Coming from a theatre background, everything technical about film has at one point intimidated me.

It’s taken my own personal experience to realize how different the two mediums really are.

Obviously, I have always been aware of the fundamental differences, but the more film productions I work on, the more I begin to truly understand for myself that they are not as alike as they originally seemed to me.

Even after having studied film and media production, no one could convince me that theatre and film aren’t both valid and incredible forms of art.

I love both methods of storytelling, but there’s still some uncertainty I have in the world of film. The technicality that scares me most is the one thing that makes the mediums most different.



The camera.

Since going down a filmmaking path, I have been continually fascinated by (but also insecure about) how much cameras can do, how much they can evolve, and how incredibly important they are to the art of filmmaking.

My relationship with one is not nearly as comfortable as it could be, for it’s the one relationship I never had the chance to build anywhere in the theatre — from the booth to the stage.

Mise-en-scène for me was the proscenium and second takes only existed in rehearsals.

The intimacy and framing that a camera provides is a beautiful tool that adds a completely different dynamic to storytelling, and I’m constantly in awe of what filmmakers can do with it.



There’s something I can’t quite put my finger on, that feels nice about having worked on Kid Simple. The irony of me having to operate a camera to film a theatre production seems backwards, but in a balanced kind of way.

I don’t think I’ve come far enough to say I am perfectly comfortable with a camera and its settings, but I’m not as afraid of it as I was.

Of course, I figured helping out on set would mean I’d help with what I know best and I’d leave the rest for others with relevant knowledge. However, the limited crew (and my being there every day) meant I would somehow end up as the first AC (not what I was expecting, considering how little I know about cameras). This even led to a day on set where it was just me behind the Canon. DP for a day. Operating the camera. On a theatre shoot. Who would’ve thought?



Although I learned a tremendous amount, there’s still so much more to learn. This production has been very interesting (to say the least) and with every complication that arises, I still am glad I am a part of it.

Present tense.

As in — it’s not over yet.

As we rush to pull together a complete edit, I feel the irony sinking deeper. From start to finish I’ve been on the side of production that I’m least experienced in (i.e. not theatre), but as a result I feel I understand more about these two loves of mine.



Now, back to editing.



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  1. I am happy to hear that you have gotten some sort of experience using a camera. I feel that it gets, even more, overwhelming with all the things attached to it. it gives me a rush of adrenaline but also a sense of worry. Thank you for sharing all this with us and keep up the great work, Emily!

  2. Coming from theatre as well, I too was, and in a way still am, intimidated by the camera. For the longest time, the only camera I had was a small camcorder, so when studying media production for the first time, I was definitely not as comfortable behind the camera. I am slowly getting more comfortable and I’ve found that I enjoy just experimenting with different cameras on my own time, learning at my own pace. But I am happy to hear you are going on this journey as well and becoming more comfortable with the camera.

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