48

Jack Robinson on October 17, 2024

Personal Credits:

ALL ROLES

A challenge set by the university to make a film in 48 hours, with the only guidance given being the word ‘SOMERSAULT’.

Reflection

Due to the limited production time, I relied on existing footage to create the film. As editing is one of my strengths, I focused on crafting an interpretation of space through shot selection and sound. The sound design, being my first time in full control, was particularly challenging but rewarding. I spent the majority of the production time building a complex, layered soundscape that added depth to the visual narrative.

The film brief inspired me to explore the theme of British summertime in the forest, drawing on the word “summer” from “somersault.” I also incorporated the idea of movement, reflected through nocturnal creatures’ sounds throughout the film. Working with archival footage for the first time pushed me to reinterpret its original purpose – a thriller set in the forest – allowing me to embrace a more experimental approach as a filmmaker.

In hindsight, a more traditional narrative structure could have enhanced the film’s cohesion, such as following the life cycle of a tree or a leaf’s journey through the forest. This would have been achievable with more time and the opportunity to gather footage specifically for the film, rather than retrofitting existing material into the project. Ultimately, the experience has made me a more open-minded and flexible filmmaker.

Any questions about the film?

jwrobbos@gmail.com

Silvertrail

Jack Robinson on October 17, 2024

Personal Credits:

1ST AD, EDITOR, COLORIST

A short made to a university brief requiring developing a narrative centered around two characters set in a single location.

Reflection

In pre-production, I took on a range of responsibilities beyond my role, from managing time and coordinating meetings to handling the casting process and overseeing equipment. While I worked to maintain communication using tools like WhatsApp and Milanote, the workload felt unbalanced. During production, I served as 1st Assistant Director, ensuring smooth collaboration between actors and crew, managing the shot list, and helping with technical setup.

In post-production, I handled both editing and color grading, which was challenging due to poor lighting and corrupted footage. Despite these setbacks, I delivered a rough cut using the best available takes. The film successfully integrated British cringe humor and absurdism, immersing the audience in its dreary UK setting. However, redundant sound design, flat dialogue, and a lack of shot variation left the characters feeling two-dimensional and the film thematically underdeveloped.

From this experience, I learned the importance of proper data management and refined my post-shoot workflow. Moving forward, I plan to work more closely with directors during the writing process to avoid stale dialogue and ensure a more dynamic narrative, while emphasizing the need for a proactive producer to support a smoother production process.

The director discussing with me and the cinematographer about camera movement.

A still from the location of Silvertrail, Hollingworth Lake.

Any questions about the film?

jwrobbos@gmail.com

KIJO

Jack Robinson on October 15, 2024

Personal Credits:

DIRECTOR, WRITER, EDITOR, COLORIST

A two minute short film made for a university ‘myths and legends’ brief, exploring demonesses in Japanese folklore.

Reflection

During production, my technical skills grew significantly, particularly through hands-on experience with various lighting technologies such as Bowens fluorescent lights and different stands. I learned how to leverage these tools effectively to achieve the desired visual effects set by the cinematographer.

As I transitioned into my role as editor, I ventured into the unique challenges of horror film editing. Immersing myself in the genre, I discovered the strategic use of jump cuts to build suspense and deliver cost-effective scares—an approach informed by the tight production schedule. My editorial skills were further refined through a new practice I adopted on set: annotating the best-quality takes in real time. This streamlined media organization, allowing me to focus more on the creative aspects of editing, particularly color grading.

For the first time, I shifted my workflow to DaVinci Resolve for color grading. Its superior control and intuitive layout made it a better fit for my needs compared to Premiere Pro, and I plan to continue using Resolve for future projects.

Me, the producer, cinematographer and actress discussing direction.

Any questions about the film?

jwrobbos@gmail.com

The Trinket Man

Jack Robinson on October 15, 2024

Personal Credits:

CO-DIRECTOR, EDITOR, COLORIST

A documentary project about David Pinnock, a father who collects many different ‘trinkets’. This film gives an insight into his habits, and why he still collects to this day.

Reflection

The Trinket Man is a film that successfully tells David’s story in a compelling and memorable way. The film’s pacing allows the audience to engage deeply with the narrative, providing space to reflect between key moments. During editing, one of my biggest challenges was selecting the most impactful and emotionally resonant sections from an hour of interview footage. As this was my first experience editing a documentary, distilling the content to preserve its core themes while maintaining brevity and freshness was a significant undertaking. Ultimately, I believe I achieved this balance.

During a preview screening, I received feedback that I found valuable. To create a more thematically cohesive film, I would have opted to shoot more with a tripod. While the handheld approach lends a certain authenticity, it can also convey an unintended amateurish quality. I experimented with warp stabilisation in post-production, but found the results disorienting at times, so I chose not to alter the movement further. If given more time, I would have reshot certain sections, like the tracking shots of David entering charity shops, using a tripod instead of a shoulder rig to achieve a smoother and more polished look.

Additionally, the indoor scenes in the charity shops were shot at too warm a temperature, resulting in David’s skin tones appearing overly pink/red. At the time, my limited experience with colour correction hindered my ability to fully correct this in-camera issue. With more advanced knowledge, I would have addressed this more effectively. Below are photos illustrating the progression of the colour correction over time:

Any questions about the film?

jwrobbos@gmail.com