Snide was produced over three days as part of my Lighting for Camera module. I chose to create a complete narrative short instead of submitting isolated setups. The goal was to see how quickly I could take an idea from planning to delivery, while still building something visually coherent.
I covered all roles on the project except sound, which was recorded by a collaborator. The process built on months of regular short-form work and gave me a chance to push my speed and decision-making in a full production context. I thoroughly enjoyed working alongise the two actors and a co-director who focussed on the actor's performance as I managed all practical aspects of production.
Snide
Short Film
DiREctor / dop / gaffer / producer
May 2023
As Director
- Kept blocking simple and shot plans minimal to stay on pace
- Focused on maintaining tone across non-linear scenes
- Made fast calls on location to keep momentum and avoid reshoots
As DoP
- Shot handheld to stay mobile and adjust quickly
- Used available light and practicals to minimise rig time
- Composed for rhythm and clarity with minimal coverage
As Gaffer
- Built four distinct lighting setups within one location.
- Used LED panels, negative fill and practicals to control tone
- Worked quickly to match the pace of the shoot without overcomplicating setups
As Editor and Colourist
- Cut scenes for rhythm and internal pacing
- Graded in DaVinci Resolve, using tone and palette shifts to separate timelines
- Delivered the final version within 72 hours, start to finish
As Director
- Kept blocking simple and shot plans minimal to stay on pace
- Focused on maintaining tone across non-linear scenes
- Made fast calls on location to keep momentum and avoid reshoots
As DoP
- Shot handheld to stay mobile and adjust quickly
- Used available light and practicals to minimise rig time
- Composed for rhythm and clarity with minimal coverage
As Gaffer
- Built four distinct lighting setups within one location.
- Used LED panels, negative fill and practicals to control tone
- Worked quickly to match the pace of the shoot without overcomplicating setups
As Editor and Colourist
- Cut scenes for rhythm and internal pacing
- Graded in DaVinci Resolve, using tone and palette shifts to separate timelines
- Delivered the final version within 72 hours, start to finish
Moodboard / Storyboards
Created with Shotdeck.com
Scene 1 - INT - Cafe
Scene 2 - INT - Bathroom
My favourite way to devise a story board begins with the script. I note shot abbreviations directly onto the script, drawing lines between words where I believe the shot will change. I then take to ShotDeck.com to find stills from existing films that match my vision. I organise these shots into chronological moments and then into full scenes. Sometimes my ShotDeck choices are informed by on-screen performance, locations + physical features, and/or colour palette.
This way, during pre-production, I have a framework to work from and a way to communicate with the crew about the basics of how scenes will appear. I then develop the shots to fit the nuances of the script I'm working from.
I hope you can see the narrative of Snide from just scanning my ShotDecks.
Scene 3 - INT - stairwell
Scene 4 - EXT - street
