During my time as a Film, Sound & Video student, I interned at Position Five, a production company recommended by lecturers and past students. Having just completed my Final Year Project, I wasn’t sure of my next steps, so I followed their advice. There, I was mentored by internship alumni Gary Loh, marking the beginning of a year-long journey with the company.
The projects I was involved in were livestreaming and shooting for clients – from corporates to comedians. I feel that I’ve managed to gain experience, exposure, and insight as to how creative work actually happens in the real world. Working with actual clients for the first time was an interesting experience, taking in their needs, their ideas, and forming it into an actual, tangible outcome after many revisions.Â
After graduation, I continued my internship at Position Five, determined to make the most of my time before enlisting for National Service. Recalling how I had just finished a short film before starting the internship and with the company’s encouragement to pursue passion projects, I felt motivated to create one more film before my two-year national service as I knew opportunities like this might not come again soon. Another key motivation was to submit the film to festivals like the Singapore Youth Film Festival (SYFF) to build my portfolio and have the chance to compete with other filmmakers. Yet, I was still hesitant on taking it on.
One major source of hesitation was the cost – my Final Year Project back in polytechnic had already cost me a thousand, and I wasn’t sure if I could justify that kind of expense again so soon. But it wasn’t just about money. I hadn’t worked on a proper narrative film in a while, and that time gap created a sense of doubt. Could I still do it? Would the end result be worth the time, energy, and resources?
✨ Inspiration
I wanted to create a film in the science-fiction genre, but during my polytechnic years, I had never worked on anything remotely similar. My inspiration came from the original Ultraman series and Godzilla (1954), which led me to discover the genre known as Tokusatsu. Even the overall aesthetic of my final film was heavily influenced by these classic sci-fi productions. Some might find them a bit campy, but I was captivated by everything – from the monster costume designs and practical effects to the explosions and miniature city destruction. The idea of making my own monster costume for a short film sounded incredibly fun and it absolutely was.
The style of the Tokusatsu genre, where Kaiju like Godzilla were often brought to life by actors in costumes, served as a key inspiration. That influence led to the decision to create the titular Null Cat using practical effects rather than visual effects. We had experimented with 3D (As seen above) for the Null Cat but we didn’t feel it was a suitable medium.
When it came to building the Null Cat costume, I had no clear idea how to bring my vision to life. While I wasn’t aiming for anything overly complex, I knew the suit had to be durable enough to survive the entire filmmaking process. To tackle the challenge, I enlisted the help of a friend with an engineering background and experience building model planes. Together, we designed and constructed the costume using just styrofoam, cardboard, plywood, and an excessive amount of glue.
When I was a child, my dad used to buy me old Ultraman DVDs. He was a working man – I rarely saw him, except during the late hours of the night when he came home, or in the early morning light as he left for work. But the moments he carved out for me, when we’d sit together and watch those episodes, meant everything to me. They were a quiet reminder that, despite his commitment to his career, he still cared – and that he wanted to share something we both loved.
I always felt a stronger connection to the monsters rather than to Ultraman. There was a deep sympathy I held for the Kaiju, who were almost always doomed to be destroyed by the end of each episode. Their fate felt inevitable – predestined. Ultraman, especially in the early iterations, was the ideal hero: noble, selfless, and always ready to fight against evil. But the monsters were different. They were flawed, imperfect, and often misunderstood – and that’s exactly what drew me to them. There was something tragically human in their stories, something that made them feel more real than the hero who defeated them.
🖊️ Pre-Production
Even before shooting began, logistical challenges around manpower started to surface. My goal was to keep costs as low as possible without comprimising on quality – I didn’t want to end up another thousand dollars in the hole just paying for actors. I quickly realized that a significant portion of production costs could be reduced through networking and tapping into existing connections. But asking for help didn’t come naturally to me; it was one of the biggest personal hurdles I had to overcome.Â
My people skills weren’t the strongest, and I often struggled to approach others or ask for favours. Thankfully, I was working with a producer who was not only well-connected but also incredibly skilled at reaching out and rallying support.Â
What I found most challenging was understanding what motivated people to give their time and effort. Was simply offering them credit enough? I had to start thinking from their perspective and learn how to strike a balance between asking for help and offering something meaningful in return.
Through this process, I gradually developed soft skills like negotiation and the ability to balance the needs of others with the goals of the project. I also had the opportunity to tap into some of Position Five’s existing industry connections – former employees, colleagues, and collaborators – whose experience and willingness to help proved invaluable.Â
Some people offered their support out of friendship, while others were looking to build their portfolio and didn’t mind committing a day or two. When working with larger companies, the dynamic shifted toward a more transactional approach. In those cases, collaboration often meant exchanging services – such as using their equipment in return for social media promotion to help boost their brand visibility.
When it came to equipment, I was fortunate to receive incredible support from Position Five. They provided essential gear like cameras, lights, microphones, and nearly everything needed for a functional film set – even an ice-maker! Their support didn’t just elevate the production quality, it lifted a huge weight off my shoulders.Â
Knowing I had reliable equipment gave me the confidence to focus fully on the creative process. On top of that, we were incredibly fortunate to receive support from the team at Aputure, who generously lent us their high-quality lighting gear—including the 300c lights and a spotlight attachment—which gave us the flexibility to experiment more creatively with lighting. Their generosity didn’t just elevate the visual quality of the film; it truly illuminated our journey, both literally and creatively.
Not only did this provide us with access to professional gear, but it also meant I didn’t have to set aside money for equipment rentals – another major cost-saving measure that helped keep the overall budget low.
🎥 During Production
In the pursuit of making the film, several challenges had to be carefully considered – especially when it came to outdoor shoots. Filming outside meant constantly adapting to unpredictable conditions. While we were able to plan around rain thanks to reliable weather forecasts, the heat proved to be a much bigger issue.Â
Shooting in open spaces, like a rooftop carpark, was particularly difficult as we had to brace the heat of the sun. It got so hot that some of our floor markers actually melted which also made writing scenes on the clapperboard tedious.Â
Thankfully, the company provided us with a portable ice maker and fans, which made a huge difference. It might seem like a small gesture, but those simple conveniences helped keep everyone cool, comfortable, and focused. It was a clear reminder that even minor comforts can have a major impact on productivity and morale during a shoot.
Another one of our locations was near Lim Chu Kang, along a now-closed road surrounded by little more than open fields and graveyards. The location was remote and rugged, requiring us to trek through dirt and mud just to reach our shooting spot. It was physically exhausting, and the conditions were far from comfortable – but the team never once complained. I’m incredibly grateful for their unwavering dedication, carrying equipment across uneven terrain with focus and determination.Â
Their perseverance turned what could have been a logistical nightmare into a memorable and oddly motivating experience. Looking back, I can’t imagine doing it alone. It was a powerful reminder that filmmaking is never a solo effort – it’s the shared grit and resilience of a committed team that brings a vision to life.
✂️ Post-Production
Editing requires a sharp eye for detail. To me, it’s about taking the raw footage and sound captured during production and shaping it into a cohesive, emotionally resonant whole. For our project, the two biggest challenges during post-production were integrating visual effects and maintaining consistent colour throughout the film.
One particular scene involved adding a 3D visual of a satellite into the background. The challenge with incorporating CGI like this is ensuring that it blends seamlessly with the live-action footage. This involves carefully matching the lighting – its direction, intensity, colour temperature, and shadow placement – so the satellite doesn’t feel out of place. Fortunately, the shot we used was static, which helped avoid the added complexity of camera tracking. If the camera had been moving, we would have needed to account for changes in perspective and scale – something that’s far more technically demanding and time-consuming.
Colour consistency posed another major hurdle. We edited the film across multiple computers with different monitors, which made colour grading a real challenge. Without proper calibration, what looked right on one screen could appear completely off on another. This became especially tricky because we were trying to emulate the distinct visual style of early Tokusatsu films – a look that’s quite different from modern digital aesthetics.
On top of that, the visual effects overlay we used processed colour in unique ways, which caused noticeable differences between shots. Matching those differences and bringing everything into a unified look took a significant amount of time and effort. Every adjustment had to account for both the desired tone and how the effects altered the image. It was a meticulous process, but one that ultimately helped the film achieve its intended style.
Being there and working with the team, I can’t help but appreciate their dedication and resilience, who pushed through countless late nights of replaying the same scenes over and over – tweaking cuts, refining transitions, and adjusting timing down to the frame. Editing can be an exhausting and often thankless phase of the process, but they braced through it with patience, focus, and true perseverance.Â
Their commitment reminded me that filmmaking isn’t just about creativity – it’s about endurance, collaboration, and the shared belief in what we’re creating. In those long, repetitive hours, we weren’t just editing a film – we were shaping a vision into something real, together.
đź’ˇ Final Thoughts
Why does a painter paint a painting he’s not planning to sell?
The making of a film (or any form of artistic creation) is a vulnerable journey. You are letting yourself be open to all matters of criticism and I think that’s not easy. You part with however much of yourself you decided to put in the work, your vision, your touch. It may not be perfect, but it’s a part of you.
Creating The Null Cat was an incredibly rewarding experience. It gave me the chance to experiment with new techniques – like incorporating basic 3D visual effects – and to step into a project that was entirely my own.Â
Seeing it come together, despite the challenges, left me with a deep sense of fulfillment. More than anything, it opened my eyes to the creative possibilities that lie ahead and sparked a desire to take on even more ambitious projects in the future. I’m excited to keep making films – but above all, I’m committed to growing both as an artist and a technician, continuously improving with each story I tell.
This film would not exist without the passion and dedication of each person involved. From the production assistants who helped keep check of welfare, to the friends who offered their time and labour, to the family members who offered endless encouragement (and houses to shoot in), and to Position Five for supporting this project through and through. Thank you.
About Author
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Rifqi Aqhari is a Film, Sound, & Video Alumni. Loves to tell visually creative and artistic stories. He brings a thoughtful, hands-on approach to every project – whether working behind the camera, in the editing suite, or developing ideas from the ground up.