Kearny, R. (2013). ‘Captain Phillips’ Will Pummel You Into Submission.Available: Last accessed 8th May 2014.

EISENBERG, E. (2012). Interview: Paul Greengrass Explains The Shaky Cam. Available: Last accessed 8th May 2014.

Mamet, D (1992). On Directing Film. USA: Penguin Books. p2, p5, p14,.

Rabiger, M (1989). Directing: Film Techniques and Aesthetics. 4th ed. USA: Focal Press. Chapter 18.

Wikipedia. (2014). Color Grading. Available: Last accessed 8th May 2014.

Frater, J. (2008). Top 15 Modern Black and White Movies. Available: Last accessed 8th May 2014.

Pellegrino, M. (unknown). 6 types of film directors. Available: Last accessed 8th May 2014.

Marhshall, P. (2012). Film Directing Tips, Film Making Articles and Online Resources for the Independent Filmmaker. Available: Last accessed 8th May 2014.







CV (Click to view fully) – 

Screen Shot 2014-05-11 at 17.07.04



I am in my penultimate year of a degree in Filmmaking and Creative Media. I want to pursue a career in editing and/or directing at small film production company that focuses on high quality.

My specific experience and skills includes editing with software such as Adobe Premiere Pro, Avid, Da Vinci Resolve. Additionally, I have experience in directing different genres like documentary, short film and drama and promotional videos. This has made me gain directing skills in different areas.

Last year, I directed, edited and co-shot a promo for the Bristol Burlesque Festival, who approached me again to reprise my role for the next edition. Furthermore, they offered me a sponsorship, which proves a sense of professionalism in my work. Moreover, during the making of this promo, I networked with the performers of this festival. This resulted into shooting a personal promo for one of the dancers, which was widely shared on social media. This sparked the interest of other companies such as Dr Sketchy’s, who have approached me to shoot a promo for them.
I have also volunteered at a Encounters Short Film Festival, in order to gain experience through professional filmmakers that were present, and expand my network in the industry.

This experience in filmmaking has led me to become an independent and versatile employee.



Films at 59 are a Bristol based production company that provide pre and post production services for film and TV. They offer production consultancy, crewing services, shooting equipment hire, picture editing, sound editing and dubbing.

They have over 40 edit suites with either Avid or Final Cut Pro, which operates with a shared server, or stand alone drives.

They also have 3 dedicated colour grading suites, which run Nucoda Film Master and Final Cut Colour.

Films at 59 offer work experience to be a runner and possibly edit assistants.

Ravenswood Media

Ravenswood Media are a Bristol Based Digital consultancy and realisation company, which offer web development and video productions.

Ravenswood specialise in the filming and editing of promotional, educational videos and conferences
Ravenswood offer their services to small companies meaning their prices are very affordable, which hey prise themselves on.

Ravenswood Media offer a great deal when it comes to work experience for students.

FirstBorn Studios

Firstborn is an independent production company for broadcast television based in Bristol.

This company offers a wide range of services including film, radio, print and interactive productions. Firstborn also offer a range of media workshops and training from media professionals.

Firstborn is now very well known for its work using creative media to educate, entertain, raise awareness and give people a platform for creative expression.

Firstborn do not seem to offer work experience on their website but do have a contact us section.


TwoFour is an international award winning factual, features & entertainment television producer and content agency with offices in the UK (London & Plymouth), US and Abu Dhabi.

Twofour offer a wide range of services from branded content, film and events for brands, broadcasters to online channels. They are also known for their media training, interactive and e-learning packages for the defence sector.

TwoFour offer work experience with their Plymouth and London for Branches, for 1-2 weeks. I would apply to work at their Plymouth branch due to parents living there.

Bad Chicken Productions

Bad Chicken Production is a small Bristol based production company.

This company offers services such as documentaries, narrative, digital storytelling and events in a creative way.

They are also interested in working with educational establishments and community groups. There work is set at an affordable price with a friendly atmosphere to them.

There is not page with information about work experience on their website, however there is a contact page. Bad Chicken Production is a small company that may appericate students to help them on projects as work experience.

Encounters Film Festival

Encounters Film Festival is a Bristol based festivals, which happens once a year. The festival showcases short films and animation. Encounters is an avid supporter of new and developing filmmakers, this festival is a platform to introduce new filmmakers to the industry. It is the UK’s leading competitive short film festival.

As I volunteered for the festival last year I am aware of their work experience opportunities and will be volunteering for the festival again this year.



Colour Grade Test 1 by Emily Woodridge

Feedback by – Craig Kemp
The overall image quality improves massively and becomes a much better image over, I particularly like the redness in her hair being brought out, I noticed the contrast and brightness is a little high maybe adding some and lowering the saturation would be good for giving off the teal look you want

Feedback by – Jake Vaughan
I feel that the shadows were too dark and the brightness was a little to high. I suggest turning down the contrast. I did not really feel that it was going for the teal look so maybe increase the blues a little more so that it is more prominent in the image.


Colour Grade Test by Jake Vaughan
Feedback by Emily Woodridge

Jake’s test 1 is very dark; this could be sorted through rising the brightness or contrast. Due to the fact it is so dark I would bring the brightness up and add a slight contrast to it. I feel that due to the fact it is very dark the colours in the grade have been washed out, and leave the image feeling emotionless.

Colour Grade Test by Craig Kemp
Feedback by Emily Woodridge
With Craig’s test I can see that he has brought the saturation down but put the blue levels up. This gives it a cold feel that Craig was looking for, however he wanted to make it look old without looking blue to improve this I would advise pulling up the red levels slightly just to counter act the blue, with the saturation down the blues will not be as prominent. Upping the levels of red will also help take out the greenish ting and bring some colour to skin tones.

Colour Grade Test by Chen Chia-Yi
Feedback by Emily Woodridge
I feel that this colour grade has improved the clip significantly. In the original clip the skin tones are very greeny, this has been corrected, and the contrast is up too high. However with the test I feel that the contrast has been lowered too much meaning the image has lost its depth.


Directing (working with actors) Test 1 by Emily Woodridge

I couldn’t get hold of any actors so had to use friends for this test. This has made the test harder as these people do not understand how to get direction properly; they also feel uncomfortable in front of the camera, which is obvious.

Feedback by – Nathan White
As a director you should know more about the script than anyone on set, it is clear by the way you communicate with your actors that you know exactly what sort of performance you want from them and that you are an expert on script and the story. You give the actors a back-story on what has happened before in your story world. This clearly helps with their performance. “But why do I miss her” you gave the actor direction on how to deliver the line by saying “it has to be softer” and you also ask the actors for the pause so it gives the characters time to think this helps with the story emotionally. It is always important to listen to actors, you ask them if they had any questions about the script which is good however I would recommended giving them more time for them to give you feedback on the script as giving actors the creative freedom to improvise around the script can sometimes help the story. With trained actors this will benefit your second test but I understand that you had some difficulties getting hold of actors. From act one to act two you can see a clear improvement in the performance because of your direction so overall your first test was a success.

Feedback by – Craig Kemp
The overall concept of you directing goal is good and the work you did with them shows improvement in the way they act out the script, one thing I would suggest and what I’ve learnt from my research is that as a director maybe get into the zone of the actor and talk lines through with them the way you would like them to perform it.

Feedback by – Daisy Preece
I feel that this test was a success for Emily. She shows that she understand the role of the director when it comes to working with actors. You can tell that she understands the script and knows exactly what she wants from the actors. If she were to do it again I would recommend getting hold of real actors as it maybe easier to see development with each take and for the actors to understand what she wants from them.


Directing Test by Nathan White
Feedback by Emily Woodridge

As a director Nathan has shown a deep understand about shots and audience interest. He has revisited his test and thought about what he thinks works and what does not work. However, I feel that Nathan would benefit from working with the actors more and thinking less about the shots at this point.


What do you want to do?
For my colour grading experiment I would like to create The Teal Look, concentrating on bringing the blue out in the eyes or changing the colour of the eyes to fit The Teal Look.

What do you need to do to achieve it?
For my experiment I use footage from the previous module of the interview with our contributor. I will be using this as I know the footage well and it frames the face well to get the eyes very blue.

I will also look into films that have achieved this look, film such as below.



Both have very high contrast and a blue level, the saturation has also been pulled down.

(I edited these grades to the screens in 0D50, the grade may look slightly different on different screens)
For my first test I feel that the brightness is too high, making everything over exposed. However, I think the contrast in this test is almost perfect as it brings depth to the footage, it also it very similar to the films I have been looking at regarding the contrast.
My most successful clip, I feel, is the CU on the face. It brings the tones of the skins out and makes her hair a very bright and deep red.
To improve on my next test I should bring the blue levels up to get the correct teal look, I will also be lowering the saturation but trying to keep as much read in the hair and lips as possible.
Screen Shot 2014-05-16 at 00.01.47

(I edited these grades to the screens in 0D50, the grade may look slightly different on different screens)
My second and final colour grading test went well. I feel that I have brought the blues up to the correct level to say it is The Teal Look. The blues in the eyes have also been enhanced which is also a characteristic to The Teal Look. I have upped the blue levels but been able to keep the reds in the hair and lips at a relatively good level still. Screen Shot 2014-05-16 at 00.01.58


 What do you want to do?
For my directing experiment I would like to look at how different types of directing techniques affect how actors perform.

What do you need to do to achieve it?
For the experiment I will be seeking out actors from the UWE drama course/ society, I feel it would be best that I direct actors rather than people who have never had any acting training. I feel this would portray a more realistic response to the different directing techniques as they are used to taking direction/ working with different types of directors.

There are many different types of directors. The technical director is someone who spends a lot of time of the shots and camera. The performance director, this type of director works very closely with actors, getting to understand their ‘acting process’. Marhshall, P. (2012). 

I will be a performance director, I will concentrating on directing the actors. I will give the actors a piece of script, not very long but has a strong emotional essence to it. The first test I will give the actors the script and ask them to act the way they feel works for them (there will be direction). I will work more closely with the actors, explain the back-story to the script and shot it multiple times.


I have picked a section of script. I have written on it to show the difference in how I will direct this shoot.


Test 1 went well, however I am disappointed I was unable to use real actors. This made the test harder as these people do not understand how to get direction properly; they also feel uncomfortable in front of the camera, which is obvious.
Through looking at the script before meeting with the actors I was able to analyse the scene and get a better understanding of the emotions and feelings of this scene. This helped me greatly when it came to directing the actors, I seemed confident about my script which gives the right kind of vibes to the actors. It makes them trust me as a director and how I want them to perform.
I first let the actors read through the script and portray the characters and script the way they felt was correct. From here I was able to get a better understanding of their acting skills and to see how they understood the script.


The feedback I got from other directors was that I needed to give the actors more time to give me feedback. I feel that through test 2 I have developed my skill at listening to actors, this makes the actors think deeper into what they are doing. In test one I did a lot of talking at the actors but in test 2 I asked the actors questions about their character and the story, with the answers that the actors give to me it helps me see that they know what they are trying to portray and also helps me understand if they are slightly confused on parts of their character or the story. In this test one of the characters also asks ‘does he hate Helen?’ this makes me think that the actor was thinking deeply into what they are trying to get across to the audiences. It also shows that they want a better understanding of what the relationship between the two characters is like outside of this scene.
I feel that this test went well and that I have developed my understanding of actors and how they work through scripts.


The way we see colour is in the retina of the eye, it is called cone cells. There are three kinds of cone cells; they are sensitive to the short, medium and long waveslengths of visible light.
RGB (red, green and blue) colour, which is used in colour grading, is based of the way the human eye encodes images.

Vectorscopes are charts and graphs that measure Chrominance. Chrominance is the information that defines hue and saturation of a tv images.

Hue – A particular gradation of colour, a shade or tint.

Saturation – Vividness of colour

The brightness or luminance of an image is measured using a waveform monitor. The image is shown on an X axis and shows the image left to right and the Y axis shows the brightness.

A RGB Parade shows each indivual Red, Green & Blue luminance level. You want these waveforms to be at the same level when you have finished the grade.


Scanned Image
A basic colour grade is the beginnings of the grade. If there is something more specific, such as a certain type of look, this basic grade will be done first. You would sort the Lift (lifting block levels), Gamma (lifting middle) and Gain (lifting highlights). You would also get the RGB at the same level.

The RGB color model is an additive color model in which red, green, and blue light are added together in various ways to reproduce a broad array of colors. The name of the model comes from the initials of the three additive primary colors, red, green, and blue. WIKI

This colour grade is basically making everything look good on the eye. It will sort things such as over or underexposure and making the colours true to life.

Scanned Image-3Screen Shot 2014-03-05 at 16.23.25

Scanned Image-2Screen Shot 2014-05-03 at 21.01.35

As well as the basic grade you can also do different types of edits that may fit the mood of the film. Many directors have signature colour grades they like to use, and there are certain grade that go hand in hand with different genre of films. For example, vampire/ horror films tend to have a very blue colour to them, which is called the Teal Look.
The Teal Look is very bright and clinical looking; the editor usually brings the blue out in the eyes when they do this grade.

The Mono example I have chosen is from Schindler’s List. The whole film is in black and white except the scene which has been famously called ‘The girl in the red coat’. The director did this for a reason, it is the only splash of colour in the film.

The color red was added to one girl’s coat in order to symbolize the blood on the hands of the allied forces who did nothing to help the Jews at the time. Frater, J. (2008). 


Bright Red Lipstick (personal script) – ANA

Ana is a small 5-year-old girl who has just lost her Mother; she is at her wake in her own home.

Screen Shot 2014-05-09 at 22.21.39
From the opening of the script we are aware she is a fragile little girl. We can see this through the description of her, a very small girl, curled up and covered in a double bed with many pillows. This indicates that she feels small, depressed and very delicate.

Due to the event that is taking place this is very understandable for a girl of 5. As an audience we feel sorry for the girl and instantly build a relationship and emotional attachment to her.

We are then introduced to the Father and other family members.
Screen Shot 2014-05-09 at 22.17.10

Connor is also a very fragile character, they are both suffering a huge lose in their lives. This part of the script indicates that Connor is trying to keep his feelings away from Ana as he is talking in a different room. It feels as if he has been hiding his feelings and just cant contain them any longer and breaks in front of his sister, and unintentionally in front of his daughter.
By the end of the script Ana seems to have grown, accepted that her Mother is not coming back. She puts the red lipstick into her Mothers hand.

Screen Shot 2014-05-09 at 22.31.48
The significance of this action is great, it means that she is ready to let her go, those memories were so important but were also holding her back to accept the fact her Mother died.


Paul Greengrass is an English film director, screenwriter and former journalist.

Greengrass has only ever made seven feature films in this film career but he has been nominated for a BAFTA for three of those films and won one of those nominations.
He is most known for directing the Bourne films but also has a signature film genre of true to life/ based on true events films.

Greengrass’s films are very recognisable due to his signature use of hand held cameras. I feel that he is also recognisable for his very intense endings. For example in United 93 and Captain Phillip’s the last scene is very personal and close to the characters and you feel as if you are in the room with that, this is due to the handheld aspect. But I also feel that it is due to the edit and the sound edit, it makes the audience feel what the characters are feeling.

we know how the story ends, which makes it that much harder to build suspense. Greengrass does so by creating, through sound and cinematography, a permanent state of immediacy.’ Kearny, R. (2013).

This is what is so brilliant about Greengrass, we don’t feel like the audience anymore but we feel like part of the story. Even with a true event we will never understand what it feels like to have been kidnapped, we get a news report like everyday, it is just news. But Greengrass brings you right in, makes you experience what they are experiencing, it makes it real.

Captain Phillip’s has a very emotional ending and as an audience member I came out of the cinema feeling the same emotions of relief.

‘So I think when you think of my films, I think hopefully you think of an extreme sort of real unfolding, real-time, performed, feeling semi-improvised, you know what I mean, all that.’  EISENBERG, E. (2012).

Captain Phillip’s Ending

United 93 Ending


Being a Director of a film is like conducting a musical performance. A conductor you draw the performance out of the talent by directing their performance. This is exactly what a director does. They draw of the performance from the actors to get the best story.

The Director, the Producer and the Writer all have to talk to each other to get the best out of an idea. A common misconception is that the Director is the one with the idea, whoever the idea can come from anyone and from anywhere.

When it comes to directing a film we first have to look at the genre, this could be the thing that makes or breaks your film. You first want to look at what is ‘selling’ at the moment, for example gives you an up to date review of what films are doing good at the time. It will give you an idea of what people want to see.
The audience will help you as they already know connotations of genre/ what to expect. So when you are marketing your film, they will be able to understand what type of film you are making. The time of year you release a film is also very important, most horror movies are released at the end of the year.


In David Mamet’s book On Directing Film he talks about how directing film should be. He questions American directors saying that they ‘follow the actor around’ rather than thinking about how to put a film together or talk to an actor. He sees directing a film like putting a puzzle together.

‘A movie script should be a juxtaposition of uninflected shots that tell the story.’ Mamet, D (1992).

What Mamet means by this is ‘stop telling the audience what to see/feel show them’. It is very easy to spoon feed the audience but it makes them bored, give them something to think about, something that will be interesting to look at and give a deeper meaning.

‘Make the audience wonder what’s going on by putting them in the same position as the protagonist… As long as the protagonist wants something the audience will want something.’ Mamet, D (1992). .

You want the audience to like the characters of the film, and you want them to be interested in them so they sit all the way through the film. It is hard these days to actually find a film that you can not guess what will happen at the end, Mamet believes that Hollywood can not write scripts because of this reason.

‘The work of the director is the work of constructing the shot list from the script. The work on the set is nothing. All you have to do on the set is stay awake, follow your plans, help the actors be simple, and keep your sense of humor. The film is directed in the making of the shot list. The work on the set is simply to record what has been chosen to be recorded. It is the plan that makes the movie.’ Mamet, D (1992).

Mamet is saying that the film is made before it has been filmed and you shouldn’t see it as that is when the film is being put together. A good director should be able to see the film before it is edited together.

Directing Actors

Actors are the most important thing on set, unlike a camera or a light, actors cannot be replaced. They need to be treated with respect and sometimes the crew forgets that Actors are people too.

As the director working with actors you must be upbeat, positive and encourage development.

‘…they need practical help in casting off the layers of self-consciousness and insecurity in order to simply be, Performing, by its nature, is self-conscious and self- judgmental.’ Rabiger, M (1989).

Acting is a very intense job and it is an art, and as a director you must make the actor feel relaxed and comfortable on set and with the script. Actors look up to directors for guidance and approved for what they are doing.

The way you communicate to actors as a director goes hand in hand with my previous comment about self- consciousness.

‘Never ask for something “smaller”: An actor takes this as a barbed criticism. Ask for the same intensity but with more intimacy, or for anything else that sounds like development rather than censure. Rabiger, M (1989).

The way you phrase something is extremely important, you do not want to demotivate an actor. It is also like the feedback burger you were taught in school, positive, negative, positive. This way the actor feels confident in what they are doing but can see ways they can develop their performance.

A lot of directors are known for their work behind the camera, the shots they pick and such. However, I feel that the most important part of the director is to be with the actors.

‘Nothing dispirits actors in need of direction more than a director who hovers around the camera crew. You must be there for your actors.’ Rabiger, M (1989).

The actors make the film, you could have a beautiful shot but the acting could be totally off. It is the directors responsibility to be there for the actors.