Run Little Red - Production Breakdown

Run Little Red was the first short film I worked on during my second year at the University of Hertfordshire. The project challenged our team to create a narrative film that built tension through visual storytelling, performance, and sound, while applying the filmmaking techniques and production knowledge we had developed throughout the course.

For this production, I took on two key roles: boom operator/sound recordist during filming and editor during post-production. Working across both departments gave me a valuable understanding of how decisions made on set directly influence the editing process. Recording clean dialogue and ambient sound helped me appreciate the importance of capturing high-quality audio, while editing the film allowed me to shape the story through pacing, sound design, and the overall rhythm of each scene.

In this blog, I reflect on my contributions throughout the production, from recording audio on location to assembling the final edit in Avid Media Composer. I also discuss the challenges I encountered, the creative decisions I made, and the lessons I learned along the way. As someone who hopes to pursue a career in film editing, this project was another important step in developing both my technical abilities and my understanding of how effective post-production can transform the raw footage captured during production into a compelling finished film.

The Production Stage

During this production, I took on the role of sound recordist and boom operator, making me responsible for managing the audio equipment and ensuring that dialogue and ambient sound were recorded clearly throughout the shoot. This role gave me a greater appreciation of how important high-quality audio is to the post-production process, particularly from an editor's perspective, as well-recorded sound makes the editing process significantly more efficient and helps create a more immersive final film.

On the first day of production, we began by filming the exterior scenes with two of our actors before bringing the rest of the cast together. These sequences followed Little Red walking through the forest and featured a mixture of wide shots and dialogue scenes. Recording sound outdoors presented several challenges, particularly because the uneven ground made it difficult to position the boom microphone consistently while remaining out of frame. During wider shots, I kept the boom microphone as close to the actors as possible without it appearing on camera. However, when recording conversations between the two characters, I found it difficult to maintain balanced audio levels, as one actor was often picked up more clearly than the other.

To solve this issue, we used a radio microphone, a piece of equipment that we were introduced to in our second year of study. I carefully attached the microphone to one of the actors, ensuring that it remained comfortable to wear while also being completely hidden from the camera. I then used the boom microphone to capture the other actor's dialogue. This combination produced much clearer recordings and demonstrated how different microphones can be used together to improve overall sound quality. Looking back, I believe I could have spent more time adjusting and monitoring the recording levels to create a more balanced mix between the two performers. Before finishing the day, I also recorded several minutes of room tone from the location, providing useful ambient sound that could be used during editing if required.

Our second day of production focused on the interior scenes within the house. Filming in a much smaller space presented different challenges, particularly in terms of fitting the cast, crew, and equipment into each room. To avoid overcrowding the set, we kept the crew to a minimum, with only the actors, camera operator, and myself present during filming. Fortunately, because most of the scenes consisted of close-ups and medium shots, it was much easier to position the boom microphone close to the actors without it entering the frame. As the recording conditions were more controlled indoors, I decided that using a radio microphone was unnecessary and relied solely on the boom microphone to capture the dialogue. Overall, the audio recording process went smoothly, although I feel the day could have been more efficient if we had spent additional time at the start of filming discussing the order of shots before beginning production.

We had originally planned a third day of filming to capture additional cutaway shots and extra coverage that would help improve the flow of the final edit. Unfortunately, we lost access to our filming location and were unable to return to complete these scenes. As the equipment also had to be returned shortly afterwards, rearranging another shoot was not possible. While the project was still completed successfully, I believe that having additional coverage would have given the editor greater creative flexibility and helped strengthen the pacing and continuity of the finished film. This experience highlighted the importance of contingency planning during production and reinforced my understanding that capturing as much useful footage as possible is invaluable during post-production. As someone who hopes to pursue a career in editing, it also demonstrated how decisions made during production can directly influence the creative possibilities available in the edit suite.

The Post-Production Stage

As the editor for this project, I began post-production by following a structured workflow that I have developed through previous productions. I first organised all of the footage into clearly labelled bins within Avid Media Composer before importing and synchronising the separately recorded audio. Once the media had been synced, I sorted the clips into individual scene bins, creating a well-organised project that made the editing process more efficient. Maintaining an organised project is something I consider an essential skill, particularly as I hope to pursue a career in film editing.

One of the biggest challenges I encountered was the limited amount of coverage we had available. As we had not captured many alternative camera angles during production, I had fewer creative options when constructing scenes. This required me to think carefully about every edit and make the most of the footage we had. It reinforced an important lesson for me as an editor: while additional coverage is always beneficial, a good editor must be able to produce the strongest possible film using the material available.

With the media prepared, I assembled the first rough cut, focusing on the overall structure, pacing, and narrative flow. My aim was to produce an edit that communicated the story clearly so that I could receive feedback from both my team and our lecturers as early as possible. Throughout the project, we held weekly review sessions during our lectures, where we presented our progress and received constructive criticism on how the film could be improved.

One of the main issues identified during these reviews was that our first cut fell short of the minimum running time required for the project. After discussing this with the rest of the team, we decided to create an introductory sequence that would not only increase the duration of the film but also provide stronger narrative context for the audience. While the introduction was being developed, I took the opportunity to experiment with motion graphics for the credits. Inspired by the opening titles of Stranger Things, I explored animated typography to create a more visually engaging credit sequence. Although this was a technique I had not used before, I enjoyed challenging myself to learn new skills and incorporating them into my editing workflow.

Once the structural changes had been completed, I moved on to the second draft and refined the pacing with a series of smaller adjustments. I then focused on the soundtrack, spending a considerable amount of time searching for royalty-free music that complemented the emotional tone of each scene. Selecting suitable music proved to be one of the most challenging aspects of the edit, but it also reinforced how significantly sound influences an audience's emotional response. After finalising the music, I sourced additional sound effects to enhance the atmosphere and create a more immersive viewing experience.

I presented the second draft to my team for another round of feedback. They were pleased with the progress of the edit and suggested only a few minor refinements, which I implemented immediately. Once everyone was satisfied, I added the completed introduction sequence and finalised the end credits, bringing the edit to completion.

Before moving into the final stage of post-production, I created a complete backup of the project on a separate hard drive to ensure the work was securely stored. I then handed the project over to the colourist for colour grading. After the graded project was returned a week later, I completed the final export of the film.

This project further developed both my technical and creative editing skills. It strengthened my understanding of project organisation, narrative pacing, sound design, and the importance of adapting to production limitations. More importantly, it reinforced my passion for post-production and confirmed that film editing is the area of filmmaking I want to specialise in as I continue to develop my career.

Conclusion

Looking back on Run Little Red, I am proud of what our team achieved and of the contribution I was able to make throughout both production and post-production. Taking on the roles of sound recordist and editor gave me valuable experience in two areas of filmmaking that are closely connected, helping me understand how decisions made during production can have a direct impact on the editing process.

This project strengthened my technical skills in Avid Media Composer, improved my confidence in organising and managing post-production workflows, and reinforced the importance of sound design in shaping a film's emotional impact. It also taught me the value of collaboration, constructive feedback, and adapting creatively when working with limited footage or unexpected production challenges.

Most importantly, Run Little Red confirmed that editing is the aspect of filmmaking I enjoy the most. I found the process of building a story through pacing, rhythm, sound, and visual continuity incredibly rewarding, and I enjoyed experimenting with new techniques, such as motion graphics, to further develop my skills. Every project presents new challenges and opportunities to learn, and this film has been another significant step towards my goal of becoming a professional film editor. I look forward to continuing to refine my craft and applying the lessons I have learned to future productions.