THE CAR FROM MEMORY LANE

I initially came on as a camera operator but stepped up as Director of Photography. With just two days to prepare, I had to deliver 4–5 weeks worth of pre-production work — including, but not limited to, the shot list, floor plans, visual style, and colour palette.

Due to the short time frame, I didn’t have the opportunity to scout the location. This made it harder to align visually with the director’s vision, but I adapted on the fly and pulled through under pressure.

Working with a small crew, I took on the roles of DoP, camera operator, and grip. I wish there had been more time for prep,  but being flexible and focused on delivering the best possible result.