After so many long hours of work, here is the finished and final brief!
I feel like I have grown so much in this project alone and it made me learn so many valuable things. I am most grateful for what I learned and what my team and I have gone through together. This project has strengthened our bond so much, even during the stressful moments. I'm not sure where my creative mind would've been without this experience. We hope you enjoy "Competitive Much?" as much as we do!
After designing the title card in Canva, we moved on to bringing it into Premiere Pro so it could be used in the final edit. This step seemed simple at first, but it quickly became a major challenge. Importing the title card was critical because it sets the tone at the very beginning of the film, so it had to look exactly how we envisioned.
Originally, we wanted to include a question mark in the title card that incorporated small visual elements to represent both characters. It was meant to make the title more unique and memorable.
However, when we tried to export the Canva design, it would only export as a PDF file. PDFs don’t work in Premiere Pro the same way an image or vector does. This meant we couldn’t adjust the font, resize elements, or customize the question mark design within the program. Even simple edits, like trying to remove or move parts of the design, were impossible. It was frustrating because the design was already complex, and we couldn’t manipulate it the way we needed.
Given these limitations, we decided to simplify the title card. We kept the hot pink color and the bold Norwester font, but removed the question mark embellishments entirely. The result is a strong, simple title that fits rom-com conventions perfectly.
Fortunately, this decision actually worked in our favor. Rom-coms often use bold, clear, and easy-to-read titles, which helps audiences immediately recognize the genre. By keeping the design simple, we maintained a playful and engaging aesthetic while ensuring the title was fully functional in Premiere Pro. The pink color added personality, and the bold font maintained visual impact, making the title both practical and stylish.
This simplified title card became our final touch and marks the end of our long-awaited portfolio. Even though the outcome wasn’t exactly what we originally envisioned, it’s still consistent with our earlier rough drafts and captures the playful, bold style we wanted. It successfully fulfills rom-com conventions while remaining visually engaging, and overall, I’m happy with the result. Seeing it in the final edit gives a satisfying sense of closure to all the work we’ve put into this project.
After finishing filming and most of the editing, we moved on to creating the title card for our film. This was a key part of the project because the title card is one of the first things the audience sees. It helps set the tone and gives a memorable first impression. Instead of designing it directly in Adobe Premiere Pro, we chose to use Canva. Canva allowed us more flexibility to experiment with different fonts, colors, and design elements before bringing it into the film.
From our earlier research, we knew that we wanted a bold, hot pink title for Competitive Much. This choice was intentional because it reflects the rom-com genre. Bright colors and bold fonts are often used in romantic comedies to create a fun, playful, and slightly dramatic tone that immediately attracts attention.
However, we ran into a challenge when designing the title in Canva. The fonts we originally found during our research were not available on the platform. This meant we had to spend time exploring different font options that could still match the style we were aiming for.
After testing multiple fonts, we decided to use the Norwester font. This font worked well because it had a strong, bold appearance without being too exaggerated or overly stylized. It was not too italicized, which helped keep the title clean and readable. At the same time, it still had enough presence to stand out on screen. Choosing this font was important because it balanced professionalism with the playful tone we wanted for the film.
Once the font was chosen, we started thinking about how to make the title more visually interesting and memorable. We didn’t just want plain text on the screen. We wanted something that would stand out and connect to the film itself.
At first, we considered adding simple visual elements, such as a soccer ball or a pair of glasses. These ideas related to different aspects of the film and its characters, but we felt they were too basic and did not add enough personality to the title.
Because of this, we continued brainstorming and looked for a more creative solution that would feel unique.
The soccer ball was an idea we seriously considered because it plays a major role in the film’s opening. Even though it doesn’t represent the characters’ personalities directly, it’s central to the story.
We thought about replacing the “O” in Competitive Much with a soccer ball. However, the Norwester font presented a challenge: the Os were very slim and narrow. Since we chose Norwester specifically for its bold, clean look, we didn’t want to change the font. Fitting a soccer ball into such a skinny O proved extremely difficult.
We even tried drawing black marks on the pink O to make it look like a soccer ball, but it came out poorly and looked messy. In the end, we decided to scrap the soccer ball idea entirely. While it was a creative attempt to connect the title to the film’s opening, the practical difficulties and visual issues made it unworkable.
Eventually, we came up with the idea of modifying the question mark in Competitive Much to represent both characters. Instead of using a standard symbol, we experimented with turning it into a combination of objects, such as books and a hockey stick. These elements were chosen because they reflect different traits and personalities within the film.
This idea stood out more than our earlier options because it made the title feel more connected to the story. Rather than just being decorative, the design actually represented the characters and added meaning to the title card. It also made the overall design feel more creative and personalized.
The goal of the title card was to create something bold, fun, and memorable while subtly hinting at the story. Choosing the hot pink Norwester font and experimenting with visual elements allowed us to establish a strong rom-com vibe.
After finishing the editing process, including rearranging clips and adjusting the lighting and color grading to match our intended look, the next step was sound design and music. This stage was extremely important because it brought everything together and made the film feel complete. While visuals establish the story, sound is what enhances emotion and makes the overall experience more immersive. Once we added sound, the opening felt much more polished and aligned with the rom-com genre.
From the beginning, we knew we wanted a soft indie instrumental for the opening. The goal was to create something warm, calm, and slightly romantic without making it feel too obvious or overdone. We originally wanted to use music from Clairo because her style is very soft and relaxed, and we felt that it matched Audrey’s character really well.
However, this created a major challenge. Because of copyright restrictions, we were not able to use that type of music in Adobe Premiere Pro. The audio either would not import correctly, would fail to download, or would interfere with other audio in the timeline. This made it clear that using copyrighted music was not a realistic option for our project.
To solve this issue, we switched to using royalty-free music instead. Even though it was not exactly what we originally planned, we were able to find an indie-style track that still created a similar mood. The track we chose had a light and contemporary feel, and it built naturally toward the title card without needing heavy editing. Overall, it still supported the tone of the film and helped establish the genre effectively.
Another important decision we made was how and when to introduce the music. At first, we considered playing the music while Audrey was still speaking. However, we realized that this would take away from her moment and make the dialogue feel less personal. We wanted the audience to focus fully on what she was saying without any distractions.
There were also some technical challenges when trying to layer the music under dialogue in Adobe Premiere Pro, especially when balancing volume levels in a way that sounded natural. Because of this, we decided on a different approach that felt more effective both creatively and technically.
Instead of overlapping the audio, we used a fade-out on Audrey’s voice once she finished speaking. As her dialogue fades, the music gradually fades in. This creates a smooth transition from her personal moment into the running sequence. It almost feels like a shift from her internal world into the beginning of something new, which supports the narrative.
The music is then reintroduced more clearly during the moment when the two characters come together. This helps emphasize the emotional significance of that scene and makes it feel more impactful. By controlling when the music appears and disappears, we were able to guide the audience’s focus and strengthen the overall storytelling.
Another important part of the sound design was using sound effects to improve certain moments, especially the collision scene. When the characters first crash into each other, the raw footage felt slightly awkward and unnatural. This was mainly because real-life movement does not always translate smoothly on camera, and without any added sound, the moment lacked impact.
To fix this, we decided to include subtle sound effects to make the interaction feel more natural and less uncomfortable for the audience. Instead of leaving the moment completely silent or relying only on the original audio, we added a light impact sound when they collide, along with the sound of the ball and headphones hitting the ground.
These additions helped “soften” the awkwardness of the moment and made it feel more intentional. The sound effects also added a slight comedic tone, which fits the rom-com genre. Rather than the scene feeling stiff or accidental, it comes across as playful and engaging.
Overall, this showed how sound design is not just about realism, but also about shaping how the audience perceives a moment. By carefully choosing what sounds to include, we were able to improve the flow of the scene and make it feel more natural within the story.
One of the biggest technical challenges was dealing with wind noise from the park scenes. Because the filming was done outdoors, there were sections where the audio quality was affected.
To improve this, I used tools in Premiere Pro such as Enhanced Speech to make the dialogue clearer. I also made manual adjustments by lowering certain frequencies to reduce the harshness caused by wind. At the same time, I had to be careful not to over-edit the audio, since that can make voices sound unnatural. The goal was to make it sound as if it had been recorded cleanly in the first place.
Beyond dialogue and music, small sound effects were added to give the scenes more realism. For example, ambient park noise was included during the running sequence to make the setting feel more natural. The sound of the headphones being knocked out during the collision and the ball rolling on the ground were also emphasized.
These details may seem minor, but they help ground the film in a believable environment. Without them, the scenes would feel empty or artificial. Adding these layers of sound made the world feel more complete and immersive.
After so many days of filming and preparation, production finally came to an end, and we were able to move into the editing stage. This felt like a major shift in the process, because everything we had planned and filmed now had to come together into a final product. Editing quickly became its own challenge, separate from everything that came before it. Having footage is very different from having a finished film, and the gap between those two stages is where most creative decisions are made.
The first step was importing everything into Adobe Premiere Pro and organizing it in a way that made the editing process manageable. The footage came from multiple filming days across two locations: Nadia’s house and the park. Within each location, there were multiple scenes, several takes, and different camera angles.
Creating a clear folder structure before editing was essential. Each scene was labeled and grouped, which made it easier to locate clips and compare takes. This step showed me that organization is not optional in editing. Taking time to set up the project properly made the rest of the process much smoother and more efficient.
The rough cut stage revealed what footage actually worked. Some shots that looked strong during filming did not work in context. In some cases, the pacing felt off. In others, the transition between angles felt unnatural.
The argument scene required the most revision. Dialogue editing depends heavily on timing and performance rather than movement. Because of this, I had to carefully adjust cuts so they matched the rhythm of the actors’ delivery. This took multiple versions before it felt natural.
The opening montage was one of the most interesting parts to edit. It relied entirely on visuals and music rather than dialogue. This meant the focus was on pacing and rhythm. I had to experiment with the length of each shot to keep the sequence engaging without making it feel rushed.
I also made a purposeful editing and color decision in the running sequence before the characters collide. I kept the tones more muted and slightly grey during these shots. This created a visual contrast so that when they finally bump into each other, the scene feels warmer and more alive. That shift makes the moment feel more romantic and significant without needing dialogue.
Color grading was done using Lumetri Color in Premiere Pro, and it ended up being one of the most detailed parts of post-production. At first, I focused on understanding the basic tools, such as exposure, contrast, highlights, shadows, and white balance. These adjustments helped correct the footage and make sure everything looked consistent before applying any stylistic choices.
After correcting the footage, I started working on creating the overall look of the film. The goal was to achieve a warm, romantic tone that fits the rom-com genre. To do this, I increased the temperature slightly to bring out warmer tones, especially in skin tones, while also adjusting the tint to avoid making the image look too orange. I lifted the shadows slightly to create a softer look and reduced harsh contrast so the image felt more natural and less dramatic.
Saturation also played an important role. Instead of increasing it across the entire image, I adjusted specific colors to enhance warmth without making the footage look unrealistic. For example, I slightly boosted reds and oranges while keeping other tones balanced. This helped create a cohesive color palette that felt intentional.
The park footage was used as the base for the overall look because it had natural golden lighting. From there, I matched the house footage to that same tone. The house scenes originally had cooler lighting due to natural window light, so I warmed them up in post-production to maintain consistency. This process required small adjustments rather than extreme changes, since even slight shifts in color grading can affect the entire image.
Overall, color grading was not just about making the footage look better, but about reinforcing the mood and tone of the film. It helped create a consistent visual style while also supporting the emotional moments within each scene.
Throughout the editing and color grading process, we made several intentional decisions to enhance the storytelling. The muted, grey tones in the running sequence create a calmer and more neutral mood before the characters meet. When the color becomes warmer after they collide, it emphasizes the emotional shift and makes the moment feel more meaningful. The faster pacing in the montage helps build energy at the start of the film, while the more controlled cuts in the argument scene allow the dialogue to feel natural. The consistent warm tones across different locations help unify the film visually, even though the lighting conditions were different during filming.
I also had to keep in mind that this is a rom-com, so the film needed an overall more playful and light tone. Because of this, I made sure the color grading stayed warm and inviting rather than dark or overly dramatic. At the same time, I used slightly different looks in certain scenes to reflect the mood of each moment, which helped differentiate them while still keeping the film visually consistent.
This is the final scene that was recorded for our project. The reason this was filmed last is because the ball scene, which helps establish the argument and overall dynamic between Audrey and Mathias, was recorded beforehand. This means that the falling moment directly follows the buildup of their argument, acting as a continuation of their interaction and bringing the sequence toward the end of our opening. As the last part of what will be shown, this moment plays a key role in leaving an impression on the audience. It combines elements of tension, humor, and subtle romance, which helps create a strong and engaging ending that captures attention and reflects the overall tone of our film.
Personalities:
In this scene, the moment where Audrey falls onto Mathias was carefully designed to strike a balance between realism, comedy, and subtle romantic tension. The goal was not to make the fall overly dramatic or exaggerated, but also not to lean too heavily into a typical romantic comedy style where the moment feels overly staged or predictable. Instead, we wanted it to feel natural, slightly messy, and true to Audrey’s personality.
At the beginning of the film, Audrey is shown as someone who does not fit the “perfect” or overly polite character stereotype. For example, when she bumps into Mathias earlier in the story, she does not respond with a soft apology or a calm reaction. Instead, she reacts with frustration and intensity, immediately questioning the situation. This establishes her as someone who breaks the “Miss Perfect” expectation, which is important because it influences how this falling moment is presented. If she were to fall in a graceful or overly romantic way, it would contradict the personality we have already established for her.
Because of this, the decision to have her fall somewhat abruptly onto Mathias was intentional. The slightly sudden and uncontrolled nature of the fall adds a layer of comedy, making the moment feel more spontaneous and less rehearsed. It avoids the typical polished “romantic fall” and instead leans into a more realistic, slightly awkward physical interaction. This helps maintain the grounded tone of the characters while still allowing the scene to be light and entertaining.
New Addition:
At the same time, the addition of the close moment where Audrey looks up at Mathias adds an important shift in tone. After the initial physical impact, this pause creates a moment of stillness that contrasts with the abruptness of the fall itself. In this moment, the confusion in Audrey’s expression becomes the focus, which adds depth to the scene. It shows that even though the situation is comedic on the surface, there is still a sense of uncertainty and emotional complexity underneath.
This combination of an abrupt fall followed by a quieter, more intimate reaction creates a balance between comedy and romance. The comedy comes from the unexpected and slightly chaotic nature of the fall, while the romantic undertone is introduced through their physical closeness and eye contact. By blending these two elements, the scene avoids being purely one or the other, and instead creates a more layered moment that reflects both the tone of the story and the personalities of the characters.
Overall, this moment works because it stays consistent with Audrey’s character while also allowing space for both humor and subtle emotional connection. The result is a scene that feels natural, slightly imperfect, and more engaging because of that balance.
This scene develops after the ball is kicked to Audrey and Mathias, acting as a natural trigger that brings them into the same space and sets up their interaction. At first, the moment feels calm and almost cooperative, as both characters pause and seem to reach the same understanding at the same time. This brief sense of agreement is important because it momentarily lowers the tension and suggests that they might handle the situation in a more controlled way. However, that calm quickly breaks. The arrival of the ball does not just bring them together physically, but also reintroduces their competitive and stubborn personalities.
Aggression Development:
As the scene progresses, the argument intensifies from a verbal disagreement into a physical confrontation. At first, it begins with simple dialogue, where both characters insist, “I got it.” This repeated line creates a back-and-forth rhythm that emphasizes their stubbornness. Neither character is willing give the other control.
As the argument continues, the physicality of the scene increases. The characters begin grabbing at the ball, and their interaction becomes more aggressive. This is important because it shows that the conflict is no longer just emotional or verbal, but also physical. The audience can see the frustration in their body language, which makes the scene more intense and engaging.
This shift from words to actions reflects how emotions can escalate in real life. When people argue, it often starts with words, but when those words are not enough to resolve the conflict, physical actions or stronger gestures can take over.
2-Shot Use:
Throughout the entire argument, the use of a two shot plays a major role in how the scene is presented. By keeping both Audrey and Mathias within the same frame, the audience is constantly aware of their proximity to each other. This is especially important during the physical part of the argument, where their bodies interact directly.
The two shot reinforces the idea that they are locked in this conflict together. Neither character can escape the other visually, which mirrors how neither of them is willing to back down. Their shared space in the frame reflects their shared conflict, making the scene feel more intense and grounded.
Additionally, the two shot allows the audience to see both sides of the argument at the same time. This creates a balanced perspective, where neither character is isolated as the “main” aggressor.
Physical Contact:
One of the most important aspects of this scene is the physical interaction between the characters. The argument goes beyond words, as they begin to touch, grab, and push each other while fighting over the ball. This physical contact adds another layer to their relationship, showing that their emotions are strong enough to manifest physically.
A key moment in this scene is when Mattias holds Audrey’s hand and questions her, asking what the situation even matters to her. This moment is significant because it creates a pause in the physical conflict, drawing attention to their connection. Instead of continuing to fight over the ball, the focus shifts to their direct interaction with each other.
Audrey’s response, where she pushes him off and nearly falls into his chest, adds another layer to the scene. This moment is important because it blurs the line between conflict and closeness. Even though they are arguing, their physical proximity shows how close they are in space, which can suggest both tension and connection at the same time.
Character Connection:
The ball represents control, competition, and the underlying tension between the two characters. Their fight over the ball is not just about the object itself, but about dominance, pride, and control within the interaction.
By constantly fighting over something so simple, the scene highlights how small disagreements can escalate into larger conflicts. The ball becomes a symbol of their inability to compromise, showing that neither character is willing to step back or give up control easily. Their constant arguing and physical interaction suggest that there is still a strong connection between them. The fact that they continue engaging with each other, rather than walking away, shows that they are both invested in the interaction.
The ball plays an important narrative role because it acts as the physical object that initiates the conflict between Audrey and Mathias. The idea behind having the ball hit both characters was to create a moment that feels sudden and slightly chaotic, which then naturally leads into another argument between them. Instead of forcing the conflict through dialogue alone, the ball serves as an external force that brings them together in a way that feels more organic and believable.
This type of moment is important because it uses action to drive the story forward. Rather than relying only on spoken words, the physical interaction with the ball creates a shared incident that both characters react to, giving the audience a clear reason for the conflict to begin. It also adds a layer of realism, since unexpected interruptions like this can happen in real life and often lead to tension between people.
Soccer Skills Issue:
One of the biggest challenges we faced during this scene was actually getting the ball to move in the way we wanted. To achieve the effect of the ball hitting both characters properly, we needed someone to kick it accurately in a controlled direction. This required timing, coordination, and a certain level of skill.
Luckily, Nadia’s cousin happened to visit during the filming, along with some of his friends, and we thought they would be a good fit for this part. Since they were boys and familiar with soccer, we assumed they would be able to pass or kick the ball in a way that would work well for filming.
However, this assumption turned out to be incorrect. None of them were particularly skilled at controlling the ball in a precise way. This led to multiple attempts where the ball would go too far to the left or too far to the right, completely missing. These repeated failures made the process longer and more challenging than expected.
Even though the ball itself wasn’t being kicked perfectly, we were able to solve this issue through careful camera positioning. One of the most effective decisions we made was to film from a low angle, where I was actually laying on the ground while recording.
This angle created a very cinematic perspective, almost as if the audience was seeing the action from the point of view of the ball or from the level of the players’ feet. This perspective adds intensity and makes the moment feel more immersive, since it places the viewer closer to the action.
What made this especially useful was that, even when the ball technically missed its target, the framing and timing of the shot made it appear as though it successfully connected with Audrey and Mathias. In one specific instance, the boy’s leg blocked the view of the ball at the exact moment it passed through the frame. Because of this, the audience cannot clearly see that the ball missed, and instead it looks like a clean pass. This is an example of how cinematography can solve performance issues. Even when the physical action isn’t perfect, careful framing and timing can create the illusion of success!
Ending Scene Issue:
Originally, our plan was for the ball to come to a complete stop right in front of the camera so that we could place the title card directly in that moment. This would have created a clean and controlled ending.
However, achieving that exact stopping point proved to be very difficult. The ball either kept rolling too far toward the camera or didn’t stop at the right distance. Because of this, we realized that trying to force a perfect stop wasn’t practical and would likely require many more takes without guaranteed success.
Instead, we decided to embrace the natural movement of the ball and let it roll freely toward the camera. This decision actually ended up improving the scene, because it allowed the ending to feel more organic and less staged. Rather than trying to control every detail, we allowed the action to unfold naturally.
To enhance the final effect of the scene, we used Premiere Pro to slow down the footage as the ball approached the camera. This allowed us to control the pacing in post-production, even though the physical action itself was not perfectly timed.
As the ball rolls closer, we transition into the title card and then fade to black. This use of a fade is a common convention in romantic comedies, where scenes often end with a smooth visual transition that signals a shift in tone or the end of a moment.
The fade to black also works well thematically in this context because it reflects the unpredictability and slight imperfections of the scene itself. Instead of ending with a perfectly controlled shot, the scene ends in a way that mirrors the chaos and spontaneity of the earlier moments. This makes the ending feel more connected to the rest of the film, while also giving it a stylistic, polished finish.
One of the biggest challenges we faced while filming the dialogue at the park was the weather conditions. It was an extremely windy day, which directly impacted the clarity of our audio. Wind noise can easily overpower dialogue, especially in outdoor environments, making it difficult for the audience to focus on what the characters are saying. Unfortunately, the park was the only available location we could use at the time. On other days, it had been raining, which meant we didn’t have the flexibility to choose a better day. Because of this, we had to adapt and work with the conditions we were given.
This situation forced us to rely more heavily on post-production to fix the audio issues. Using Premiere Pro, we applied noise reduction tools such as the “Hand Speech” feature to help clean up the dialogue. While this didn’t completely eliminate the wind, it significantly improved the clarity of the speech. This step was essential because dialogue is the core of this scene, and without clear audio, the tension and meaning of the interaction between Audrey and Mathias would not come across effectively.
2 Shots:
One of the key shot types we used in this scene was the two shot, which shows both Audrey and Mathias within the same frame. This shot is especially important because it allows the audience to see their relationship in real time. By placing both characters in the same space, we can visually communicate their tension and proximity without relying solely on dialogue.
In our case, the two shot was used to emphasize the contrast between the characters. Their body language, positioning, and spacing within the frame help show how they feel about each other. For example, if one character invades the other’s space, it can suggest dominance or confrontation, while distance can suggest discomfort or emotional separation. This makes the two shot a powerful tool for showing their dynamic rather than just telling it.
Additionally, the two shot helps the scene feel more natural and continuous. Instead of constantly cutting between characters, the audience is able to see both reactions at the same time, which keeps the interaction feeling fluid and realistic. This was especially important for maintaining the tension between Audrey and Mathias throughout the conversation.
Close ups:
Close-up shots were primarily used to focus on Audrey’s emotional responses during the conversation. These shots are extremely effective because they isolate her face and allow the audience to focus on subtle expressions, such as changes in her eyes, mouth, or overall facial tension.
Through these close-ups, we are able to highlight Audrey’s discomfort and vulnerability. Even though she may normally present herself as confident or composed, the close-up reveals moments where she is clearly affected by the interaction. This contrast is important because it adds depth to her character. Instead of being one-dimensional, she becomes more realistic, as the audience can see that she has emotional reactions that she tries to control or hide.
Close-ups also help the audience build a stronger connection with the character. By getting closer to her face, the viewer is placed in a more intimate perspective, almost as if they are experiencing the moment alongside her. This makes her reactions more impactful and helps guide the emotional tone of the scene.
Over-the-Shoulder Shots:
Over the shoulder shots were used to emphasize the conversation and highlight the perspective of each character. These shots place the camera behind one character, looking over their shoulder toward the other, which helps create a sense of spatial relationship and continuity in dialogue.
In our scene, these shots were especially effective in establishing Mathias as a more dominant presence. In some cases, we combined over the shoulder framing with a boom-style angle to make him appear taller and more imposing. This visual choice reinforces the power dynamic between the two characters, subtly suggesting that Mathias carries more physical or emotional authority in the interaction.
At the same time, over the shoulder shots help maintain the connection between the characters. By keeping both characters within the same visual space, the audience can clearly follow the back and forth nature of the dialogue. This ensures that the conversation feels natural while still highlighting the tension between them.
Arc Shots:
Arc shots were used to introduce movement into the scene and prevent it from feeling too static. By moving the camera in a curved path around the characters, we were able to reflect the dynamic and shifting nature of the conversation.
This type of movement is especially effective in dialogue scenes because it mirrors how conversations naturally evolve. Instead of staying in one fixed position, the camera subtly changes perspective, which keeps the audience visually engaged. It also helps emphasize key moments in the dialogue by drawing attention to different angles and expressions.
However, the arc shots also needed to be used carefully. If the movement is too noticeable or distracting, it can take attention away from the dialogue itself. For this reason, we made sure the camera movement felt smooth, rather than overly dramatic or artificial.
Goal:
One of our main goals was to avoid making the dialogue feel repetitive or boring. Since this scene represents the first interaction between Audrey and Mathias, it was important to keep the audience engaged while still allowing the tension to build naturally.
By combining different shot types, including two shots, close-ups, over the shoulder shots, and arc shots, we were able to create a visually dynamic scene. Each shot serves a specific purpose, whether it is showing emotional reactions, emphasizing power dynamics, or maintaining spatial awareness between the characters.
This variation also reflects the tone of the conversation itself. The changing camera angles mirror the unpredictability of the dialogue, helping reinforce the idea that this interaction is tense, slightly uncomfortable, and full of underlying conflict.
As we move into the moment where Audrey and Mathias collide, we wanted this part of the sequence to feel as chaotic and unexpected as possible. The goal was for the audience to feel like the crash comes out of nowhere, almost like it’s something that wasn’t planned or anticipated at all. This moment is important because it acts as the first real interaction between the two characters, so the impact of the scene needed to feel strong.
Performance:
However, during filming, we ran into an issue with the actors’ performances. Since they knew the crash was coming, their reactions unintentionally felt a bit too prepared. Instead of feeling natural and spontaneous, it sometimes looked like they were anticipating the moment, which took away from the authenticity of the scene. To fix this, we gave them more specific direction, asking them to try to act as if they didn’t expect the collision at all. We emphasized that they should appear more clueless and unaware leading up to the moment, even though they knew it was going to happen. This helped make their reactions feel more realistic, even if it was a bit difficult to perform.
Setting:
At the same time, we also started thinking about the environment of the scene and how it contributed to the overall feeling. Originally, we were filming in a park, but the park itself wasn’t very visible in the background of some shots. We realized that this limited the sense of setting and made the scene feel a bit more generic than we wanted. To improve this, we made the decision to adjust the camera angle so that the park would be clearly visible in the background. This change helped ground the scene in a specific location and added more character to the environment, making the moment feel more connected to the world of the story.
Camera Movement:
We also experimented with different camera techniques to try and enhance the feeling of chaos during the collision. At first, we tested ideas like push ins, push outs, and more controlled camera movements during the moment of impact. The idea was that adding cinematic motion could make the crash feel more dramatic. However, when we reviewed the footage, these techniques actually made the scene feel a bit awkward and staged rather than chaotic. The added movement drew attention to the camera instead of the action itself, which worked against the effect we were trying to create.
Because of that, we ultimately decided to keep the camera movement more natural and less controlled during the crash. By allowing the moment to feel a bit more raw and unpolished, it better captured the unpredictability we were aiming for. The slight randomness in movement actually helped enhance the feeling that this collision was unexpected and not overly choreographed.
As we transition into the park, the film shifts into a more open and dynamic setting, where Audrey begins her jog. This sequence is especially important because it not only continues to develop Audrey’s character, but also introduces Mathias for the first time. Because of this, we wanted to approach this scene carefully, making sure it felt visually engaging while still staying cinematic and intentional.
Floor Angle Issue:
One of the main visual ideas we explored was how to introduce Audrey through movement. We experimented with a ground-level shot that focuses on her feet as she runs, with her shoes gradually coming into focus as the camera tracks her. The idea behind this shot was to create a strong, cinematic opening that immediately puts the audience into the motion of the scene. It was also meant to feel immersive, almost like the audience is being pulled into her routine as she moves forward.
However, during filming, we ran into a technical issue where the focus wasn’t working properly when trying to capture her shoes. After testing and adjusting, we realized that the curve of the sidewalk was affecting the camera’s ability to maintain focus. The slight change in angle and distance made it difficult for the camera to lock in. To solve this, we repositioned the shot and had her run along a straight path instead. This small adjustment made a big difference, allowing the shot to achieve the clean focus we originally intended and making the moment feel much more polished and intentional.
Audrey Behavior Issue:
We also had to reconsider Audrey’s behavior during the run. Initially, we had her running with a serious and determined expression, fully focused on her surroundings and her jog. While this version made her seem disciplined and focused, we realized it created a problem in terms of the upcoming interaction with Mathias. If she was that aware and in control of her surroundings, it wouldn’t make sense for her to accidentally run into him.
Because of that, we adjusted her behavior to make her slightly more distracted. By having her use her phone while jogging, such as listening to music, we were able to make her feel more realistic and grounded. This decision is important because it reminds the audience that she is still a teenager, and not a perfectly controlled or idealized character. It also helps make the upcoming interaction feel more natural and believable, rather than something that feels staged or forced.
Technological Aspects:
We focused on how to present both Audrey and Mathias in a way that establishes their relationship visually. For Audrey, we used a shot where the camera remains stationary as she enters the frame, and then tracks her movement as she continues running. For Mathias, we used a slightly different approach, where the camera follows him as he runs and then allows him to exit the frame. These choices were intentional, as they help visually communicate that the two characters are approaching from different directions.
At the same time, even though their movements are opposite, the way the shots are constructed creates a sense of connection between them. This contrast highlights both their differences and their similarities, suggesting that while they are separate individuals, they are still on a similar path. It also helps build anticipation for their eventual interaction, subtly setting up their dynamic before they even meet.
As we begin to reach the end of our home sequence, which serves as an introduction to Audrey’s character and the environment she exists in, we can start to see how each moment builds toward a clearer understanding of who she is. Throughout this section of the film, we focused on establishing her personality, her routines, and the way she moves through her daily life.
Walking Down the Stairs:
In the development of the walking sequence, one of the main creative decisions we had to make involved how the camera would interact with Audrey as she moved through the space. Specifically, we debated whether to keep the camera stationary or to follow her movement. This decision was important because it directly impacted how the audience would perceive her presence and how the scene would feel overall.
Before settling on a final approach, we conducted multiple trials to compare both options. We recorded several test clips in which we experimented with keeping the camera still while Audrey walked through the frame, as well as versions where the camera followed her movement. These tests allowed us to carefully evaluate which technique best supported the tone and visual style we were aiming for. I can include these video examples to show the differences between the two approaches and how they influenced our decision making process.
In addition to testing different camera movements, we also took the opportunity to evaluate the setting itself. Before filming, I acted as a stand in for Audrey, and we recorded footage of me walking down the stairs to determine whether we even wanted to include stair movement in the final sequence. This step was important because it allowed us to assess how the environment would look and feel on camera before committing to it with our actress, Nadia. By testing the scene in this way, we were able to make more informed decisions about framing, pacing, and overall composition.
Ultimately, after reviewing all of our test footage, we decided to go with the option where the camera follows Audrey as she walks. This choice felt more aligned with the conventions of a romantic comedy, where following the main character helps establish a sense of connection and familiarity with the audience. By tracking her movement, we are able to guide the viewer’s attention and reinforce the idea that she is the central focus of the story.
At the same time, this decision also helped maintain the visual idea that Audrey remains faceless during this part of the sequence. By carefully controlling the framing and camera angle, we were able to follow her movement without revealing her identity too early. This was important for preserving the structure of the narrative, as her face is meant to be revealed later in the opening.
Kitchen:
As we move into the kitchen segment, the focus of the sequence shifts toward showing Audrey in a more active and purposeful environment. This part of the scene is especially important because it visually reinforces the ideas that have been established throughout the home sequence. In the kitchen, we captured a series of close up shots from multiple angles as Audrey prepares her salad, cutting ingredients such as lettuce, tomato, and cucumber. These shots were intentionally framed to highlight the precision and care she puts into even the smallest actions.
The use of close ups allows the audience to focus on the details of the process, rather than just the outcome. Each cut, slice, and movement contributes to the overall idea that Audrey is attentive and disciplined. This directly reflects her character, as it shows that she is someone who takes responsibility for her health and well being. The act of preparing a salad is not random, but instead a deliberate choice that demonstrates her commitment to maintaining balance and structure in her life. Through these visual choices, the audience can understand that she is someone who values herself and actively makes decisions that support her growth and development.
Another important aspect of this segment is the variety of camera angles that we used. We intentionally avoided keeping the visuals repetitive or static, as that could make the scene feel less engaging for the audience. Instead, we incorporated different perspectives, including shifts from left to right, over the shoulder angles, and a range of close up compositions. These choices helped create visual interest while still maintaining a sense of continuity throughout the scene. By changing the angles, we were able to keep the sequence dynamic and engaging, while still focusing on the same core action.
One of the most significant creative decisions in this segment was the use of a boom shot to introduce Audrey’s face. Throughout the earlier parts of the home sequence, she remains a faceless character, which builds a sense of mystery and allows the audience to focus more on her actions rather than her identity. By the time we reach the kitchen, this choice becomes especially meaningful.
The reveal of her face comes at the moment when she completes the act of preparing her salad. This timing is intentional, as it visually connects her identity with the qualities that have been established throughout the sequence. After completing her salad, the sequence transitions into a quieter moment that continues to reveal Audrey’s personality in a more subtle way. In this moment, she takes out her phone and begins to read articles while she eats. This detail may seem small, but it adds an important layer to her character by showing that she is not solely defined by discipline and structure.
While Audrey is clearly someone who prioritizes her health and maintains a high level of self control, this moment shows that she also has a relaxed and more casual side to her routine. By incorporating her phone use into the scene, we are able to reflect a more realistic portrayal of a teenage girl.
Shoes:
As we move into the final segment before Audrey leaves her house for her jog, the focus shifts to one of the last key moments in establishing her routine, which is her putting on her athletic shoes. This moment may seem simple on the surface, but it plays an important role in showing how she transitions from being inside her home to stepping into an active, goal oriented mindset.
For this scene, we experimented with two different approaches to how Audrey would put on her shoes. In one version, the action was more rough and abrupt, with quicker and less controlled movements. In the other version, the motion was more careful and deliberate, with a smoother and more natural feel. After comparing both options, we ultimately decided to use the version where she puts her shoes on in a more controlled and gentle way.
This choice was important because it reflects an additional layer of her personality. While she is clearly disciplined and committed to her goals, this moment shows that she also carries a sense of delicacy and composure in how she carries herself. The way she handles something as simple as putting on her shoes suggests that she is mindful and intentional in her actions, rather than rushed or careless.
From the previous blog post, critiques, and feedback we received, we decided to revisit and refine Audrey’s voiceover. One of the main concerns we identified was that the original narration contained too much dialogue. While it was detailed, it had the potential to make Audrey come across as slightly overwhelming or even annoying to the audience, which was not the effect we intended. Our goal for her character is for her to feel relatable, likable, and memorable in a way that could make her a fan favorite, rather than someone who feels like she is constantly explaining herself.
Because of this, we made the decision to significantly shorten and simplify her voiceover. The new version still communicates the essential aspects of her character, but it does so in a much more concise and natural way. Rather than having long, detailed explanations, the updated voiceover focuses on key points that define her personality and daily routine. For example, it still highlights how she prioritizes important parts of her life, such as taking naps to stay rested, attending school, and going on runs to maintain her discipline and health. It also briefly acknowledges the pressure she feels from senior year, which helps ground her character in a realistic and relatable experience.
Even though the voiceover is now shorter, it still captures the core idea of who Audrey is. The goal was never to remove depth, but instead to present that depth in a more subtle and effective way. By reducing the amount of dialogue, we allow the visuals to carry more of the storytelling, which creates a better balance between what the audience hears and what they see on screen.
This change also helps reinforce that Audrey is a teenage girl with a relatively normal life, rather than someone whose life feels overly dramatized or exaggerated. Keeping her voiceover simple makes her feel more authentic and approachable. Instead of sounding overly scripted or overly polished, her narration feels more natural, as if she is simply sharing her thoughts rather than delivering a formal explanation.
Overall, this revision was an important step in improving how Audrey is presented to the audience. By shortening the voiceover and focusing on the most meaningful details, we were able to maintain the core elements of her character while also making her more engaging and easier to connect with. This adjustment reflects our broader goal of creating a character who feels real, balanced, and genuinely likable throughout the film.
As we continued developing the opening sequence of our film, our focus shifted toward visually establishing Audrey’s character before the audience ever fully sees her face. We wanted the beginning to feel intentional yet natural, allowing viewers to understand who she is through her actions, routines, and subtle details rather than direct exposition. This led us to experiment with several shots that balance stylization with realism, particularly in moments involving her outfit selection, movement through space, and overall presentation.
New Outfits:
One of the first challenges we encountered involved the outfit itself. Originally, Audrey was meant to wear a specific white athletic shirt. However, during production, our actress Nadia broke the original shirt, which required us to find a replacement that still matched the vision we had in mind. This created a small but important conflict, as the wardrobe plays a role in communicating her identity. The replacement needed to feel clean, simple, and athletic while still aligning with her character. Ultimately, we selected an alternative white shirt that maintained these qualities. Although it was not the original piece, it still supported the visual consistency we were aiming for, and we were able to adapt without disrupting the overall tone.
Before the outfit selection scene, we also explored how to introduce the clothing itself. One idea involved Audrey picking up a hanger and placing it directly in front of her face, reinforcing the concept that she remains a faceless character at the beginning of the film. While this approach clearly communicated the idea, it felt overly staged and somewhat forced. Instead, we chose a more natural option, where she simply reaches for the hanger from the closet, filmed from a subtle angle. This version felt more grounded and aligned with the tone of a romantic comedy. It allowed the moment to feel authentic and familiar, rather than overly constructed, while still maintaining the partial anonymity we wanted.
Outfit Scene:
The outfit selection scene itself became another major point of experimentation. In this moment, Audrey holds two hangers, one with a white shirt and one with a black shirt, visually representing choice and indecision. We wanted to enhance this moment using an arc shot that moves around her, creating a sense of motion while keeping her face partially obscured. However, executing this shot proved more difficult than expected.
We initially considered physically moving the camera in a circular motion around her. In practice, this approach introduced several issues. The movement was difficult to stabilize, and even small shifts in footing caused noticeable shakiness. Additionally, the floor created slight creaking sounds, which further disrupted the smoothness of the shot. Because the goal was to maintain a clean and controlled visual style, these imperfections became a significant concern.
As an alternative, we explored reversing the movement. Instead of the camera circling Audrey, she would rotate slightly while the camera remained still. This allowed us to maintain the arc effect without introducing instability. To test both approaches, my co director and I filmed each other as stand ins. I performed the movement while my partner recorded, and we switched roles to compare results. These test shots were essential in helping us evaluate what looked more natural and visually effective. By reviewing the footage, we were able to clearly see the difference between the two methods and determine which approach better suited our goals.
We also faced a challenge in showing the transition between these two states. While we wanted to make it clear that Audrey changes into her athletic outfit, we did not want to directly show the act of changing. This led us to experiment with more creative visual solutions. One idea involved focusing on clothing movement, specifically shots of her pants being removed and falling to the ground.
One of the main complications was deciding how to portray the removal of her pants in a
way that felt natural. At first, we tested a version where the pants simply slid down her legs. However, this looked awkward and did not match the tone we were going for. We then tried a different approach, where the motion focused on her slipping the pants off her feet. This felt more realistic, but it introduced another decision. After the pants were removed, we had to decide how she should step out of them. We tested stepping to the side and stepping forward.
Along with this, we filmed multiple takes of the pants falling to the ground to see which version looked the most visually appealing. Some attempts appeared too staged or unrealistic, and a few even turned into bloopers because the motion did not look convincing. These trial and error moments were helpful, as they showed us what did not work just as much as what did.
Ultimately, we chose the version where she steps forward after slipping the pants off her feet. This movement felt smoother and more natural, and it translated better on camera. Combined with the final shot of the pants falling in a controlled and believable way, this allowed us to suggest the act of changing without explicitly showing it.
This process required multiple takes. In several attempts, the motion looked unnatural or overly staged, which took away from the realism we were aiming for. Some of these attempts even turned into bloopers, as the way the pants fell did not match the tone of the scene. However, through repeated testing, we were able to refine the action and find a version that felt natural and visually pleasing. The final shot effectively suggests the change without showing it directly, allowing the audience to understand what is happening while maintaining a sense of subtlety.
At the beginning of our film, we wanted to establish a strong and clear introduction to Audrey’s character. One of the first sequences centers around her daily routine, including a moment where she prepares a salad. This choice was intentional. It reflects her commitment to discipline, balance, and self control, not just academically but in her lifestyle as well. From the start, we aimed to show that Audrey is someone who is put together, health conscious, and purposeful in her decisions. Because of this, it became important to build an introduction that would reinforce these traits in subtle but effective ways.
Thinking:
One of the most deceptively simple yet meaningful moments appears through a close look at Audrey’s phone. This short scene, where an alarm wakes her at around 4:00 PM after a brief nap, works as a quiet but intentional extension of that introduction and continues to develop who she is as a character.
At first, the moment seems ordinary. However, the detail of setting an alarm for a nap reveals something much deeper. Audrey does not fall asleep randomly or risk losing control of her schedule. She allows herself to recharge, but only in a way that fits within the structure she has created for herself. This small action reflects a larger pattern in her personality. She is balanced, intentional, and consistently working toward her goals. The timing of the alarm adds another layer to this idea. Waking up at 4:00 PM suggests that she is making full use of her time after school. Rather than letting the afternoon slip away, she resets briefly and continues being productive. This reinforces her dedication and helps establish why her pursuit of academic recognition matters so much to her. This scene also supports her voiceover introduction. As Audrey begins to describe herself, the audience has already seen proof of what she is saying.
Technological Aspects:
From a technical perspective, filming this shot came with its own challenges. The original plan was to physically zoom in on the phone using the camera in order to highlight the alarm. However, when this was attempted, the result was noticeably shaky and unstable. Without a tripod or steady support, the movement did not look clean and became distracting rather than effective.
Because of this, the decision was made to create the zoom during editing instead. Using Premiere Pro allowed for a smoother and more controlled result. This approach made it possible to keep the focus on the phone without introducing visual distractions. Although the original footage clearly shows the shakiness of the physical zoom, and could be useful for comparison, the edited version better supports the tone of the scene.
After completing our read-through, we moved into the next stage of production planning: testing blocking and camera angles in the park. This step was important because it helped us figure out how the scene would look visually, how the characters would move, and how the lighting would affect our shots. It also allowed us to test different options for key moments in the story.
The biggest focus was Audrey’s fall. This moment is central to the rom-com feel—it’s the instant they accidentally touch, creating chemistry and tension. We explored multiple ways for her to fall:
Back-first fall onto his chest: This version was fun because it allows for a safe, slightly dramatic landing while keeping her upper body close to Matthias. It also frames the moment nicely for the camera.
Face-first (diagonal) fall onto his chest: This option felt a bit more comedic and intimate, as her face lands near his chest and her body twists slightly, adding a sense of chaos to the bump.
We had both Audrey and Matthias try these versions to see which felt the most natural. Safety was also a consideration, so we adjusted body positioning and angles to prevent injury while still making the fall look spontaneous and romantic. After testing, we realized that back-first fall felt safer and more controlled, while still capturing the romcom appeal..
Another important factor was making sure the actors were comfortable. Since the two actors are just friends and do not share any romantic interest, we wanted to make sure the fall felt safe and comfortable for both of them.
The next layer of complexity was the soccer ball. Originally, we wanted the ball to be part of the opening action, but we had to figure out how it would cause Audrey to fall naturally. If the ball was directly underfoot, it would be tricky for her to trip realistically while maintaining the rom-com style.
To solve this, we tested a few options:
Audrey trips over the ball directly. This looked awkward and felt forced because the ball is small and hard to use as a realistic tripping hazard.
Audrey steps on Matthias’ foot during their scuffle for the ball. This option worked perfectly: her weight on his foot destabilizes her, causing a natural fall. Meanwhile, the ball is pushed aside and rolls off-screen, keeping the interaction dynamic and believable.
After trying both, stepping on his foot felt far more natural. Her fall happens because of Matthias, the ball moves out of the way, and the moment still captures the physical comedy and flirtation of a romcom.
With Audrey tripping on the ball this way, it would also be easier for her to fall back first.
A big part of our planning was deciding how the soccer ball would function as both a prop and a visual element for the title card. Originally, our idea was to have the ball spin through the air while Audrey and Matthias remained blurred in the background. We imagined the ball occupying the top right corner of the frame, with the characters in the bottom left, creating a dynamic composition that would draw the viewer’s eye to both the ball and the characters’ interaction. While visually cool, we quickly realized that filming a spinning ball mid-air would be extremely difficult without professional equipment.
However, once we started testing this idea in the park, we ran into several challenges. First, it was difficult to time the ball’s spin and trajectory so that it stayed visible in the frame while also maintaining focus on the actors. Second, filming a spinning ball in mid-air proved tricky because we do not have cinematography equipment like rigs or stabilizers, so getting a consistent shot that looked smooth and intentional was nearly impossible. Finally, the actors’ movements during the bump and fall needed to sync precisely with the ball’s path, and we realized that coordinating all of this would make the scene more complicated than necessary.
To find a workable alternative, we tested rolling the ball on the ground instead:
Ground roll version: The ball rolls along the bottom of the frame while Audrey and Matthias remain blurred in the top opposite corner. This mirrored the visual idea of the ball-in-air title card but was much easier to film and control.
Top-air version: The original idea, where the ball spins in the air in the top right corner with the actors in the bottom left. While cinematic, it was difficult to time, focus, and capture safely.
We were actually able to get one shot of the ball in mid-air where the background was slightly blurred, so the focus was entirely on the ball. It looked super cinematic and exactly like the visual we wanted for the title card. However, this was just a single photo, and capturing that consistently in video would be much harder. Timing, angle, and height all had to be perfect, and trying to recreate it with moving actors would be tricky and time-consuming
After testing both, the ground roll version was chosen. It preserves the original concept of the title card, it maintains the same aesthetic appeal, keeps the title card concept intact, and is much more manageable for our skill level and equipment.
After putting in a lot of time and effort over the past few months, I’m proud to finally share my CCR. I really took the time to reflect o...
