Run Film

Makeup Artistry

During production, I served as the head makeup artist, drawing on my professional training in the field. For Mira, I designed a fresh, minimal look to highlight her innocence and gentle nature. Her makeup evolved throughout the film from a natural “no-makeup” look, to a soft glam style for her night out, and finally to a subtly smudged version of that look in the closing scene. The biggest challenge was managing this alongside my other on-set responsibilities, as I needed to be on standby throughout filming to ensure continuity and handle quick look changes.

Character Design

During the research and conceptualization phase, I collaborated with Anneme Vos, the Art Director at Plan B Productions, to fully develop both characters and ensure their designs complemented each other on the split screen. I was responsible for Mira’s overall look, her clothing, hair, and makeup, using her character write-up as a guide to accurately reflect her personality and preferences. This process involved extensive visual research, inspiration gathering, and detailed moodboarding to bring her character to life authentically.

Set Design

After completing styling, visual treatment, and character development, I sourced décor for the set with no budget by coordinating with crews from Armadillo Productions and Plan B Studios. I selected suitable pieces, managed their storage and transport, and balanced this with other responsibilities, including preparing the actress, ensuring continuity, and setting up each location. The main challenges were sourcing everything on time within a tight budget and keeping the process organized.

Consistency

Maintaining consistency on set was one of the most crucial aspects of my role. During reshoots or when filming scenes out of sequence, both the actress and the set needed to match their previous appearances precisely to ensure seamless continuity in the final film. To achieve this, I documented detailed reference photos of the set design and character styling before and after each scene, allowing me to recreate every detail accurately.

BRIEF

PROBLEM

SOLUTION

TARGET AUDIENCE

BRIEF

This brief requires the production of a 10–20 minute split-screen short film, where 24 students are divided into two film crews, each developing distinct but interconnected narratives that play simultaneously. Deliverables include pre-production documentation, a fully produced split-screen film, marketing materials, premiere event coordination, and individual reflections, with assessment based on research, ideation, production execution, and the final film's cohesion and professionalism.

PROBLEM

The film industry seeks innovative storytelling that challenges traditional narratives through synchronized split-screen cinema. This project explores dual perspectives—two distinct yet interrelated narratives—requiring advanced cinematography, sound design, and editing. It emphasises collaborative filmmaking, where two creative teams must coordinate seamlessly to balance individual artistic vision with cohesive execution, creating moments of interaction, contrast, and exciting resonance across both screens.

SOLUTION

Through synchronized editing and mirrored compositions, the split-screen format becomes an active storytelling device, contrasting perspective, pace, and emotion while maintaining narrative tension and cohesion. The dual narrative structure allows viewers to experience the story’s push and pull, Dan’s relentless pursuit and Mira’s desperate evasion, in real time. As their paths converge, the format emphasizes psychological interplay, blurring the boundary between predator and victim. Run challenges audiences to question whether fate is something we can escape or an inevitable force we willingly confront.

TARGET AUDIENCE

Run is aimed at young adult and adult audiences (ages 18–35) who enjoy psychological thrillers and experimental storytelling. It appeals to viewers interested in character-driven narratives, visual symbolism, and unconventional formats such as split-screen cinema that challenge perception and evoke emotional tension.

COLOR GRADING

We decided to elevate the split-screen concept by introducing a high-contrast color grade for the final edit. The cooler tones represent Dan, reflecting his cold, calculated nature, while the warmer tones embody Mira, capturing her bright, social, and friendly personality. Since the story unfolds through two perspectives shown side by side, the contrasting color palettes enhance the emotional tension and create a visually dynamic, immersive experience that draws viewers deeper into each character’s world.

CHARACTER PLANNING

After extensive research, I envisioned a sleek, trend-forward look for Mira, reflecting her role as a marketer who stays current with the latest styles. To maintain consistency with her warm-toned environment, I carried those hues through both her surroundings and wardrobe choices. My goal was to evoke a sense of innocence and genuine warmth in her character, allowing the audience to immediately connect with her kind and optimistic nature.

SCENE PLANNING

The scene setup required extensive research and moodboarding to achieve the right atmosphere. With no budget for décor, I collaborated with Plan B Studios and Armadillo Productions to source available props. I handled all setup, transport, and teardown while maintaining visual consistency through reference shots. I also tested fake blood recipes for fabric reactions and reusability, sketched décor layouts over location photos, and kept the storyboard on hand to ensure continuity and prepare the actress for each scene.