Planning - Production Timelines

One of the things I learned from my creative writing class last year, specifically the script writing section, is that having a good idea is only the beginning. What actually determines whether a project succeeds or falls apart is whether you have a realistic plan to execute it. That lesson is something I've been thinking about a lot as Nicole and I work through pre-production for Competitive, Much?, because we're not just dealing with creative decisions, we're dealing with a hard deadline, limited availability, and a lot of competing commitments that could easily derail us if we don't plan carefully.

Our goal is to have a completely finished, polished two-minute opening by March 12, the day before Spring Break starts on March 13. That gives us three weeks from when we begin production. When I first wrote that out, three weeks seemed like plenty of time. Then I started filling in the actual calendar with our schedules, and the window got a lot smaller very fast.

When I was researching how other student and independent filmmakers approach production scheduling, I found that StudioBinder recommends drawing out your full timeline before thinking about cast and crew logistics because the first thing anyone asks when you invite them to a shoot is "when?" You need an answer before you can plan anything else. That's exactly what Nicole and I are trying to do with this post: get our timeline clear so every other logistical decision can flow from it.

The Three-Week Breakdown

Made by Nicole

Week One: Filming

Week one is our filming week, but there's a significant amount of pre-filming work that has to happen within that same week before we can actually press record. Nicole and I need to have the script fully locked, completed a read-through with Nadia and Evan, visited the park location during the time of day we're planning to film, and run at least one blocking rehearsal. All of that needs to happen before filming day itself.

I found in an article from The Film Fund that one page of a script can take up to two hours to shoot. That put things in perspective for me. Even though our opening is only two minutes long, we're not just shooting one continuous take; we have multiple angles, an establishing shot, close-ups, a physical comedy sequence, an insert shot for Audrey's phone, and potentially an alternate intro sequence as well. Filming day is going to require us to be organized and efficient. We can't show up without a clear shot list and expect to get everything we need in one afternoon.

The blocking rehearsal is something I want to prioritize specifically. The physical comedy sequence, where Audrey and Mattias fight over the hockey ball, their hands touch, and they potentially stumble into each other's arms, requires genuine choreography. It needs to look spontaneous and natural on camera, but that kind of natural-looking physical comedy is actually the result of practicing it a lot. Nadia and Evan need to know exactly where to stand, which direction to move, and how to time each beat before we roll camera.

Filming day itself needs to be a Friday or Sunday in late afternoon to get the natural lighting conditions we've planned around. That's a specific requirement that further narrows our window, since not every Friday or Sunday will have good weather or the right light.

Week Two: Editing

Week two is dedicated to editing in Premiere Pro. Nicole and I will take all of our footage and build the opening sequence, cutting between angles, establishing pacing, laying in placeholder music, and making sure the physical comedy beats land the way we intend them to. Editing always takes longer than people expect, especially when you're working with footage that involves physical movement and precise timing.

What I've learned from my previous Premiere Pro experience, including the birthday video I made for my friend, is that the rough cut stage is where you discover what you actually have and what's missing. Sometimes a shot that seemed perfect on the day doesn't work in context. Sometimes you realize you needed a cutaway you didn't film. Week two is where those realizations happen, which is why we can't leave zero buffer between editing and the deadline.

By the end of week two, we want a rough cut that we're both confident in structurally, meaning the story is clear and the pacing feels right. It doesn't need to be color graded or have final music yet, but it needs to be structurally sound so that week three is genuinely about polishing rather than still reworking the edit.

Week Three: Retouching and Finalizing

Week three is for everything that takes the rough cut to a finished product: color grading using Lumetri Color in Premiere Pro to achieve the warm, romantic look we've been planning since our research phase, sound design and final music, any reshoots or pickups if we realized something was missing during editing, and the final export.

The deadline is March 12, and I'm trying to make sure that's firm. Spring Break starts March 13, and Ramadan and Eid end around March 19-20, which is during the break. Having everything done before March 12 means we're not scrambling during the break and I can actually enjoy Eid without having an unfinished project hanging over us.

Indie Shorts Mag's pre-production checklist emphasizes locking your script before moving into any other production phase, because script changes after that point ripple through everything, like blocking, props, costumes, scheduling. That's something Nicole and I are actively prioritizing right now. Getting the script locked is our most urgent task because nothing else can be fully confirmed until it is.

Scheduling Conflicts

This section is where I want to be really specific, because the scheduling situation Nicole and I are working around is genuinely complicated. Understanding every constraint clearly is the only way we can find the windows that actually work.

Drama Rehearsals

Nicole and I are both in theater. Our drama rehearsal schedule is Mondays and Wednesdays until 7pm, and Thursdays until 6pm, and I have to leave at 5:50pm because I'm fasting for Ramadan and need to get home for iftaar to break my fast. This means that Monday, Wednesday, and Thursday are completely unavailable for any meaningful production work, not just because of the hours, but because by the time rehearsal ends, it's too late in the evening for outdoor filming anyway.

Tuesday is technically free from rehearsal, but Nicole and I both have other school commitments during the week that make Tuesdays unreliable as a consistent production day. We're not counting on Tuesdays unless something very specific comes up that works for both of us.

Color Guard

Nicole has color guard on Tuesdays, which doesn't affect the overall schedule since Thursdays are already unavailable. The bigger variable is Saturdays, Nicole sometimes has color guard competitions on Saturdays, and those are unpredictable in terms of which Saturdays are taken. I also have iftaar parties at mosques and around my community which shortens the amount of potentially usable time. Some Saturdays she's not free, some I'm not free, and we don't always know far in advance.

This means Saturdays are possible but not reliable as production days. We can potentially use them when they're available, but we can't build our core schedule around them. They're backup days rather than primary days.

Ramadan

I've been thinking about Ramadan practically throughout all of this planning, not just in terms of iftaar timing. Fasting affects energy levels, especially in the afternoon and early evening, which happens to be exactly when we want to be filming for good natural lighting. I want to be honest about this with Nicole rather than pretending it won't be a factor, because if I'm running on low energy during a filming day, that affects the quality of everything we do that day.

Timetable of Iftaar times during Ramadan

What I've decided is that late afternoon filming around 4pm to 5:30pm  is still manageable during Ramadan, especially on weekends when I'm not also dealing with school and rehearsal. Iftar is typically around 6:30pm right now, so a filming window that ends by 5:30pm gives me enough time to get home and prepare. I've done things during Ramadan that require focus and energy before, and I know my own limits and the key is planning around them honestly rather than ignoring them.

Ramadan and Eid end around March 19-20, which falls during Spring Break. Since our deadline is March 12, the entire production should be wrapped before Eid, which is actually a relief. I don't want to be finishing a film project during a holiday that's important to me and my family.

Coordinating Four Schedules

Even once Nicole and I figure out our own availability, we have to align with Nadia and Evan. Both of them are teenagers with their own school schedules, extracurriculars, and family commitments. Evan is 15 and Nadia is 16, so they're likely dealing with homework, tests, along with common rehearsals from musical theatre.

Raindance's article on short film scheduling describes coordinating cast and crew availability as one of the hardest logistical challenges of any production, regardless of scale. That resonated with me because finding a single afternoon that works for all four of us, with good weather, on a Friday or Sunday, in the right lighting window, is going to require coordination and probably some negotiation about what everyone can move around.

We haven't had the scheduling conversation with Nadia and Evan yet because we want to have a confirmed filming window ourselves before we bring it to them. The first step is Nicole and I agreeing on our primary and backup dates, and then reaching out to confirm with the cast.

Working Around It

Primary Production Days: Fridays and Sundays

Our primary production days are Fridays and Sundays. These are the days that are consistently available for both Nicole and me, and they give us the late afternoon filming window we need for good natural light. Every major milestone in our timeline, the location visit, the blocking rehearsal, filming day, needs to be scheduled on a Friday or Sunday.

Saturdays are our backup option and we'll know about Saturday conflicts as they come up and build those into the schedule accordingly.

Building in Weather Backup Dates

Outdoor filming is always at the mercy of weather. In South Florida, that mostly means watching out for afternoon rain, which is common in late February and March. If it rains on our scheduled filming day, we lose the day and with only three weeks, we can't afford to lose a full week because of one rain-out.

Nicole and I are planning to designate a backup filming date for every major production day we schedule. If our primary filming day is a Friday, we'll identify the following Sunday as the backup. This way we're never more than a few days behind if something goes wrong with the weather.

Communication and Early Flagging

The strategy that I keep coming back to from my research is that the most organized productions plan around obstacles proactively rather than reactively. Nicole and I have committed to communicating early about any changes to our availability the moment we know a Saturday is unavailable because of color guard, or that I need to shift a schedule because of Ramadan, we tell each other immediately rather than waiting until it becomes a problem.

We're also going to reach out to Nadia and Evan soon to have an early conversation about their availability during the three-week production window. The more visibility we have into everyone's schedule upfront, the fewer surprises there will be closer to filming day.

Specific Milestones and Deadlines

Here's how Nicole and I are thinking about the specific milestones we need to hit:

1. Script locked — as soon as possible, within the next few days
2. Amazon order for hockey stick and ball placed — immediately after script is locked
3. Scheduling conversation with Nadia and Evan — as soon as Nicole and I have confirmed our filming window
4. Location visit during late afternoon — first available Friday or Sunday
5. Script read-through with Nadia and Evan — early in week one
6. Blocking rehearsal — mid week one, after read-through
7. Filming day — end of week one, Friday or Sunday, late afternoon
8. Rough cut complete — end of week two
9. Color grading, sound design, final fixes — week three
10. Final export — by March 12
    
    

There isn't a lot of slack built in, which is why every day we delay locking the script is a day we lose somewhere else in the timeline. Nicole and I are both aware of this, and it's motivating us to make decisions quickly rather than overthinking them.

Challenges 

Beyond the scheduling conflicts I've already described, there are a few other challenges Nicole and I are actively thinking about.

Physical Comedy Choreography

The sequence where Audrey and Mattias fight over the soccer ball is the most technically demanding part of our opening. It needs to look spontaneous and funny, but physical comedy that looks spontaneous is almost always the result of careful rehearsal. We need enough rehearsal time with Nadia and Evan to get the timing right especially the moment where the ball "flies toward the camera," which needs to be choreographed safely. This is one of the reasons the blocking rehearsal is a non-negotiable milestone before filming day.

Continuity Between Shots

Since we're shooting on location with natural light, the lighting conditions will change as the afternoon progresses. We need to shoot efficiently enough that our coverage of the same scene doesn't have wildly different lighting between shots, otherwise the edit will look inconsistent. This is another argument for having a very clear, ordered shot list so we're not jumping around unnecessarily.

Reflection

When I laid all of this out on a calendar for the first time, I'll be honest, it looked stressful. Three weeks with drama rehearsals four days a week, color guard on Saturdays, Ramadan, and four people's schedules to coordinate is a genuine challenge. 

But what I found reassuring from my research is that organized planning is what separates student film projects that actually get finished from ones that fall apart in production. The challenges we're dealing with are real, but they're all known challenges. We're not discovering them last minute, instead we're accounting for them now, while we still have time to plan around them.

Nicole and I both understand what we're working with, and we're both committed to the communication and flexibility that will make this work. Having a clear timeline, specific milestones, and backup dates for every major production day gives me a lot more confidence than I'd have if we were just going in with a vague plan to "film sometime before spring break."

I'm looking forward to getting into production. All of the research and planning we've done over the past several weeks has been building toward this, and I think we're ready. If we stay on our milestones and keep communicating, we'll have a finished, polished opening by March 12  and I'm excited to see what it looks like.

Links Used:
https://www.studiobinder.com/blog/short-film-schedule/
https://www.studiobinder.com/blog/making-short-film-pre-production/
https://www.thefilmfund.co/creating-a-production-schedule/
https://raindance.org/short-film-schedule-tips-planning-your-entire-production/
https://www.indieshortsmag.com/tutorials/pre-production/2025/12/the-ultimate-pre-production-checklist-how-to-save-your-short-film-before-you-even-call-action/
https://blog.celtx.com/how-to-create-a-shooting-schedule/

Planning - Props & Costumes

When Nicole and I started working through the planning process for Competitive, Much?, we quickly realized that props and costumes are just as important as camera angles and lighting when it comes to telling a story. Before I even started researching this, I assumed that costumes and props were just the stuff actors wear and hold, something you figure out last minute. What I found instead is that every visual detail in a film is a storytelling choice, and in a two-minute opening where we have no time to waste, those choices matter even more than in a full-length film.

According to Fiveable's Film Theory resources, props and costumes go beyond decoration; they drive plots, reveal character traits, and contribute to the overall composition of every frame. That changed how I approached this entire planning section. Nicole and I went back to our characters and asked: what would Audrey actually wear to a workout? What would Mattias have with him at a park? The answers to those questions shaped everything in this post.

We're also keeping our budget in mind throughout all of this. Nicole and I are student filmmakers working with limited resources, so one of our earliest decisions was to have our actors provide their own costumes wherever possible. I found through a Backstage article on costume design that actors tend to move more naturally and comfortably in their own clothes, which actually benefits us on camera. When someone is wearing something they own, it shows, and for a rom-com where we need Audrey and Mattias to feel like real teenagers, that authenticity is exactly what we're going for.

Costume Design

When I was thinking about costume design, I kept coming back to one question: what does this character's outfit tell us before they say a single word? From my research into rom-com conventions, I know that visual characterization is crucial in opening sequences because the audience is forming their first impressions. Audrey and Mattias have less than two minutes to feel like fully developed people, and their clothes are part of how we commuicate who they are instantly.

Audrey's Costume

For Audrey, Nicole and I landed on light blue flared athletic leggings, a matching tank top, a blue satin scrunchie, and white sneakers. Every part of this outfit was a deliberate choice. Audrey is a girl who cares deeply about how she presents herself, she's academic, detail-oriented, and preparing for her birthday in three days. The fact that her athletic wear is color-coordinated tells you something about her personality before she opens her mouth. She doesn't just throw on whatever is clean; she puts thought into even her workout outfits.

The blue color palette also reads as calm, focused, and put-together, which contrasts nicely with the chaos of the rivalry scene that's about to unfold. I thought about using red or pink since those are more traditionally rom-com colors, but I felt blue worked better for Audrey specifically because she's not someone who's thinking about romance at this point in the story. She's in workout mode, birthday prep mode, achievement award mode. The color reflects that.

The satin scrunchie is a small detail, but I think it matters. It's the kind of accessory that signals she cares about looking nice even while exercising. It adds to the "put-together" read without making her look unrealistically polished for a park workout.

Nadia Nicolas, who plays Audrey, is 16 years old, 5'1", and has two years of musical theatre experience. She'll be providing her own costume, which I think works really well for this role specifically. Nadia naturally has the expressive, energetic presence that Audrey needs, and wearing her own clothes means she'll be completely in her element physically. We're going to give her the costume description and let her put together something from what she already owns that fits the look. If she doesn't have something that works exactly, we can discuss adjustments, but I'm confident she'll be able to pull it together.

If Nicole and I decide to go with our alternate intro, which would show Audrey at home before heading to the park, eating healthy and checking her phone, we'd need a couple of additional casual tops or t-shirts from Nadia for those at-home scenes. The at-home wardrobe would be more relaxed than the coordinated park outfit, showing the contrast between Audrey comfortable at home versus Audrey presenting herself to the world. We haven't finalized the alternate intro yet, so this is still a tentative consideration, but it's something we want to plan for just in case.

Mattias's Costume

For Mattias, we went with black shorts, a white t-shirt, and his hockey stick. The simplicity of this was intentional. Where Audrey's outfit is coordinated and deliberate, Mattias's is casual and effortless. That contrast communicates their personalities before the argument even starts. Mattias doesn't overthink things the way Audrey does,  he just shows up in whatever he grabbed that morning, hockey stick in hand, completely unbothered.

The black and white also creates a nice visual contrast against Audrey's blue when they're in the same frame. I found in a StudioSuits article on costume design that color contrast between characters can visually reinforce the idea that they come from different worlds, which is exactly what we need for a rivals-to-lovers dynamic. Their conflicting color palettes will do a lot of narrative work without us having to spell anything out.

Evan Ventura, who plays Mattias, is 15 years old, 5'9", and has 2.5 years of acting experience. Like Nadia, he'll be providing his own costume. For Evan, the instruction will be simple: black athletic shorts, a plain white t-shirt, and his own hockey gear. I don't anticipate any issues here since it's a straightforward look that most teenage boys would have in their closet.

The height difference between Nadia (5'1") and Evan (5'9") is actually something Nicole and I have been thinking about as a visual element too. When they're standing next to each other arguing, the contrast in height adds to the comedic energy of the scene and also sets up the falling-into-arms moment more naturally. It gives the physical comedy more visual dimension.

Actors Providing Costumes

Beyond just the budget benefit, there are a few specific reasons why having Nadia and Evan bring their own clothes is actually the better choice for our film, not just the cheaper one.

First, actors are more physically comfortable and natural in their own clothing. This is especially important for Evan, who has to do the physical comedy sequence with the hockey stick and ball. Moving naturally is harder when you're in unfamiliar clothes. Second, personal clothing tends to be more worn-in and realistic looking than anything we could source or purchase, which fits our goal of making Audrey and Mattias look like actual teenagers rather than characters in costumes.

Third, it removes a logistical challenge from our already tight schedule. Nicole and I have three weeks to film, edit, and finalize this project before March 12, and both of us are juggling drama rehearsals, color guard, and Ramadan commitments. Not having to source, purchase, or coordinate costumes ourselves is genuinely helpful.


Props

Props in film serve two main purposes: they advance the plot, and they reveal character. StudioBinder's breakdown of movie props describes them as objects that characters interact with that carry narrative or symbolic weight. When I applied that framework to our opening, it became clear that we actually have few props, but the ones we do have are doing a lot of work.

Sports Equipment

The most important prop in our entire opening is the soccer ball that triggers Mattias and Audrey's chance encounter. Originally, we had planned to use Mattias's hockey stick and ball as the central objects of the rivalry scene; the ball causing the initial collision, the stick leading to the physical struggle. However, after further planning discussions, Nicole and I realized that approach created some logistical problems. A hockey player practicing on grass felt unnatural, and the small size of a hockey ball made the physical interaction with Audrey awkward and difficult to film.

Now, Mattias and Audrey run into each other at the park, but instead of a hockey-related collision, a ball kicked into the frame seemingly by a nearby child. They would wait a beat, look at each other, and then "tussle" on who gets to kick the ball back. This would show that the rivalry is so serious that they are both willing to fight over something as petty as kicking the ball back and be willing to look like a fool while doing so, increasing the comedic factor. This way, the ball flying towards the camera can be done easier, and them falling into each other's arms will be more natural, as tussling for a ball utilizes upper body movement. 

Nicole's Ball

For sourcing, we're fortunate that Nicole has a soccer ball from her childhood soccer days, a yellow one with blue and red designs that will stand out on camera. The size and bounce of the soccer ball make the encounter dynamic and fun, giving Evan and Audrey room to react physically in ways that feel authentic. We'll still have Mattias's hockey stick present as part of his character identity, VIP Fan Auctions' article on props in storytelling makes the point that a prop used consistently becomes an extension of identity, and the stick still signals "athlete" and "casual confidence" upon his entrance. But now the hockey stick isn't burdened with driving the entire physical comedy sequence.

Potential hockey sticks 

The soccer ball flying toward the camera will also be easier to execute safely and convincingly than our original hockey ball plan. We'll practice the sequence enough times that the timing looks controlled and intentional, not accidental or dangerous. Having the actual prop in hand well before filming day means we can use it during blocking rehearsals, ensuring both actors are comfortable with the physical comedy before cameras ever roll.

Audrey's Phone

Audrey's phone is the second key prop in our opening, and its importance is very specific: it's how we communicate the "Birthday: 3 Days" detail to the audience. The phone itself has a bright pink case with a tiger lily design, which fits Audrey's personality and aesthetic; it's feminine, a little bold, and personal. But what matters for the plot is the screen.

The "Birthday: 3 Days" notification needs to be legible on camera, which means we can't just shoot it casually. We'll need to plan a close-up or insert shot specifically for this moment, make sure the lighting hits the screen without creating glare, and probably set the phone's brightness higher than normal so it reads clearly. I found from my research on prop significance in film that when a prop functions as a plot device delivering information, which Audrey's phone does, the cinematography around it needs to be intentional. We can't leave this to chance on filming day.

The tiger lily case detail is also worth mentioning because it's a small character choice that adds texture. Audrey's phone case isn't just pink, it has a specific design that feels like something she'd pick out herself. It's the kind of detail that might not consciously register with viewers but contributes to the overall feeling that she's a real, specific person.

Kitchenware (Alternate Intro)

If Nicole and I decide to include the alternate intro showing Audrey at home before the park scene, we'd need some basic kitchenware for the healthy eating scenes at Nadia's house, like bowls, cutlery, a cutting board, that kind of thing. The purpose of these props would be to establish that Audrey is intentionally preparing for her birthday, eating well, and taking care of herself. It adds context to why she's then at the park working out.

For this, we'd rely on whatever Nadia already has at home rather than sourcing anything specific. The key is that it looks real and personal, not generic or staged. A bowl that looks like it belongs in a teenager's kitchen is more convincing than something we deliberately styled. This connects back to the same philosophy behind having actors provide their own costumes as authenticity comes from using things that people actually own.

We haven't confirmed whether we're using the alternate intro yet. Nicole and I are still refining the script and discussing whether the added context is worth the extra filming time it would require. But if we do go that route, the props situation is simple and manageable.

Shaky Details

The biggest open question right now is whether we're including the alternate intro. That decision affects both the costume and prop planning, specifically how many outfits we need from Nadia and whether we need to plan a separate filming setup at her house. Nicole and I want to lock this down as soon as we finalize the script so we can communicate the full picture to Nadia and Evan before our first rehearsal.

We also still need to confirm the Amazon order for the hockey stick and ball. We want to do this early so we have them before blocking rehearsals begin. If the order gets delayed or the product doesn't work for our needs, we need time to find an alternative.

Reflection

Going through this planning process made me realize how much thought goes into elements that seem simple on the surface. Before this, I probably would have shown up to filming and just had Evan bring whatever hockey stick he had and not thought twice about it. Now I understand that every prop and every costume choice is contributing to the story, and making those choices intentionally is what separates a film that feels considered from one that feels accidental.

What I'm most excited about is seeing the visual contrast between Audrey and Mattias on screen for the first time. I think the blue versus black and white palette, combined with the height difference between Nadia and Evan, is going to create a really strong image when they're in the same frame. The costumes are doing a lot of characterization work that I hope viewers will feel even if they can't articulate exactly why.

Having our actors provide their own clothes has genuinely made this easier to manage given everything else Nicole and I have going on. And knowing we can order the hockey props from Amazon with quick delivery takes one more logistical worry off the list. The next step is finalizing the script so we can communicate everything to Nadia and Evan and start moving toward our first rehearsal.

Links Used:

https://fiveable.me/introduction-to-film-theory/unit-6/set-design-costuming-props-narrative-tools/study-guide/209At50GSGfUlTHuBackstage — How to Become a Costume Designer for Film and TV
https://www.backstage.com/magazine/article/how-to-get-started-in-costume-design-70464/
https://www.studiosuits.com/blogs/articles/the-art-of-costume-design-exploring-the-creative-process
https://www.studiobinder.com/blog/what-is-a-movie-prop-definition/
https://www.amazon.com/street-hockey-stick/s?k=street+hockey+stick
https://www.amazon.com/street-hockey-set/s?k=street+hockey+set

Planning - Location (Recce Report)

While all components of the planning process are important, one of the most crucial parts is finding the right location for our opening scene. I realized early on that if Nicole and I don't have a proper location, we can't shoot our film. Finding a location provides a challenge because we need an area that would look natural for Audrey's workout routine while also providing the right atmosphere for a rom-com meet-cute. With our film being set in present day and needing that warm lighting I researched, I need a park that isn't too modern or artificial-looking, but also has enough space to accommodate filming aspects like tripods, camera movement, and blocking the physical comedy sequence.

Researching Park Options

Nicole and I knew going into location scouting that we would most likely be using a public park near our homes. However, we didn't want to settle on a location without properly evaluating our options. After looking at several parks in our area, we narrowed it down to three possibilities: Weston Regional Park, Peace Mound Park, and Rose G. Price Park. Each has different advantages and challenges that we need to consider before making our final decision.

Weston Regional Park

Weston Regional Park is a large, well-known park in Weston with a lot of versatility for different types of shots. It has wide open fields, shaded walking paths, and a variety of landscapes that could allow us to film multiple angles without moving too far. The park includes playgrounds, sports fields, and picnic areas, which could give extra background detail for wide or establishing shots. Its spacious environment would make filming Audrey's running scenes easy, as there is plenty of room for tracking shots following her movement.

What I've noticed from visiting: I've been to Weston Regional Park before, and one feature that stood out to me is the flat grassy area with intersecting sidewalks surrounding it. This would be a perfect place for the bumping-into scene because the intersecting paths naturally set up the collision. Audrey could be jogging along one sidewalk while Mattias comes from another direction with his hockey equipment. The visual of two paths crossing creates a literal and metaphorical meeting point.

The field I am talking about:

The natural lighting is really nice on sunny days, especially in the late afternoon. Since we don't live on the sunset coast, we won't get that dramatic golden hour glow that some films have, but the lighting is still warm and flattering. The open field area means we'd have good, even lighting without too many harsh shadows from trees.

Example of lighting at Weston Regional

Pros:

• Wide open spaces for tracking shots and establishing shots
• The flat grassy area with intersecting sidewalks is ideal for the meet-cute
• Multiple landscapes provide visual variety
• Good natural lighting on sunny days
• Enough space for the physical comedy sequence with the hockey equipment

Cons:

• Farthest park from both of our homes (20-25 minutes), which could make multiple visits for rehearsals or test shoots challenging
• Might be busier with other park visitors, especially on nice days
• Distance factor means we'd need to be more organized and can't easily go back if we forget something

Peace Mound Park

Peace Mound Park is a smaller, more intimate neighborhood park with a calm and scenic environment. It features walking paths, picnic areas, benches, and a small waterfront area, which could create visually appealing backdrops for our film.

What I've noticed from visiting: I've been to Peace Mound Park as well, and while it has less grassy field-type areas compared to Weston Regional, it has some really interesting features. There's a pier or bridge-type structure that would provide very interesting composition if we could shoot on it, or at least film some scenes incorporating it. The elevated perspective from the pier could create unique angles that would make our opening visually distinctive.

Pier/Bridge structure:

Peace Mound also has many intersecting sidewalks, which is perfect for the meet-cute collision between Audrey and Mattias. The paths wind through the park in ways that would make their collision feel natural and unexpected. The lighting here is also nice on sunny days, again, since we don't live on the sunset coast, we're working with regular afternoon/late afternoon light rather than dramatic golden hour, but it's still warm and pleasant.

Intersecting sidewalks:

Pros:

• Close proximity makes it very convenient for multiple visits
• The pier/bridge structure offers unique compositional opportunities
• Intersecting sidewalks perfect for the meet-cute
• Quieter, more intimate environment with fewer interruptions
• Good lighting on sunny days
• The smaller size creates a more personal, contained feeling

Cons:

• Less grassy field space compared to Weston Regional
• Smaller overall size might limit variety in camera angles
• The narrow paths could make tracking shots more challenging
• Might not have enough open space for the sequence where the hockey equipment flies toward the camera

Rose G. Price Park

Rose G. Price Park is a community-focused park located in Pembroke Pines with walking trails, open green spaces, playgrounds, and sports courts. Its friendly, everyday vibe makes it feel like a believable place for a casual meet-up or run, fitting perfectly with the natural, playful tone of Competitive, Much?. The trails and open areas provide flexibility for different camera angles and movements, allowing for both mid-shots of dialogue and wider shots to establish the scene.

What we know from research: Based on online research, Rose G. Price Park appears to have a combination of shaded spots and sunny fields, which could allow us to experiment with lighting and framing. The trails and versatile areas could work well for mid-shots, wide shots, and tracking sequences. Its location is closest in distance, making it more accessible than Weston Regional and Peace Mound.

Pros (based on research):

• Open green spaces and trails provide flexibility
• Community vibe feels authentic for where a high school student would work out
• Mid-range distance makes it reasonably accessible
• Combination of sun and shade offers lighting options
• Walking trails suitable for Audrey's running sequence

Cons (based on research):

• We haven't visited it yet, so we don't know the actual conditions
• May be busier depending on time of day
• Need to visit in person to confirm it has what we need

What We're Looking For

As Nicole and I continue evaluating these parks, we're focusing on several key factors:

Intersecting Paths for the Meet-Cute:
Both Weston Regional and Peace Mound have intersecting sidewalks, which is perfect for making Audrey and Mattias's collision feel natural. We need paths that cross at angles so it makes sense that they wouldn't see each other coming.

Open Space for Physical Comedy:
The sequence where they fight over the hockey equipment and it flies toward the camera needs room. Weston Regional's flat grassy area is ideal for this, while Peace Mound's smaller size might be more challenging.

Interesting Composition Options:
Peace Mound's pier/bridge structure is really appealing because it would give us unique angles and visual interest. We could potentially use it for the opening shot of Audrey running, or incorporate it into the background of other shots.

Lighting Quality:
Since we're not on the sunset coast, we can't rely on dramatic golden hour lighting. Instead, we're looking for parks that have good, even natural light on sunny days, preferably in late afternoon when the sun is lower but still bright.

Accessibility:
 The closer the park, the easier it is to do multiple visits for rehearsals, test shoots, and reshoots if needed. Rose G. Price wins on convenience, but Weston Regional's features might be worth the extra travel time.

Next Steps: Making Our Final Decision

Nicole and I haven't made our final decision yet because we want to visit the parks on the specific time of day we'd be filming (late afternoon on a sunny day) to see exactly how the lighting looks and whether the parks are too crowded during that time.

What we need to test:

• The lighting at each park during late afternoon on a sunny day
• Whether the intersecting sidewalks at Weston Regional and Peace Mound work for our meet-cute blocking
• If Peace Mound's pier/bridge can be incorporated into our shots effectively
• Whether Weston Regional's flat grassy area gives us enough space for the hockey equipment flying sequence
• How crowded each park is during our planned filming time
• Which park's overall aesthetic best matches the rom-com tone we're going for

Once we've visited all three parks and compared them directly, we'll make our final decision based on which location gives us the best combination of visual interest, practical filming space, good lighting, and accessibility.

Reflection

Location scouting is more complex than I initially thought. It's not just about finding a pretty park, it's about finding a space that works technically for our shots, logistically for our schedule, and aesthetically for our story. The fact that Weston Regional has that perfect flat grassy area with intersecting sidewalks makes it a strong contender, but Peace Mound's pier/bridge and convenience are also really appealing.

I'm looking forward to visiting doing comparison visits to all the parks during our planned filming time. Having all this information will help Nicole and I make an informed decision that sets us up for success on filming day. Whatever park we choose needs to support our storyboard, accommodate our camera equipment, and create that warm, romantic atmosphere that rom-coms require.

For my next steps, Nicole and I need to schedule visits to all three parks during late afternoon on sunny days. We'll take reference photos, test some framing with our phones, and evaluate the foot traffic and background elements. Once we make our final decision, I'll create a detailed location map showing exactly where we'll film each shot so that on filming day, we can work efficiently and get all our coverage.

Links used:

https://www.tripadvisor.com/Attraction_Review-g34733-d8514272-Reviews-Peace_Mound_Park-Weston_Broward_County_Florida.html
https://www.westonfl.org/Home/Components/FacilityDirectory/FacilityDirectory/8/239
https://price-park.com-place.com/
https://nofilmschool.com/location-scouting
https://www.studentfilmmakers.com/location-scouting-101/

Planning - Script Writing

The first step Nicole and I wanted to complete for our planning process was to write our script. While we had a clear idea of what we wanted our opening to look like based on our storyboard and research, we needed to write it down in an organized way to fully develop the story. This script will act as our guide for everything else in the pre-production phase, from rehearsing with actors to planning shot lists to organizing our filming schedule. Without a script, we'd just have loose ideas, but with one, we have a concrete plan.

The First Draft of Our Script

Challenges:

The biggest struggle Nicole and I had when writing this script was telling a story opening without telling a full story. We found it difficult to write a movie opening instead of a short film because we had to establish characters, conflict, and tone in just two minutes without resolving anything. We needed to give the audience enough information to understand who Audrey and Mattias are and why their relationship matters, but we couldn't show them getting together or even really acknowledging their feelings beyond that final frozen moment when their hands touch and the spark lingers.

What helped us figure this out was thinking about the opening sequences I analyzed from Anyone But You and The Fall Guy. Both of those openings introduce the main characters and establish their dynamic, whether it's the awkward turned hostile reunion in the club or the stunt man thinking about the woman he loves but they don't resolve anything. They're setting up questions that the rest of the film will answer. That's what we tried to do here: set up the question "Will these rivals realize they actually like each other?" without answering it.

Another struggle we had was keeping this script mostly non-dialogue heavy. From my research, I found that most movie openings don't have extensive conversations because they need to establish setting, character, and mood through visuals and action. However, we noticed it was harder than we thought to get ideas across without our characters speaking. We wanted the audience to understand that Audrey and Mattias are competitive rivals who have history, but showing that purely through action would have taken too long.

We solved this by using short, snappy dialogue that reveals character through what they say and how they say it. Their banter during the argument tells us they're competitive, they know things about each other (like Mattias recognizing Audrey immediately), and they're evenly matched in terms of wit and energy. The dialogue moves quickly enough that it doesn't slow down the action, but it gives us crucial character information that visuals alone couldn't convey as efficiently.

What made writing this script easier for me was that I took creative writing last year, and we did a whole section on script writing. I learned about proper formatting, how to write action descriptions versus dialogue, and how to indicate camera directions and character emotions. It was really enjoyable to guide Nicole through the script writing process using what I learned in that class. We worked together on structuring the scenes, crafting the dialogue, and making sure the pacing felt right for a two-minute opening.

Establishing the Genre:

Even though this is a movie opening, Nicole and I still wanted to establish clearly that this is a romantic comedy. While we plan on doing this through color grading and music in post-production, we wanted to establish the relationship dynamic from the very beginning.

I researched different types of meet-cutes from my previous blog posts and found that rom-coms use several approaches: the instant attraction (love at first sight), the slow-burn (friends who gradually realize feelings), and the enemies-to-lovers (rivals who fight their attraction). We decided to use an enemies-to-lovers approach because it immediately creates conflict and tension, which is more interesting and can be more comedic than instant attraction. The audience wants to see these characters work through their rivalry, which creates the "will they, won't they" tension that keeps rom-coms engaging.

The physical comedy of fighting over the hockey ball adds the comedic element that defines the genre. Rom-coms need humor, and physical comedy is a great way to create laughs while also building chemistry. When Audrey and Mattias are pushing and pulling over the ball, they're physically connected, which mirrors the emotional connection they're fighting against.

In our script, we have the moment when their hands touch briefly during the struggle over the ball, and "the spark of something unspoken lingers in the air." This is one way to signal the romantic element, that brief physical contact that changes everything. However, we're also planning to extend this physical comedy sequence so that after the ball flies away, the momentum from their struggle causes them to stumble and fall into each other's arms. This falling-into-arms moment will be the visual climax of the opening, shot in slow motion with careful composition using the rule of thirds. We're still working out exactly how to choreograph this with our actors during rehearsals, which is why the current script draft focuses on the hand-touch moment but leaves room for us to develop the full physical sequence.

Script Format and Technical Choices

We formatted this script following standard screenplay format with scene headings, action descriptions, and dialogue. We included camera directions (close-up, mid-shot, whip pan, cut to) because this is a film brief where the technical execution is part of what's being evaluated. In a professional screenplay, we might not include as many camera directions, but for this project, we wanted to make our vision clear to anyone reading the script, including our actors and our teacher.

We also included sound cues (the soft indie instrumental music at the beginning, "music intensifies" at the title card) because sound design is a crucial part of rom-coms. The contrast between the calm music during Audrey's run and the intensified music during the title card helps create the romantic and comedic atmosphere we're aiming for.

The note about Audrey's smartwatch or phone showing "Birthday: 3 Days" is important for establishing the timeline and giving context to why she's working out and wants to feel confident. It's a quick, visual way to convey information without needing dialogue.

Good and Bad: 

What we think works well in this script is the banter between Audrey and Mattias. Their dialogue feels natural and reveals their personalities quickly. Audrey is sharp, direct, and doesn't back down. Mattias is charming but also competitive and unwilling to admit fault easily. Their chemistry comes through in how they verbally spar, which sets up the potential for romance.

We also think the physical comedy sequence will work well visually. The image of them fighting over a hockey ball, their hands touching during the struggle, and then (as we plan to develop it further) stumbling into each other's arms when the ball flies away, is a strong visual that communicates the accidental nature of their connection. The composition with the ball in focus and them blurred in the background creates an interesting way to frame the title card moment.

What we're less confident about is whether the pacing works. On paper, the argument might feel too long or too short; we won't really know until we shoot it and see how long it takes in real time. We might need to cut some dialogue or add more action to make the rhythm feel right.

We're also wondering if the moment when their hands touch feels earned enough, or if it comes too suddenly. We think adding the falling-into-arms moment will help extend that beat and give it more emotional weight, but we'll need to test this during rehearsals with our actors. If Nadia and Evan can sell the moment with their reactions, it'll work. If not, we might need to adjust the script to give that beat more buildup.

Next Steps

Now that Nicole and I have a first draft, our next step is to show this script to our actors, Nadia and Evan. We want to do a read-through where we go through the dialogue together and see how it sounds when spoken aloud. Hearing the dialogue read will tell us immediately what works and what doesn't. Some lines that look good on paper might sound awkward when spoken, and a read-through will reveal those issues before we start filming.

We're also open to updating or changing the script based on feedback from our actors. If Nadia or Evan have suggestions about how their characters would react or speak, we want to hear those ideas. Good actors often bring insights that writers might not think of, and since they'll be the ones performing these lines, their input is valuable. We might adjust dialogue, add or remove reactions, or refine the physical comedy sequence based on what feels natural during rehearsals.

Based on the feedback we receive from our actors, we'll write a revised draft that tightens the pacing, clarifies any confusing moments, and strengthens the emotional beats. We might also add more specific action descriptions for the physical comedy sequence once we've worked out the choreography with Nadia and Evan during rehearsals. Specifically, we need to figure out exactly how the falling-into-arms moment will happen after the ball flies away, like what angle they'll be standing at, how they'll lose their balance, and how we'll frame that moment for maximum romantic impact.

Additionally, we need to start thinking about the specific music tracks that will play during this opening. The script describes "soft indie instrumental music" at the beginning and notes that "music intensifies" during the title card, but we need to find actual songs or instrumental tracks that fit this description. We're thinking about using an upbeat, contemporary instrumental during Audrey's run that has a light, hopeful feel. During the argument, the music might build slightly to add energy, then swell romantically when their hands touch and they fall into each other's arms, creating that emotional climax before the title card appears.

Reflection

Writing this script with Nicole was both exciting and challenging. It forced us to think about storytelling in a very condensed format, where every line of dialogue and every action needs to serve multiple purposes, like establishing character, advancing the plot, creating humor, and building romantic tension all at once.

What I learned most from this process is that writing for film is different from other types of writing. Everything has to be visual and audible. We can't rely on internal thoughts or lengthy descriptions. Instead we have to show character through action and dialogue in ways that will translate on camera. This means being meaningful with words and trusting that the actors, cinematography, and editing will fill in the emotional gaps.

I'm happy with where this first draft landed, but I'm also aware that it's just the beginning. Scripts evolve through feedback, rehearsals, and even during filming when you discover things that work better than what you originally planned. Having that creative writing background from last year gave me confidence in the formatting and structure, but collaborating with Nicole brought fresh ideas and perspectives that made the script stronger.

The script gives us a clear roadmap for what we need to accomplish during our filming day, and it gives Nadia and Evan something concrete to work with as they develop their characters. Most importantly, it captures the tone and energy we want for our rom-com opening: playful, competitive, romantic, and fun. Now we just need to bring it to life on camera.

Links Used:
https://screencraft.org/blog/top-10-tips-for-writing-better-dialogue/
https://www.premiumbeat.com/blog/guide-to-writing-opening-scene/
https://industrialscripts.com/romantic-comedy/
https://www.goldenscript.net/post/tips-on-writing-a-rom-com-script

Planning - Characters

While Nicole and I have already created the technical plan and storyboard for our rom-com opening, we needed to find people to actually portray Audrey and Mattias. We realized that having the right actors is crucial because no matter how well we plan our shots or how beautiful our lighting looks, if the actors can't sell the chemistry and rivalry between these characters, the whole opening falls apart. For a rom-com especially, casting is everything as the audience needs to believe in the connection between the leads from the very first moment they meet.

Finding Our Actors

As Nicole and I began planning Competitive, Much?, we realized that casting the right actors for Audrey and Mattias is essential to bringing our story to life. The success of our project depends on performers who can capture the comedic timing, emotional tension, and chemistry that the rivalry-turned-romance requires. Since Nicole and I are both in theater, we decided to ask friends who we already know and trust to fill these roles. We are confident in their acting ability, which makes the process smoother and ensures that the characters will feel authentic on screen.

Choosing actors from our own theater circle also allows us to communicate ideas effectively, experiment with scenes during rehearsals, and rely on their skills to bring Audrey and Mattias' personalities and rivalry to life. Nicole found a really nice blank cast sheet template on Canva, which is going to make organizing our actors super easy. We were able fill in their names and notes about their acting experience, strengths, and features that make them a good fit for the roles. Having this cast sheet helps us keep all the information in one place and makes it easier to visualize who fits each part.

Audrey Daniels - Nadia Nicolas

Character Profile:

• Determined and goal-oriented
• Feisty and competitive
• Intelligent and focused
• Stubborn at times but quick-thinking
• Witty with humorous reactions during conflicts
• Emotionally expressive

Character Background: Audrey is a 17-year-old Venezuelan senior in high school who is competitive, driven, and has been fighting for the achievement award since freshman year. Her birthday is coming up in a few days, and she's preparing by staying healthy and working out. Originally, Nicole and I considered making Audrey a track athlete, which would have tied her competitiveness to sports. However, we decided against that idea because we didn't want the movie to feel too sporty, especially since Mattias already plays hockey. Instead, Audrey is now a girl who focuses on her academics and is fiercely competitive over the Achievement Award. This change allows her rivalry with Mattias to center on individual accomplishments rather than sports. 

Audrey is the type of person who doesn't back down from challenges and isn't afraid to speak her mind, which is why when Mattias accidentally hits her with his hockey ball during her workout, she immediately confronts him instead of just letting it go.

Why Nadia is Perfect: Nadia Nicolas is a perfect choice for Audrey because of her acting experience and strong performance skills. She is sixteen years old, 5 feet 1 inch tall, and has two years of acting experience in musical theatre. We knew that Nadia had the energy and presence that Audrey needs. She's naturally expressive, which makes her believable as someone who is fiercely competitive and won't back down from confrontation.

Nadia is very nice and outgoing, which makes her easy to work with, and she can pull off a highly expressive character like Audrey. She's focused, skilled at interpreting scripts, and uses her face and body effectively to portray emotion. Nadia understood that Audrey isn't just angry for the sake of being angry she's frustrated because Mattias represents everything she's been competing against for years, and this random collision in the park is just another example of him getting in her way.

Being Venezuelan herself, Nadia also brings authentic cultural representation to the role. While we're not making Audrey's heritage the central focus of her character, it's important to us that the representation feels genuine. Nadia can provide her own costume for the workout scene, which makes preparation easier and allows her to choose athletic wear she's comfortable in.

Mattias Salomon - Evan Ventura

Character Profile:

• Confident and playful
• Slightly mischievous
• Competitive but charming
• Thoughtful beneath his confident exterior
• Emotionally expressive
• Teasing with subtle hints of romantic interest

Character Background: Mattias is also a 17-year-old Venezuelan senior, and he plays on the hockey team. Like Audrey, he's been competing for the achievement award since freshman year, making them rivals who know of each other but have never had a proper conversation. He's athletic, focused, and probably used to being one of the top students in his classes. When he accidentally hits Audrey with his hockey ball during a casual practice session in the park, he's initially apologetic but that changes quickly when she starts yelling at him and he realizes who she is.

Why Evan is Perfect: Evan Ventura is an excellent choice for Mattias thanks to his two and a half years of acting experience and background in band and theatre. He is fifteen years old, 5 feet 9 inches tall, with short, wavy black hair and white skin. Nicole and I chose Evan because even though he's naturally shy in real life, he can really get into character and has experience in a variety of roles, which allows him to portray Mattias' playful, confident, and slightly mischievous personality convincingly.

What impressed us most about Evan is his great line memorization and strong work ethic. He uses facial expressions and emotions effectively to maintain the mood of a scene, which is crucial for rom-coms where so much of the comedy and chemistry comes from reactions and timing. His acting skills and emotional range make him perfect to show Mattias' competitiveness while hinting at the romantic tension with Audrey. We know from working with Evan in theater that he takes direction well and is willing to experiment with different approaches to a scene.

Being Venezuelan like Nadia is important for maintaining authentic representation, and Evan's experience with physical comedy from theater productions will help him execute the hockey ball fight sequence convincingly.

On Screen Chemistry

The dynamic between Nadia as Audrey and Evan as Mattias is exciting because their differences and personalities create natural chemistry. The height difference, with Audrey being smaller at 5 feet 1 inch and Mattias taller at 5 feet 9 inches, adds visual contrast that emphasizes the playful rivalry and eventual romantic tension between them. Audrey's determination and intensity paired with Mattias' confidence and teasing energy will create a fun and believable rivals-to-lovers dynamic.

Nicole and I are confident that Nadia and Evan's theatrical experience will translate well to film. Both actors understand timing, which is crucial for the comedic beats in our opening, and both are comfortable with physical comedy, which we'll need for the hockey ball fight sequence. Since we know them from theater, we've already seen them perform together in group scenes, and we know they can take direction and adjust their performances based on feedback.

Working With Our Cast

Since we've finalized our casting, our next steps are crucial for making sure Nadia and Evan fully understand their characters and the vision for this opening. Nicole and I are planning to have a script read-through where we'll go over each scene in detail, discussing the subtext behind the dialogue and the emotional arc of the opening. We want Nadia and Evan to understand that even though Audrey and Mattias are arguing, there's an underlying attraction building from the moment they recognize each other.

We're also going to rehearse the physical comedy extensively. The sequence where they fight over the hockey ball needs to look natural and spontaneous, not choreographed or awkward. We'll practice the pushing and shoving, figure out the timing of when the ball flies toward the camera, and rehearse the moment when they fall into each other's arms. This is the most important beat in the entire opening because it's when the audience sees the shift from enemies to potential romance, so we need to get it right.

We're also going to go over expectations for the set and filming day. Since we're shooting during late afternoon on a sunny day for the best natural lighting, we'll have a specific time window to capture everything, which means everyone needs to be prepared and focused. We'll walk through the storyboard with them so they know exactly what shots we're planning and where they need to be positioned for each one.

Additionally, we want to discuss costume choices with both actors. For Audrey, we're thinking athletic wear that looks realistic for someone on a workout, like maybe running shorts or leggings, a fitted tank top or t-shirt, running shoes, and possibly a fitness tracker or phone armband. For Mattias, he'll be carrying his hockey equipment and probably wearing athletic clothes like joggers and a team hoodie or athletic shirt. We want to make sure both actors are comfortable in their costumes and that the clothes fit the characters' personalities.

Challenges and Considerations

One challenge we're aware of is making sure both actors understand the tone we're going for. This opening is comedic and playful, not genuinely hostile. The argument needs to feel like banter rather than a real fight, which requires a specific type of delivery. We'll work with them on finding that balance between being competitive and confrontational while still keeping it light and entertaining.

We're also thinking about how to direct the final moment when they fall into each other's arms after the ball flies away. This needs to feel surprising and genuine, not forced or overly romantic. We'll experiment with different ways they can land in that position so it looks natural and unplanned rather than staged. The height difference between Nadia and Evan will actually help with this because when they stumble together, it'll be natural for Evan to catch Nadia since he's taller.

Another consideration is the physical safety during the hockey ball sequence. We need to make sure that when Mattias "accidentally" hits Audrey with the ball, it's choreographed safely so Nadia doesn't actually get hurt. We'll probably use a soft ball or practice the timing extensively so the ball misses her by just enough to look convincing on camera without any risk of injury.

Reflection

Now that we have our cast finalized, Nicole and I feel much more confident about bringing this story to life. Having actors who understand the characters and can deliver the emotional beats we need makes everything else like the cinematography, the color grading, the sound design feel more achievable because we know the foundation is solid.

What excites us most is that both Nadia and Evan are enthusiastic about the project and have already started thinking about their characters. We're looking forward to collaborating with them and seeing how they interpret Audrey and Mattias in ways that might surprise us.

For our next steps, we need to schedule our first rehearsal with Nadia and Evan so we can start working on the chemistry and blocking out the physical comedy. We also want to take reference photos of both actors in their costumes once we have everything finalized. This will help us visualize the final look and also give us material to use when presenting this project. Overall, we're really happy with the casting choices and excited to see these characters come to life through Nadia and Evan's performances.

Links used:
https://www.studentfilmmakers.com/casting-actors-for-student-films/
https://nofilmschool.com/casting-tips-independent-film
https://www.premiumbeat.com/blog/how-to-cast-actors-for-your-film/
https://www.canva.com/design/DAHBcLR4dV0/alr2EFej6Y91LyUsd9KdKQ/view?utm_content=DAHBcLR4dV0&utm_campaign=designshare&utm_medium=link2&utm_source=uniquelinks&utlId=h0b0eca4563 

Planning - Project Proposal

Introduction

My name is Zunairah, and I'm working with my partner Nicole on this film brief. We've been collaborating throughout the research process, dividing up genre analysis, technical research, and planning to make sure we cover all the necessary elements for creating a professional rom-com opening sequence.

Genre Choice: Romantic Comedy

After looking through our combined four sub-genres, Nicole and I decided that we will make our brief a romantic-comedy. Rom-coms hold a special place in our hearts, and it's something that we find gives us hope and allows us to relate to the characters in a more personal way, which is something we want our viewers to experience. The genre also offers clear technical conventions that we can follow while still leaving room for creativity in how we execute them.

What drew us specifically to rom-coms is the balance between humor and emotion. The genre allows us to create something uplifting and entertaining while still exploring genuine human connection. After researching genres like comedy-adventure, comedy-horror, fantasy, and western, we kept coming back to romantic comedy because it felt like the most authentic choice for the kind of story we want to tell.

Meet-cute from Anyone But You

Target Audience

Our primary target audience is teenagers and young adults aged 15-25, with a particular focus on female viewers, though we want the film to appeal to all genders. This demographic aligns with the typical rom-com audience, as research shows that audiences under 34 are most excited about romantic comedies, and roughly 70% of Americans enjoy the genre.

Age range rationale:
The 15-25 age group is in the stage of life where romantic relationships, identity formation, and social dynamics are most relevant. High school and college-aged viewers can relate to the meet-cute scenarios, relationship conflicts, and emotional journeys that rom-coms portray. This demographic also consumes the most content on streaming platforms, where modern rom-coms have found their primary audience.

Gender considerations:
While rom-coms have traditionally targeted female audiences, we've learned through research that the genre is gaining traction among male viewers when romance is balanced with strong comedic elements. By focusing on genuine humor alongside the romantic storyline, we hope to create something that appeals beyond just one gender.

Location and accessibility:
Our target audience is primarily located in suburban and urban areas in the United States, particularly students who have access to streaming platforms and social media. However, the universal themes of romance and comedy allow the film to resonate with international audiences as well.

Shared interests and hobbies:
Our audience enjoys contemporary music, follows trends on social media platforms like TikTok and Instagram, and values authentic storytelling that reflects their experiences. They appreciate films that balance entertainment with emotional depth, and they're drawn to relatable characters who face challenges similar to their own. This audience also values diversity and representation in media, expecting to see characters and stories that reflect the world they live in.

Streaming Statistics By Demographics

Social Issues and Representation

While our rom-com will primarily focus on entertainment and emotional connection, we want to address relevant social issues and ensure authentic representation throughout our brief.

Gender dynamics and equality:
We want to avoid traditional rom-com tropes where one character has to change themselves entirely to win love. Instead, both Audrey and Mattias will be equal in the relationship, with mutual growth and compromise. Audrey won't be seen as waiting for romance to complete her life; she'll have her own goals along with competing for the achievement award, interests and personality that exist independently of the romantic plot.

Authentic teenage experiences:
Many rom-coms romanticize high school and teenage relationships in ways that feel unrealistic. We want to portray genuine teenage dynamics, including the awkwardness, insecurity, and social pressures that actual teenagers face. This means avoiding overly polished dialogue that sounds like it was written by adults and instead capturing how young people actually communicate, without using slang. 

Representation and diversity:
Both Audrey and Mattias are Venezuelan, which brings cultural representation to the genre. We want to portray their backgrounds authentically without making it the sole focus of their characters because they're individuals whose heritage is part of who they are but doesn't define their entire personality.

Competition and achievement culture:
Our story addresses the toxic competitive culture in high schools where students are pitted against each other for awards and recognition. Through Audrey and Mattias's rivalry for the achievement award, we'll explore how this pressure affects relationships and self-worth, showing that genuine connection matters more than winning.

Body positivity and realistic beauty standards:
Rom-coms often feature leads who fit very specific beauty standards. While we're limited by our casting pool as students, we want to avoid styling our actors in ways that narrow beauty ideals. Natural makeup, realistic athletic wear for Audrey's workout scenes, and authentic styling will be how our actors look, even if we were to make the full movie. 

Healthy relationship dynamics:
The conflict between Audrey and Mattias will stem from competition and misunderstanding rather than toxic behaviors like jealousy, manipulation, or possessiveness. We want to model what healthy attraction and conflict resolution look like, even in a comedic context.

Software and Hardware Plans

Based on my research into editing software and the technical requirements of our rom-com brief, here's what we plan to use and what we still need to learn:

Editing Software | Adobe Premiere Pro:
I've decided to use Premiere Pro because I've already learned the basics through our teacher's project, and I used it to create a birthday video for my friend who moved to Texas. The school provides it for free, which eliminates cost concerns. Premiere Pro's Lumetri Color panel will allow me to achieve the warm, romantic color grading I researched, and its integration with other Adobe apps means we can create professional title cards if needed. However, I still need to learn more advanced color grading techniques, particularly how to use LUTs effectively and create consistent color palettes. 

Camera Equipment:
We'll be using school cameras, likely DSLRs or mirrorless cameras that can shoot in high quality. I need to learn more about manual camera settings, specifically how to control aperture for shallow depth of field, shutter speed for proper motion blur, and ISO for maintaining image quality in different lighting conditions. Understanding these settings will help us achieve the soft, cinematic look that defines rom-coms.

Lighting Equipment:
We plan to use natural lighting as much as possible, shooting during golden hour, which is typically late afternoon/early evening to get that warm, soft light rom-coms require. However, we may need to supplement with reflectors to bounce light onto our actors' faces and fill in shadows. I need to learn how to position reflectors effectively and how to read light to determine where additional fill is needed. If we need to shoot any interior or evening scenes, we'll need to learn basic three-point lighting setups.

Audio Equipment:
Good sound is crucial for rom-coms since dialogue needs to be clear and intelligible. We'll use external microphones, most likely bluetooth microphones rather than relying on camera audio. I need to learn proper mic placement, how to monitor audio levels while recording, and how to sync audio in post-production. We'll also need to source royalty-free music that is upbeat with romantic undertones.

What I Still Need to Learn:
Beyond the basics I've already covered, I need to learn advanced Premiere Pro techniques like keyframing for smooth animations on our title cards, audio mixing to balance dialogue with music and ambient sound, and efficient workflow organization so we don't lose files or waste time searching for clips. I also want to learn how to export in the correct format and resolution for our brief submission.

Example of microphones we are planning to use.

Basic Plan for Our Film Opening

Concept Overview:
Our 2-minute rom-com opening will feature Audrey Daniels, a 17-year-old senior from Venezuela who is on the track team. Her birthday is coming up in a few days, and she's preparing by working out and staying healthy. We see her on her daily walk/run through the park during golden hour. While exercising, she physically bumps into Mattias Salomon, also a 17-year-old Venezuelan senior from her high school who plays on the hockey team. They know of each other but have never had a proper conversation before this moment.

Audrey and Mattias are rivals competing for the same achievement award; something they've been fighting over since freshman year. When Audrey realizes who bumped into her, instead of accepting a polite apology, she gets angry. They start arguing and physically struggle over Mattias's hockey stick or ball that caused them to collide, pulling and pushing until the object flies toward the camera. Because of the momentum from their struggle, they stumble and end up in each other's arms. Using the rule of thirds, the couple will be out of focus and small in the lower left corner of the frame while the hockey equipment is sharp, closer, and larger in the upper right corner. The title of our film will then flash on screen.

Something like this but they will be more visible on the left corner

Technical Execution Plan:

Cinematography:
We'll open with an establishing shot of the park using natural lighting during golden hour to achieve warm, soft tones. A smooth tracking shot will follow Audrey as she walks/jogs, establishing her as our protagonist and showing her athletic routine. A close-up will show her checking her phone or calendar and noticing her birthday is approaching. When the hockey stick/ball flies toward her, we'll use a fast tracking shot or whip pan following the object's movement. After it hits her, a static close-up will capture her full reaction of surprise turning to anger. When Mattias appears, we'll use a slight tilt up as he enters the frame, revealing him. During the argument, we'll use shot-reverse-shot with static framing, then switch to handheld or slight shake during the physical comedy to add energy and chaos. The final shot where they fall into each other's arms will use slow motion with the camera stabilizing and holding steady, carefully composed using rule of thirds with shallow depth of field, keeping Audrey and Mattias slightly out of focus while the hockey equipment in the foreground remains sharp.

Color Grading:
We'll maintain warm color grading throughout, using oranges, yellows, and soft pinks to create that romantic rom-com aesthetic. Even during the argument, the colors will stay warm to signal to audiences that this conflict is may seem hostile and silly but has undertones of romance. In post-production, I'll use Lumetri Color in Premiere Pro to enhance the golden hour lighting across all shots.

Sound Design:
 We'll capture clean dialogue during the argument, making sure both Audrey and Mattias's voices are intelligible despite the physical comedy. Ambient sound like birds chirping, distant park activity, maybe the sound of other joggers or cyclists will create atmosphere without overwhelming the dialogue. We'll add subtle background music that builds during the argument and swells when they fall into each other's arms, then cuts or softens when the title appears. The sound of the hockey stick/ball hitting Audrey and flying toward the camera will be emphasized for comedic effect.

Editing and Pacing:
The editing will follow rom-com conventions with relatively smooth cuts that don't disorient viewers. We'll use the argument sequence to build energy through slightly faster cutting, then slow down the editing when they fall into each other's arms to let that romantic moment breathe. The timing of the title appearance will be crucial because it needs to feel like a natural conclusion to the opening beat.

Practice Exercises:

Before filming our actual brief, we plan to do several practice exercises to build our skills. We'll shoot test footage at our chosen park during different times of day to see when the lighting looks best for that golden hour glow. We'll practice framing shots using rule of thirds and experimenting with depth of field to make sure we can achieve that shallow focus effect where the hockey equipment is sharp but Audrey and Mattias are soft. I'll practice color grading on test clips to develop a consistent warm look. We'll also rehearse the physical comedy with our actors to make sure the movements look natural and comedic rather than awkward or dangerous. Finally, we'll create a detailed shot list and storyboard so we know exactly what we need to capture on filming day, minimizing wasted time and ensuring we get all necessary coverage.

Timeline and Next Steps

Over the next few weeks leading up to spring break, we need to finalize our script with all the dialogue between Audrey and Mattias, confirm our park location and actors, gather all necessary equipment including the hockey stick/ball prop, and schedule our filming day during golden hour. We'll continue documenting our research and planning process through blog entries, refining our vision and preparing for a successful shoot. The most important immediate steps are writing out all dialogue and action so we know exactly what needs to happen in each shot, and scouting our park location to confirm it will work for our technical needs and that we can film there during the late afternoon/early evening for the best light.

I'm excited about this project because it brings together all the research I've done on rom-com conventions, from the technical elements like warm color grading and soft lighting, the narrative structure of meet-cutes and conflicts, the character dynamics and audience expectations and challenges me to execute them with limited resources and experience. Creating something that feels authentic to the genre while still being achievable for student filmmakers will require careful planning, but I'm confident that the foundation we've built will provide a successful final product.


Links used:
https://www.enterpriseappstoday.com/stats/streaming-statistics.html
https://today.yougov.com/entertainment/articles/45146-americans-relationship-romantic-comedies-poll
https://variety.com/2025/film/news/moviegoers-comedies-thrillers-global-cinema-study-1236340585/
https://pro.morningconsult.com/instant-intel/gen-z-favorite-entertainment-genres
https://stephenfollows.com/are-fewer-romantic-films-being-made/
https://www.statista.com/statistics/949810/favorite-movie-genres-in-the-us-by-age/
https://borisfx.com/blog/davinci-resolve-vs-premiere-pro-head-to-head/
https://www.simonsaysai.com/blog/davinci-resolve-vs-adobe-premiere-pro
https://www.makeuseof.com/adobe-premiere-pro-vs-davinci-resolve/