— PRODUCER
Zina Win-Lemmers
— DIRECTOR
Roxie Oliveira
— DATE
July 2021
A promising young artist is diagnosed with a lifelong illness that could change the course of her life, leading her dreams of greatness to plummet as she struggles to come to terms with her new normal.
In I Close My Eyes To See, I took on multiple roles. I joined this production whilst working as a Project & Production Coordinator for the Faculty of Arts and Social Sciences at the University of Surrey.
This shoot allowed me to put the skills I’d built over the previous year into practice as I was required to be scrupulous with the file management and areas of documentation of the project.
(Click the image below to be redirected to the film’s IMDb page)
Role Overview
Working on I Close My Eyes To See, I acted in several capacities throughout production and post-production. On set I acted as a Production Assistant and a Digital Imaging Technician. Following this, I acted as the Assembly Editor and transitioned over to the Lead Editor by helping as an Assistant Editor.
I Close My Eyes To See was shot in three separate locations, one of which was outdoors. This added a set of challenges to the DIT role as I needed to be mobile and be prepared to organise mobile backup solutions. I succeeded in these tasks and the data for this film was well organised and backed-up.
Responsibilities
I joined the team of I Close My Eyes To See as a Digital Imaging Technician, but due to the role being most needed during camera ‘down-time’, I also worked as a Production Assistant. The film was shot on a tight schedule over five separate days so there was a huge amount of work to do on set.
Once shooting broke for lunch or end of day, I would transfer the files and prepare two backups, each would go to a different location and one would get backed up to a server in a third location, ensuring maximum safety for the files. In order to benefit the director and editor, I also prepared a spreadsheet documenting notes on the scenes, shots and takes. In addition to this, I renamed the out-of-camera files to be easily readable by Scene, Shot, Take – which made the process of pulling the correct files much easier. It was through these processes and the recommendation of a colleague that I was subsequently asked to join the post-production team as the assembly editor.
The assembly edit involved not only getting the takes into the timeline in order, but organising proxy files due to the large file sizes of the out-of-camera files. On top of this, I used the spreadsheet I had made during production so that I knew which takes to compare. Once the assembly edit was ready, I eased the transition over to the Lead Editor by acting as the Assistant Editor.
