the idea that the ocean is dangerous, and audiences accepted it without questioning the statistics.

What I learned: As a media producer, I need to be aware that some audiences might take my content at face value. I have a responsibility to present things carefully.

2. Uses and Gratifications Theory

This theory flips the script. Instead of asking what media does to people, it asks why people use media and what needs it fulfils for them. The audience is active, not passive.

The four needs:

Entertainment – to relax, escape, or be amused

Information – to learn something new

Personal identity – to see themselves reflected

Social interaction – to connect with others

An example I noticed:

Animal Crossing: New Horizons became huge during the pandemic. Different players used it for different needs. Some played for entertainment – decorating islands. Others sought information – watching tutorials. Some expressed personal identity – designing avatars. Many played for social interaction – visiting friends' islands when they couldn't meet in person.

What I learned: Different people watch the same media for completely different reasons. A good media product should offer something for each of these needs.

3. Cultivation Theory

This theory suggests that our views develop gradually over time through repeated exposure to media. Instead of changing us instantly, media slowly shapes how we see the world.

An example I noticed:

Think about crime dramas like CSI. Someone who watches these shows every week for years may start to believe that crime rates are higher than they actually are, or that forensic evidence solves every case instantly. Their worldview is gradually cultivated – even though real crime solving is much slower and messier.

What I learned: Media doesn't always change us overnight. It works slowly, over time. That makes it harder to notice – but also more powerful.

4. Copycat Theory

This theory suggests that audiences directly imitate or copy behaviours they see in media texts. See something, do something.

An example I noticed:

After The Matrix came out, there were reports of teenagers attempting to perform "bullet time" stunts or believing they could learn kung fu by downloading it. More seriously, there have been instances of viewers imitating violent acts from films like Fight Club.

What I learned: As a media producer, I need to think carefully about what behaviours I put on screen. Even if I don't intend for audiences to copy something, some might.

5. Reception Theory

This is my favourite theory because it respects the audience's intelligence. Reception Theory suggests that audiences are active and make their own meaning from a media text. They can take one of three readings:

Dominant (Preferred) Reading – The audience fully accepts the intended meaning.

Negotiated Reading – The audience partly accepts but also questions or modifies it.

Oppositional Reading – They understand the message but disagree and reject it.

An example I noticed:

Black Panther is a great example. Some viewers saw it as empowering and positive – a dominant reading. Others enjoyed it but thought some elements were exaggerated – a negotiated reading. Others rejected its message about culture and representation entirely – an oppositional reading.

What I learned: I can't control how audiences interpret my work. All I can do is make it honest and intentional. Then let the audience decide.

Final Reflection

Studying these theories has changed how I think about media.

I used to just watch things. Now I think about why people watch them, how they might be influenced, and what meanings they might take away.

I'm not just a viewer anymore. I'm learning to be a producer. And these theories are tools I will use to make better, more responsible media.

[brittasb]

Salut! Welcome Back

I'm Britta S B, a Media Studies student from The Indian Public School, Erode.

I chose Media Studies because I've always been curious about what happens behind the camera. Not just the filming – but the planning, the organising, the sound design, the editing. The stuff that holds everything together.

In our very first class, we had an engaging discussion about the syllabus and the expectations set by Cambridge for A Level Media students. It gave me a clear overview of what the course will involve, including the skills we'll develop and the creative work we'll be doing.

Having completed AS Level Media, I'm excited to build on what I learned and go deeper into production and post-production – sound layering, continuity editing, colour grading, and the whole puzzle of making a film feel cohesive. I love taking raw footage and shaping it into something that tells a story.

I'm really looking forward to diving into this subject, gaining a deeper understanding of how media influences our world, and learning how to analyse and create media content thoughtfully and effectively.

[brittasb]

AS LEVEL FINAL SUBMISSION

Film Opening Sequence

QUIET.EXE

Creative Critical Reflections

AS LEVEL CCR 1

AS LEVEL CCR 2

AS LEVEL CCR 3

AS LEVEL CCR 4

Sound Link : AS LEVELS

In Search of Ciri

[brittasb]

Post Production

Post-production was honestly my first real experience working as an editor, and I didn’t expect it to be this confusing and exciting at the same time. I used Adobe Premiere Pro for the entire process, and in the beginning, I felt completely lost. The interface looked like a lot so many panels, buttons, and timelines that didn’t make sense immediately. It definitely took me some time (and patience) to even feel a little comfortable navigating it.

One thing I realised very quickly is that editing isn’t just about cutting clips it’s about being organised. At first, I underestimated this and just wanted to jump straight into editing, but once I started arranging my footage properly into bins and labelling things, everything became so much easier. It sounds basic, but that step genuinely changed my workflow.

Before I even started editing, I had around 45 minutes of raw footage from multiple takes, which was honestly overwhelming. Instead of organising everything directly inside Premiere Pro (which I didn’t feel confident doing yet), I came up with my own system.

I watched all my footage and made notes on my phone, just a simple list of clips I liked. I wrote down the file names, what was happening in each clip, and whether I thought it was usable. It wasn’t anything fancy, but it worked for me.

This process helped me filter out the bad shots, like ones with weird lighting or accidental camera shakes and focus only on what I actually needed. So when I finally opened Premiere Pro, I only imported the clips from my list. This saved me from endlessly scrolling through unnecessary footage, which I know would have slowed me down a lot.

That being said, I did mess up at one point. I forgot to rename my clips inside Premiere Pro to match the names in my notes. So I kept going back and forth between my phone and laptop trying to figure out which clip was which. It got frustrating really fast. Halfway through, I went back and fixed it by renaming everything properly. If I do this again, that’s definitely something I’ll do right at the start.

Once I got more comfortable, I started putting my clips together to build the story. This was probably my favourite part because it finally felt like everything was coming together.

I experimented a bit with pacing and tried to make sure the story flowed smoothly. I used simple techniques like match-on-action and shot-reverse-shot to keep things continuous and not confusing for the viewer.

I also made a conscious decision to keep my editing simple. I didn’t want to overdo transitions or effects just for the sake of it. I stuck mostly to clean cuts and very subtle transitions because I wanted the focus to stay on the story itself. It felt more natural and less distracting.

Before fully getting into editing, I did some of my own research, especially since my project was in the horror genre. I watched a lot of breakdown videos and read about how horror films build tension -especially through sound.

One concept I found really interesting was audio layering, basically combining background sounds, small effects, and music to create tension without it being too obvious. I tried to apply that idea in my own project.

For sound, I explored platforms like Pixabay and Freesound, which had a good range of free audio I could experiment with.

For my title sequence, I looked at Art of the Title and noticed how horror films often use rough, slightly distorted fonts with slow fade-ins. I tried to recreate that style in my own way.

I also watched a few tutorials on colour grading and learned how desaturating colours and making shadows darker can completely change the mood of a scene. I experimented with this to give my film a darker, more unsettling tone.

For my four Creative Critical Reflections, I used Canva, Prezi, Visme, and Adobe Express. Each platform was a bit different. Canva was the easiest to use, Prezi felt more creative with its zooming format, Visme worked well for data-style layouts, and Adobe Express was the trickiest but let me experiment with short video content. Using different platforms actually helped me see my project from different angles, which was useful.

Overall, this whole process felt like a lot of trial and error. I didn’t always know what I was doing, but I figured things out as I went; and that’s what made it interesting. It definitely made me appreciate how much work actually goes into editing, and how important even the smallest decisions can be.

[brittasb]

PRODUCTION

DAY 1 - LOCATION & RUN-THROUGH

MEDIA ROOM

Hii everyone !!!

Today was about getting everyone into character before we started recording anything serious. I explained how I wanted them to act like real friends hanging out - distracted, on their phones, laughing, not even thinking about the camera.

In the initial scenes, the actors were a bit awkward with each other, which I found challenging because their comfort level affects how natural the scene looks. I blocked where each person should sit, not to make it look perfect, but to make it look natural, so they could slowly ease into their characters. This scene needs to feel totally normal before anything strange happens later.

Once the lighting, posters and props were in place, I finally stepped back to look at the room as a complete set. It gives the calm, cosy vibe I wanted, especially the posters that represent Harish’s personality. Seeing the cast settle into the space made everything feel real - the work officially started here.

On the first day, after completing my practice sessions and acting run-throughs, I identified several errors and potential challenges that could arise on the final filming day. One of my main concerns was the rain scene effect. While I managed to simulate this by drenching the actors’ costumes and arranging suitable wardrobe changes, I noticed that the external lighting differed from the atmosphere I originally intended to create.I also realised that some of the costumes I had selected appeared dull under the lighting setup. In addition, the overall room lighting was darker than required, which affected the visual quality of the scene. Although I made adjustments to improve these issues, I was not able to fully resolve the problem of external light entering the room whenever the door was opened.

DAY 2 - FILMING DAY

The second day focused on completing the filming process and bringing the planned scenes together into a cohesive visual outcome. Compared to the initial run-throughs, this stage required greater control over both performance and technical elements, as each shot needed to align with the intended tone of the film.

During filming, I paid close attention to framing and composition to ensure that each scene appeared visually balanced and structured. I used a range of shot types, including close-up and medium shots, to capture both individual reactions and group interactions. This helped create a more engaging visual flow and allowed the scene to feel more natural rather than staged.

Lighting was managed more carefully to maintain consistency throughout the shoot. Based on earlier observations, I adjusted the setup to achieve a clearer and more controlled look. I also worked on enhancing the atmosphere through lighting, ensuring that it supported the overall tone of the film. Maintaining this consistency required constant monitoring, as even small changes in light could affect the continuity of the scene.

Coordinating the actors within the frame was another important aspect of the filming process. With multiple characters present, I ensured that their positioning supported both clarity and composition. Adjustments were made where necessary to avoid visual imbalance, while still maintaining a natural interaction between the characters.

Managing and planning the production on my own was challenging, especially when it came to coordinating the cast and organising the set effectively. To address this, I sought support from an A-Level director, who helped me specifically with handling the cast and managing the setup. This allowed me to maintain better control over the production while ensuring that the actors were guided properly and the environment remained organised. It also made the overall workflow more structured and manageable for me.

As this was the final day of filming, I reviewed each take carefully to ensure that all required footage had been captured effectively. In some cases, additional takes were recorded to improve the overall quality of the scene. This process emphasised the importance of attention to detail, as even minor adjustments had a noticeable impact on the final result.

Overall, this filming day allowed me to apply what I had learned during the preparation stage and improve the execution of the project. It reinforced the importance of maintaining consistency in elements such as lighting and composition, while also remaining adaptable during production. Completing the filming process gave me a clearer understanding of how each decision contributes to the effectiveness of the final film.

[brittasb]

Pre Production

Casting

Nakul.K as Harish

Harish is the sceptical centre of the story - calm, logical and rarely shaken. His boredom in the beginning shows his need for stimulation, but when he quits the game, his confidence collapses, revealing deep vulnerability. His character arc shifts from casual disbelief to psychological fear as he becomes the only one aware of the truth.

Nakul delivered a strong audition with natural scepticism and expressive micro-reactions. He trained specifically on subtle eye shifts and controlled breathing to portray Harish’s transition from confidence to fear without exaggerated acting.

Sathya Saravanan as Vishwa

Vishwa brings energy, humour and lightness to the group. He hides his fear behind jokes, making the moment he panics (“RUN!”) more powerful. His development reveals that humour is his coping mechanism, and when the horror breaks through it, his vulnerability shows.

Sathya’s audition stood out for his timing and natural comedic presence. He practiced switching from humour to fear instantly, helping maintain the tonal contrast essential for building tension in the scene.

Harshitha as Aara

Aara is the story’s unsettling presence - calm, soft-spoken, yet strangely disconnected when she arrives. Her evolution from quietly mysterious to chillingly sinister drives the horror shift. Her wide, unnatural smile in the final scene reveals her transformation into the game’s embodiment.

Harshitha impressed during auditions with her ability to maintain a still, controlled expression. She worked on posture, slow movements and tension in her facial muscles to create an uncanny presence without relying on heavy dialogue.

Smriti G Nair as Tanishka

Tanishka appears sensitive and easily affected, becoming the first “victim” of the game. Her coughing scene and flickering mic icon position her as the emotional weak point in the group. When she returns acting “normal,” the contrast adds to the horror’s confusion.

Smriti G Nair responded well to emotional direction during auditions, showing strong control over distress acting. She rehearsed physical reactions like coughing, shaking and fear expressions to perform these scenes convincingly.

Sivadhanvanth as Kushal

Kushal is quiet, observant and rational. He tries to stay calm by explaining the situation logically (“Maybe it’s part of the game?”), which makes his later unnatural calmness more disturbing. His shift from grounded friend to eerie presence supports the supernatural tone.

Sivadhanavanth demonstrated a controlled and realistic performance style in auditions. He worked on maintaining a blank, emotionless stare for the “reset” scene, giving his character an unsettling duality.

Sarvik Prabhu as Sachin

Sachin is a subtle character whose minimal dialogue makes his transformation more impactful. At first, he blends into the group naturally, but after the “reset,” he becomes part of the unnatural cheerfulness that surrounds Harish, contributing to the unsettling atmosphere.

Sarvik showed strong listening and reactive acting during auditions. He practised neutral-to-creepy facial transitions and ensemble timing to match the eerie group behaviour in the final scene.

[brittasb]

Research & Planning

Hii everyone! I began my research today, finally trying to give my imagination and ideas a base. I discovered tons of references considering the commonality of a horror genre, the idea I had in mind was to ensure I could bring in the comic sense and the sudden twist to the story as I had learnt through many story arcs. I realised a lot of the storylines consisted similar codes, door creaks, flashing or flickering lights and fast paced montages or tracking shots.

I planned my script sequence and flow of events both based on multiple perspectives, keeping in mind how the audience would react to a friendship, hallucinations, confusions and many more elements involved in a casual, fun scene turning to a complicated - mind boggling sequence, maintaining a sense of eerie.

For my research and planning, I analysed CTRL, Silent Breath (the horror game), Ouija, Romancham and A Quiet Place, and many more to understand how different horror mediums create tension through visuals, sound and atmosphere. Since Delete Your Digital Past is also from CTRL, I focused on how that film uses digital distortion, glitch aesthetics and blue-green muted colour grading to build fear through technology.

Looking at the Silent Breath game helped me understand how horror can be driven through sound cues, minimal lighting, sudden interruptions and claustrophobic framing that makes the player feel trapped. Films like Ouija and Romancham showed me how group dynamics, circles, ritual boards and low warm lighting can create an eerie mood even in ordinary locations.

Meanwhile, A Quiet Place taught me the power of silence, dim shadows and restricted movement as horror tools. Across all these examples, I studied common horror codes and conventions-distorted voices, long pauses, flickering lights, close-up reactions, dark colour palettes and gradual tension-building.

SURVEY

Using this research, I shaped my own ideation for Quiet.exe by blending the tech-driven fear from CTRL, the sound-based tension from Silent Breath, the supernatural group dynamic from Ouija and Romancham, and the atmospheric silence from A Quiet Place. This research directly influenced my colour palette, lighting plan, mise-en-scene and overall concept for my horror sequence.

[brittasb]

Pre Production

Concept Development

You know that 3 AM internet feeling? When you’re so deep in a digital rabbit hole that the real world feels like the simulation? I was chasing that exact vibe, sitting in my own glow-in-the-dark cave of monitors, when the concept for Quiet.exe first flickered to life. I didn't just want to make a scary movie; I wanted to capture the specific dread of a system corrupting, and the terrifying thought that the glitch isn't in the machine, but in you.

The core idea was simple: what if I found a game I couldn't quit? Not just a difficult game, but one that literally refused to be unplayed. That was the seed of the concept of no digital escape, turning to a post-modernised reality. 

In the process of developing Quiet.exe, my intention was to build suspense throughout the entire film by designing each scene's pacing carefully for maximum tension throughout the film yet a comic sense and chaos. The trailer features three distinct sections: the fun, the fear, and the fleeing.

Visual and audio techniques used to create the sense of horror are: flickering lights, distorted sounds, rapid editing pace, the html app development that I learnt in my DMD course and text message alerts system within it. All of these techniques combined I aimed to create a unique immersive experience while presenting a horror effect. Additionally, I designed how light, camera placement, and props and overall set design would interact with the actor(s) during the filming of Quiet.exe to support the intent of fear and suspense.

For my horror genre, I came up with these costumes, as this was not about picking cool outfits, but attempting to implement codes and conventions in their personalities. Each costume was a deliberate choice to build a character type that the audience would instantly relate to, your cliché teenagers hanging out, snacking, gossiping, playing games and the occasional obsession with their phones.

For my horror sequence, I chose a colour palette that blends calm, warm tones with deep, unsettling shades to create a mix of comfort and hidden tension. The softer beiges, greens and warm oranges help me portray a friendly, relaxed atmosphere at the start of the scene, while the richer blacks, blues and muted purples slowly introduce a sense of unease.

This contrast allows the sequence to feel welcoming on the surface, but visually hints that something is “off” beneath the calm. I’m using these palettes to guide my set design, such as choosing cosy, warm lighting and natural textures, while also planning darker shadows, minimal light spill and colder highlights to shift the mood as the horror element grows.

Overall, this colour plan supports my concept of a scene that begins as a friendly, comforting gathering but subtly transforms into an eerie, tense moment without breaking visual consistency.

I selected each prop very intentionally to support the mix of comfort and tension in my sequence. Most of the items, like blankets, bean bags, fairy lights, popcorn, Coke, books, and board games, help me build a casual, friendly “hangout” atmosphere where the characters feel completely safe.

These props make the living room space look lived-in, warm and believable, matching my chosen colour palette. In contrast, elements like fake blood, umbrellas, raincoats, candles and multiple phones are meant to subtly hint at the shift towards horror. They would allow me to transition from a cosy environment to a chaotic, unsettling one once the game begins.

Overall, this prop selection helps me balance realism with tension, using everyday comfort items to lull the audience before the horror elements break the calm.

For the set design, I transformed my media room to match the mood and the characters, especially Harish. I began by blocking out the windows using black charts to create full control over the lighting and give the room a darker, enclosed feel. Then, to make the space look like a realistic teenager’s room, I designed and printed a wall of posters that reflect Harish’s personality-his love for games, mystery, and slightly edgy aesthetics.

Using my Art & Design skills, I planned the poster layout carefully so it feels messy, expressive and authentic to him. I also created handmade leaf veins to add an unusual decorative element, hinting at something unsettling beneath the normal environment.

Every step, from placing the posters to shaping the room’s darkness, helped me build a space that feels lived-in, personal and perfect for the horror shift later in the story.

Stay tuned for the cast reveal..

[brittasb]

Preliminary Task

Camera Shots

This week was super fun! Starting with theoretically learning about different types of camera shots to practically applying our learning through activities, the journey was noteworthy.

What is a camera shot?

A camera shot is composed of the series of frames that are shot uninterrupted from the moment the camera starts rolling until it stops. Camera shots are an essential aspect of filmmaking and video productions, because by combining different types of shots, angles and camera movements, the filmmakers are able to emphasize specific emotions, ideas and movement for each scene.

Types of Camera Shot Sizes

Master shot/Extreme long shot

It is used to show the subject from a distance, or the area in which the scene is taking place. This type of shot is particularly useful for establishing a scene. The character does not necessarily have to be seen in this shot.

Long shot/Wide shot

It shows the subject from top to bottom; for a person, this would be head to toe. The character become more of a focus than an extremely shot. This shot often set the scene and character’s place. It can also act as an establishing shot at times.

Medium Long/Wide Shot (MWS

It’s a shot between full shot and medium shot. It shows subject from the knees up. The emphasis tends to be more on action and movement rather than a character’s emotional state.

Medium Shot

It shows part of the subject in more detail. For a person, a medium shot typically means a shot from waist up. This shot is a general, all-purpose shot. Medium shots are used for dialogue sequences, and they allow the viewer to pick up on the character’s movements and gestures. Body language is important to conveying emotion, and the medium shot remains close enough to capture that emotion.

Medium Close Up shot

Subject falls between medium and close up shot. It generally frames the subject from chest or shoulder up. This shot showcases the face of as subject, letting audiences see small nuances of behavior and emotion while eliciting a higher degree of identification and empathy; the slightly wider framing also lets body language convey meaning by the inclusion of a character’s shoulder.

Close up shot

It fills the screen with part of the subject, such as a persons face or feet, when you want to reveal a subject’s emotions and reactions.

Codes and Conventions

Hey guys! Just like the previous day I mentioned, we started this one with an interesting topic: Codes And Conventions.

Media Codes: Technical, written and symbolic tools used to construct or suggest meaning in media forms and products. Media codes include the use of camera, acting, setting, mise en scene, editing, lighting, sound, special effects, typography, colour, visual composition, text and graphics. Light and mechanical aspects are controlled by the statuesque people around the crew and cast.

Media Conventions: Rules or generally accepted ways of constructing form and informing meaning in media products including story principles, form and structure, generic structures, character and story arcs, cause and effect, point of view, the structuring of time, elements of page layout, paper stock for print, titles and credits sequences, hyperlinking and mounting and framing of images.

From my perspective as a media studies student, I understood that films usually use effective visual storytelling and atmosphere to convey a powerful social issue - it communicates emotions and awareness through shots, body language, and facial expressions rather than direct dialogue

Symbolic - these show what is beneath the surface of what we see. E.g. a character’s actions show you how the character is feeling.

Technical - These are all the ways in which equipment is used to tell the story in a media text. E.g. the camera work in a film.

Written - These are the formal written language used in a media product. Just like technical and symbolic codes, written codes can be used to advance a narrative, communicate information about a character or issues and themes in the media product.

We were provided with various interesting examples on the Symbolic codes such as Setting; Mise-en-scene; Acting; Colour

For my preliminary task, I got the chance to experiment with basic shots and simple transitions, which really helped me understand the fundamentals of visual storytelling. I practiced framing techniques like close-ups, mid-shots and over-the-shoulder angles, and learned how each one changes the audience’s connection to the scene.

I also tested basic transitions such as straight cuts and simple dissolves to understand pacing and continuity. This task gave me confidence in handling the camera, planning shot order and maintaining smooth flow between scenes.

Overall, the preliminary task prepared me for the more complex requirements of my main project and helped me build a stronger foundation in directing and editing.

[brittasb]

What is Media?

The week began with a discussion on the topic Media Texts and an overview of the syllabus criteria and requirements.

Our first task from the teacher was really interesting. We were asked to read “What Is Media?” - which made me rethink what media actually means, and it turned out to be very different from what I had imagined before. Along with this, we had to prepare and submit a list of different media forms and media platforms that we know about or use regularly.

[brittasb]

Welcome!

Hey everyone! I’m Britta S.B and I’m an A Level Media Studies student at The Indian Public School, Erode. I have chosen this subject to broaden my perspective on films and to gain deeper insight into the ever-evolving media industry. We have chosen film as our main area of study this year.

One of my biggest goals is to become a film director one day, but I am also deeply interested in Direction and Cinematography. I love exploring how visual storytelling, camera work, and editing can bring a story to life and make audiences feel something real. Through this course, I hope to strengthen my understanding of filmmaking from multiple angles and build the foundation I need for my future in the industry.

In our first class, we developed a clear understanding of the syllabus for the course and what Cambridge expects from us as Media Studies students. I’m retaking my AS Level this year because I want to improve my score and correct the mistakes I made in my previous exam - I see this as a chance to push myself and do better.