Introduction
I am not a filmmaker… or at least… I never considered myself one. COMM 465 is a rigorous course that tests a student’s filmmaking capacity. By the time I reached the COMM 465 course here at BYU–Idaho, I felt unprepared. In my heart, I knew giving my all to this project was necessary for passing. During the spring 2025 semester, I worked harder in COMM 465 than any other communication course I took prior. With this new motivation, I helped produce two short films: Gamble (Figure 1) and Thin Blue Divide (Figure 2). Each project was roughly 8-minutes in length, and it was the culmination of 14-weeks of work.
This senior project will serve as a case study that documents the production process, creative decisions, and technical challenges involved in completing both projects, serving as both a portfolio piece and a reflection of the communication and storytelling skills I have developed throughout my time at BYU–Idaho. Because the Department of Communication recently altered the senior project with to accommodate the new capstone course system, I completed my capstone film projects during the spring semester and the senior project portion during the current semester with my mentor, Christian Mawlam. My senior project focus on analyzing the creative process and my professional growth while completing these two distinct but complementary film productions!
Purpose & Goals
Initially, I set out to learn all that I could in this class. Working with a team of skilled and knowledgeable individuals gave me the motivation I needed for keeping up. Personally, I felt under-qualified at times. I come from an audio background. My skills have grown considerably in the realm of audio design and editing. Thus, I wondered how I could contribute fairly to the group without taking away opportunities from the other members of the group. Trying to align with the classes and Brother Mawlam’s goals, I pushed myself to work in a role I had little practical experience in. At first, it was very nerve-wracking. Members of my group participated in professional productions where they were camera operators and editors. I only worked as an audio recorder and editor.
Upon hearing that I would be the audio recorder and editor for our fictional film gave me relief. When I heard I given the role of editor for the factual film, I panicked. I had no experience in editing a documentary, let alone a short film. As I thought about my goal going forward, I realized applying all that I learned the past 3 years would be my biggest goal. No longer would I sit by and let the class move without me retaining anything valuable. While I am still an audio professional by trade (see Figure 3), I allowed myself the opportunity of building video skills into my portfolio. Thus, we moved toward deciding who would do what on the project.
Process & Production
Pre-Production
We met together on the first official day of our team formation (Figure 4). We had Chance Herman, Logan Cordray, Regan Dabell, Travis Roberts, Ethan Julander, Robert Harris, and Kasey Price. All things considered, it was a well experienced team. I came to the table looking to listen and see what I could offer. We spent our first day getting to know each other and brainstorm ideas for our two short films. Ultimately, we left with a vague idea for several films. When the second day rolled around, I was sick and missed the meeting. We settled on two film ideas: a fictional film about a gambler and a factual film about the public perception of police.
For our fictional film, I was assigned the role of sound recordist and post-audio editor. This was something I was comfortable doing. For the factual film, however, I was given the role of video editor. I felt nervous, but welcomed the challenge nonetheless. With this, we started planning the details. I primarily focused on the fictional film since that was where I would be most involved. I believed that as the editor, I would wait until all the footage was assembled. This would be a mistake later down the road. With the fictional, I looked over the script and found the different places of where SFx could be used. Chance Herman, the director of Gamble, did not want music of any kind. He stated that it should like the Coen brother’s film adaptation of No Country for Old Men. I tried my best to work around this. After all the preplanning, we would reserve the equipment and plan the filming days.
Production
As filming started, we branched off into two teams: the Gamble team and the Factual Doc team. Chance would head the fictional team, and Logan would take care of the factual team. Since most of my work for the factual would be done in post, I focused on the fictional. We reserved the equipment and filmed over the course of two weeks for the fictional. Using Travis Roberts apartment as our location, we got to work getting set up. At the same time, Logan was making connections and appointments with Jared Willmore of the Madison County Sheriff’s Office (see Figure 2). Most of the information for the production aspect will be used for the fictional since I did not accompany Logan for the factual filming. I reserved two lavalier microphones for both talents and two boom mics as our primary source of audio. Chance directed me on where to go, I advised him on where we might have each mic placed. Once the planning finished, we started recording.
Courtesy of Nick Anderson (2025)
There were challenges on set. People butted heads, time constraints rushed us, and equipment didn’t work at times. For me, the biggest flaw was a field recorded that didn’t have lav body pack cables. This presented a unique challenge since the lavalier mics were our backup audio sources. There was no time to get the cables, and that meant the lavs were ultimately useless. Pushing through was our only option. Using one of the boom poles, I was able to capture the audio well for the moving scenes in the beginning. There were points where the audio was a little bugged because we would get loud noises or pops. The hardest part about the beginning was the leather sound go Joseph’s (actor for Jameson) jacket (Figure 6). Since we only had the boom mic, we heard all of the leather jacket sounds. Thankfully, Joseph takes it off in the second act. For our second day of filming, we used C-stands and two booms positioned over the talents (Figure 5). This allowed us to primary audio sources for both talents without relying on one boom going back and forth. Finally, I returned a third day to get location audio since I neglected to get room tone upon finishing the filming. Overall, it was a long and tired process since we dedicated about 5 – 6 hours each day for filming. This included set-up, shooting, and take down. After all of this was done, we moved toward the post-production phase.
Post-Production
Post-production is where the bulk of my work would come from. Since I was undertaking both the audio for the fictional and the editing for the factual, I would spend most of my available time in the both. I figured I would wait until all of the footage was captured for the factual film before I started editing. In my limited experience of editing, I was not aware that the editor could begin working on the assembly cut when they received any footage. Relying on my audio experience, I assumed that work could not be done until all the files and clips were recorded (See Figure 7).
Logically speaking, it would make no sense starting an edit when everything wasn’t finished. I was, however, very wrong. The time game to show our instructor the assembly cut. It was no where to be seen. I had been working on the audio for the fictional film, since I was waiting for the factual filming to wrap up. Instead, I was educated on the principle that the editor could start editing as soon as they receive the footage available. I let my anger get the better of me, and I became agitated toward my team. We argued and went back and forth until I realized that arguing would get us nowhere. I apologized to Logan, our director for the factual film, for my outburst in behavior. He apologized too, and we both worked together to find out how to remedy the situation. The film needed to be transferred to an SSD, which I did not have. I ran around campus trying to get one. It was an HDD, so it would not help. I drove to Walmart and purchased an SSD. I sped back to the school to transfer the data, all while apologizing profusely. Once the data was transferred, the real work of editing began.
Having locked myself in an editing bay for the rest of the day, I would pick a part the interviews and B-roll. Again, I had no experience editing a short film or documentary. Logan was incredibly busy with other project stuff that he wasn’t available to help guide me until the following day. So, I decided to watch a couple videos on how to edit a documentary with interviews. Thankfully, I brought my iPad and pencil with me. For the next two hours, I listened to three interviews and took copious notes of each. From there, I tried to weave a story that would do each viewpoint justice. The hardest part was deciding which information to use. I had a few pages worth of notes on each interviewee. Since the time limit for the project was roughly 8 minutes, I searched for a good balance of each. When you have three interviews that have a runtime totaling about an hour, it becomes difficult figuring out which parts to include and exclude. I would spend the next two weeks in the editing bays of the Spori basement editing this factual film. Logan would stop by and offer his assistance with parts I was confused about. When the time came for Brother Mawlam’s review, we felt more prepared.
After looking over the assembly cut, we moved on to the rough cut. Many changes came, and we adapted as best we could. I would come into the booth with an open mind and fresh perspective. These edits would take about 6 hours a day for two weeks. My goal was to make up for lost time from me not editing the footage as we got it. While my other team members reassured me of the situation, I felt an obligation to work harder than ever! With two weeks left in the semester, I could finally hand the edit off to our colorist. I would find out that Logan and Ethan Julander (colorist) would make more edits to the project. This allowed me to work on the audio edit of Gamble. Thankfully, my past experience working in audio pushed me as I worked within the tight deadlines brought from waiting.
Key Insights Gained
One of the biggest insights I gained was how much of the filmmaking process depends on adaptability. There were moments where I stepped in by learning new camera techniques and equipment. Others time, I found myself diving into the DaVinci Resolve forums for help. Whatever I thought I knew about filmmaking tended to go out the door during these two projects. No mater how carefully we planned or accounted for unexpected issues, quick troubleshooting was necessary for getting back on track.
I also realized how differently it feels to tell a story for fictional character versus with real people. While I had filmed other projects in the past for fictional and factual, these were done in staggered periods of the semester. Thus, it was a balance learning both at the same time. Working Thin Blue Divide was rough, even though I worked it in post. Approaching difficult subject matters with empathy and respect was difficult at times. I wanted a respectful balance between entertainment and the delicate nature of each story. The topic of law enforcement in the country is deeply divided, and sharing a fair and balanced story was my priority! It pushed my critical listening and communication skills more effectively!
Lastly, I learned a better appreciation for pre-production work in filmmaking. Every class prior saw me putting in a lot of effort for the creative briefs but not for the shooting and technical work. Our instructors repeatedly expressed the importance of pre-production every class. Location scouting, rehearsals, test footage (Figure 8), these were all things necessary for creating the perfect shot. Meeting at the locations we were filming at gave me a better idea for preparing the audio. I could account for the spaces, know what mics and techniques to use, and ensure the best possible quality for our production. With that, I learned that pre-production is more than a formality. It is a necessity that saves time, money, and headache!
Overcoming Challenges
Managing work for two different in a single semester was mentally and physically taxing. Finding the balance of each production became the largest challenge. Each required different approaches. For Gamble, I was more hands-on with the work. Recording audio meant I was on set recording. With Thin Blue Divide, I sat in an editing bay for 6-8 hours, 5 days a week, for two weeks (See Figure 9). I knew far more about recording and editing audio than I did editing video, let alone a documentary. Gamble became a project of routine for me. However, that didn’t mean everything was smooth sailing. We, thankfully, didn’t butt head often on set. Instead, I found that technical limitations and creative differences from the director and cinematographer often delayed production. Even in post, I found myself engaging in my established workflow. Our fictional piece served as a reminder to what work I have been doing for the past four years here on campus.
Thin Blue Divide, on the other hand, presented more unique challenges to me. I was unfamiliar with editing large scale projects. For a documentary, there were so many moving components. At times, I felt overwhelmed and underprepared. Loosing time by failing to initiate the assembly cut was what kicked me into high gear. I was also learning more about DaVinci Resolve and its workflows through out this process. While I had worked in DaVinci prior, I was not adequately prepared to begin a professional edit. Nonetheless, I ventured on and began. Along the way, I consulted with Kasey and Logan regarding several issues that became present. The biggest was transitioning from interview shot-to-shot. I finally asked Brother Mawlam for help. He obliged and taught us a useful workflow. The other big challenge was editing the film in a way that respectfully approached such a sensitive and politically charged topic. I had to make sure I was creating a narrative that maintained respect for the individuals and integrity to the story as a whole. With all of the hardships and challenges that arose from this project, I can say it has helped me understand how to adapt and roll with the changes. Not every road bump is meant to throw you from your seat. The can be good safety reminders. The way I found was to approach every one of them slowly and with a healthy bit of curiosity!
The Final Cuts
Gamble, Directed by Chance Herman
Starting with our fictional, our team mate Chance Herman pitched a story idea of gambler who is visited by some form of a debt collector. The story was expanded upon further and included a high stakes poker game for a winner-take-all reward. Originally, the title was “The Hand of a Lifetime,” but we felt it was too wordy. Thus, we settled on the simple title of Gamble. In this intense and thrilling story of suspense, Jimmy is a retired gambler. He was one of the best. However, his history of taking more and more money finally caught up with him as he is visited by an old acquaintance. Jameson, a debt collector, shows up at Jimmy’s doorstep and demands what is owed. Since Jameson and Jimmy have prior history together, Jameson makes Jimmy an offer: play a single hand of poker that will determine Jimmy’s life. If Jimmy wins, he will lose the money but walk away with his life. If he loses, Jimmy loses his money and his life. Jimmy, being the gambler he is, accepts the offer. After being dealt the cards, Jimmy and Jameson engage in a battle of philosophy and wits. They discuss their actions and the consequences of what will happen after the cards are dealt. Finally, their cards are revealed. The end result: both of the men’s hands are the same. What happened to Jimmy? We do not know. Jameson leaves with the money, turning back and smirking as he walks down the road.
Thin Blue Divide, Directed by Logan Cordray
Thin Blue Divide is a factual documentary regarding the topic of public perception on the police. More specifically, our factual documentary zooms in on the Rexburg area specifically. We engage in meaningful dialogues with a former police captain from California and Alaska, the current Madison County Sheriff’s Office, and a victim of police violence who has since tried to adopt a more nuanced view on the police. The film starts on a man-on-the-street segment with the people of Rexburg and two Rexburg police officers. Over the course of the film, we hope the audience becomes educated on the nuances of the police across the country. There are always two sides to every story. Be curious, not judgmental. Curiosity leads to empathy.
Reflection and Conclusion
COMM 465 tested my limits. Never before had I taken a class that sought to push me. The weirdest part was how hands off our instructor was. Brother Mawlam was eager to watch and listen to everything we said. He never seemed to initiate the conversations or interject himself into our affairs on the projects. Instead, he would sit and wait for us to ask him for assistance. This… worked. We would try figuring out the problem first before asking him. He never said no or differed to someone else. This, almost laissez-faire, approach worked for the course. Understanding that COMM 465 is more than a final film class offered me the chance to work in a self-contained environment. This was the professional world I would be going into. A teacher won’t be looming over at every second. In that, I felt very nervous but also trusted. If we made a mistake or had points removed, it was because of something we caused. Clarifying errors or information could be remedied by simply asking. That is when it finally made sense to me. In this class and as a communications professional, we must always seek to be curious. Curiosity comes from exploring the unknown in all facets. If I had an issue with my group, I would ask them the issue. Whenever I was stumped in DaVinci, I would ask Brother Mawlam. There were times I tried understanding the stories we were telling. It was when I started asking questions that the image became clear. Ultimately, these projects and this course helped me reignite the passion I had for filmmaking. Through this case study, I hope I have illustrated not just what I learned being a communication’s student at BYU–I, but also what it means to be a disciple scholar and a true communications professional!
