GUILT TRIP
2024
12 Minutes
HORROR
In a haunting journey of self-discovery, a grief-stricken teenager must confront her deepest guilt as a sinister shape-shifting monster stalks the halls of her school, relentlessly pursuing those with secrets to hide.
PRE-PRODUCTION
Pre-production, a crucial phase in filmmaking, is a process of envisioning and setting the stage for the entire project. Together with Harry, we immersed ourselves in the script, compiling a comprehensive list of potential locations. This process not only sparked contemplation on blocking, lighting, and camera movement but also formed a vivid visual aesthetic in our minds. Our collaborative efforts were fundamental, envisioning the ideal settings that would breathe life into our film and spark the imagination of our audience.
Afterwards, I met with the director and production designer to discuss our approach, emphasising the importance of symbolism as a means of communication. These discussions ensured we aligned on our visual and thematic intentions. As Bakony's paper on "Symbolism in the Feature Film" highlights, symbolism bridges the gap between abstract concepts and visual storytelling, enhancing the audience's comprehension and emotional connection (Bakony, 1974). This academic grounding helped us integrate symbolic elements seamlessly into our narrative.
To refine our visual style and narrative techniques, I watched films like I'm Thinking of Ending Things and Neon Demon for their aesthetics and cinematography, and The Terminator for their thematic similarities. Analysing these films provided a wealth of inspiration and technical insight. This approach aligns with Wang's detailed analysis of how films like Dune use light and shadow to enhance narrative depth and emotional engagement (Wang, 2024). These insights were invaluable in shaping our film's visual narrative and ensuring each scene conveyed the intended mood and themes.
The Neon Demon (2016)
Guilt Trip (2024)
After gathering inspiration, I received mood boards from Harry, the director and designed lighting plans to present to the crew. These visual aids were crucial for conveying my ideas and ensuring a unified understanding of the desired outcome. We meticulously crafted these boards to reflect the film's aesthetic, using them as a touchstone throughout production. Hodge's paper on "Collaboration in Student Filmmaking" underscores the unique challenges that student filmmakers face; "balancing individual grading with group efforts" (Hodge, 2009). This balance was particularly evident as we navigated the pre-production phase, ensuring each team member's vision and contributions were respected and integrated.
PRODUCTION
The production phase was a journey marked by challenges, opportunities, and the application of deep expertise. Each day on set brought hurdles, but these challenges also opened doors to creative solutions and unexpected innovations.
One significant challenge involved lighting the basement scene and maintaining a contrast ratio that fit the tone and mood while ensuring the space was adequately lit. This required extensive experimentation with different setups. We used a combination of low-key lighting and strategically placed light sources to achieve the desired effect. Despite the limitations of the location, our efforts resulted in a visually compelling scene that enhanced the film's atmosphere (Poland, 2015). The basement's confined space necessitated innovative solutions, such as using bounce lighting and practical sources to create depth and dimension.
Amidst these challenges, numerous opportunities for creativity emerged. For example, the climax scene was initially supposed to occur in the main hall. However, due to the height of the windows, we had to move the scene to the main foyer area. Although this change seemed like a setback, it allowed us to create a full-circle story, almost ending where we started. These unexpected events added a unique and meaningful layer to the narrative, demonstrating the importance of flexibility and creative problem-solving. This adaptability became a hallmark of our production process, encouraging the team to think independently and contribute innovative ideas.
TWILIGHT (2008)
The production phase also showcased our team’s expertise. Drawing on my background in cinematography, I implemented advanced techniques to enhance the film’s visual storytelling. One highlight was a complex tracking shot that required precise coordination between the camera crew and actors. Using a Steadicam, we captured fluid motion that significantly boosted the scene's emotional impact. This shot was particularly challenging due to the tight space and need for seamless movement, but it ultimately became one of the film’s standout moments.
POST-PRODUCTION
After filming wrapped, the post-production phase began. We meticulously reviewed shots and collaborated using DaVinci Resolve to craft the overall look and feel of the film.
Guilt Trip Colour Grading - DaVinci Resolve
At the outset of post-production, each shot underwent detailed analysis to ensure alignment with our artistic and technical standards. We scrutinised composition, lighting, and performances, noting any necessary adjustments. This rigid approach reflects our unwavering commitment to excellence, striving to elevate every frame to its fullest potential. We held numerous review sessions where the team provided feedback, ensuring our creative vision was consistently realised throughout the editing process.
Guilt Trip (2024) Colour & Peformance Test
PREY FOR THE DEVIL (2022)
We created the film's visual identity using DaVinci Resolve through colour grading. We manipulated the colour and tone of each shot to evoke the desired mood and atmosphere. Experimenting with different colour palettes and grading techniques, we ensured consistency throughout the film while allowing variation to suit different scenes and emotions. This aligns with recent research by Brown, who emphasised the fundamental role of colour in shaping a film’s visual identity and influencing spectatorship (Brown, 2016). The colour grading process was intensive, involving numerous iterations to achieve the perfect balance to enhance our storytelling.
Sound design was another crucial element of post-production. We worked closely with our sound designer to create a soundscape that complemented the visual narrative. From ambient sounds to dialogue clarity, every audio element was meticulously crafted to enhance the viewing experience. Foley work and sound effects added depth to the scenes, making them more immersive.
Guilt Trip (2024)
Jordan Hurrell
Cinematographer
I was lucky to be the cinematographer on each project throughout my university career. This consistent role allowed me to polish my technical skills, refine my artistic vision, and gain a deep understanding of the intricacies of visual storytelling. In my final year, I delved deeper into the art of symbolism and how to craft a narrative through the lens effectively.
This period was transformative, as I learned to use lighting, composition, and camera movement to capture beautiful images, enhance the storytelling and evoke specific emotions. My journey has been marked by a dedication to continuous improvement and a commitment to pushing the boundaries of what can be achieved visually. I am excited to share my latest project, Guilt Trip, and invite you to explore my work and the creative process behind it.
As we neared the completion of post-production, we took time to reflect on the journey we had undertaken—from preproduction planning to the final touches in post. It was a rewarding process that allowed us to see our vision come to fruition and to appreciate the collective effort that went into making the film a reality.