CCR 3 - Production Skills

Original Script

Before this project, I’d been filming for a while, mostly run-and-gun style. I’d just grab my camera, head out, and shoot whatever felt right. No crew, no real plan, no schedule, just pure instinct and improvisation. That taught me how to think fast and adapt, but this project was a whole different beast. It was bigger, more structured, more cinematic, and honestly, a lot more intense, in the best way.

This time, I took on roles I hadn’t fully tackled before: director, screenwriter, cinematographer, editor, even production manager, all at once. The scale was way bigger, with more equipment, more planning, and more pressure to nail every detail. I couldn’t just wing it anymore. I had to prep meticulously to make sure the shoot ran smoothly, and you know what? That preparation actually paid off.

One of the biggest lessons I learned early on was how crucial scheduling and planning are. I handled all of pre-production myself: writing the script, storyboarding, making shot lists, planning scenes, and noting the emotional direction. That groundwork made production surprisingly efficient, especially since I was working solo. But I also learned that too much structure can box you in creatively. I stuck so closely to my storyboard that some scenes didn’t have enough shot variety. Next time, I’d loosen up a bit to capture more options.

Writing the script was a huge growth point for me. It took about a month, with countless revisions. The deeper I got, the more I realized storytelling isn’t about laying everything out plainly. It’s about suggesting, implying, creating subtext. I started thinking about how to hint at deeper meanings without spelling them out. That came from writing, getting feedback, reflecting, and leaning into what I knew about cinematic language.

When it came to production, my technical skills were really put to the test.

Directing actors I didn’t know personally was nerve-wracking, especially since I’m a perfectionist about visuals. But I lucked out with a cooperative, enthusiastic cast. There were moments when their performances didn’t quite match the emotional vibe I wanted, so I’d pull them aside, explain the context, even share why this project mattered to me personally. And just like that, their performances would shift. That was a big moment for me as a director, realizing how communication and vulnerability can unlock better results.

As a cinematographer, I was using the Sony A7III, relying entirely on manual focus, which was tough. I’d had nightmares from past projects where the focus was off by just a centimeter, so this time I pushed myself to nail manual focus pulling. I also dove into new territory like shooting in S-Log color space and exposing properly with middle grey. Those were things I’d never done before, and they gave the visuals a polished, professional feel I was really proud of.

Post-production was where I grew the most. Sound design was a game-changer. I didn’t just throw sounds together; I crafted them. I recorded foley from scratch to make every sound feel real and precise. I built atmospheres and auditory textures to match the emotional tone of each scene. I even composed my own original instrumentals, experimenting with ambient music for the first time. Mixing dialogue, sound effects, and score was a meticulous process, balancing frequencies, cutting noise, and tweaking volume automation. Every sound was shaped to serve the story, not just fill space. Working solo gave me total control, from quiet moments to big crescendos.

Color grading was another huge leap. I went for a distinct green-and-orange palette, which is tricky to pull off. In DaVinci Resolve, I was working with over fifteen nodes per shot, using depth maps, qualifiers, and power windows to isolate skin tones, backgrounds, and lighting details. I corrected, matched, and stylized each scene to set the mood and keep things consistent. It wasn’t just about making it look good; it was about using color to amplify emotion and performance. Compared to my old work, where I’d just slap on a LUT, this was a massive step up in visual storytelling.

I also got way better at organizing. I managed 210 GB of footage with a clear workflow: folders sorted by day and device, bins divided by acts and sound elements, and color-coded timelines for narrative sequences. It sounds basic, but that discipline made editing faster and less chaotic than my older projects.

Working alone forced me to be super organized. I used written notes, visual references, and digital docs to keep everything under control. But it also showed me the limits of going solo. I missed out on extra coverage and spontaneous moments. Next time, I’d bring more people on set, leave room for improvisation, and shoot more angles for editing flexibility.

Looking back, my skills grew across every stage, from planning to final export. The biggest areas? Directing actors to hit the right emotional notes, mastering manual focus and advanced cinematography, telling stories through subtext and pacing, diving deep into editing and node-based grading in Resolve, and crafting immersive sound design with original scoring, foley, and mixing.

The biggest takeaway? Prepare like crazy, but shoot with freedom. Planning is everything, but over-planning can kill creativity. Next time, I’d be tougher on performance quality, stick closer to the script, shoot more coverage, improve my sound setup, and give myself more time to plan for flexibility. Overall, I’m more confident now, not just in my technical skills but in my ability to create something that’s carefully built yet still feels raw and human. That, to me, is real growth.