Exercise 6

This exercise was particularly difficult, as it was the first time our group attempted to produce work from a text that presented more than One character in a given location at the same time. Requiring substantial planning beforehand, my team and I were able to translate the geography of our respective spaces through a group discussion, where we were able to understand where particular camera set-ups, shots and actor positioning would best suit the scene and provide the desired illusion of two characters present in the same space. We came to the decision that the best way to translate the locality of both characters was to utilise clean space and white walls. By having Esme and Irma’s respective shots filmed against a majority white backdrop, and with slight colour grading we were able to provide a sense that both performances were happening only meters apart.

I approached the edit with the intention of best communicating a well established rhythm of the character’s interaction. For the most part the piece had a good flow, especially with the presence of Irma’s non-verbal performance, which added some visual diversity throughout Esme’s longer bits of dialogue. While largely happy with the edit, a few minor tweaks would have made it an even better display. Following the outside establishing shot, I decided to present the majority of the Zoom call reading by using the slightly low angled MCU shot of Esme. However, once Irma was introduced into the scene, that same MCU of Esme wasn’t as much of a suitable choice. Reflecting on this, I noticed the angle of Esme’s MCU during her interaction with Irma was a little bit too low and could have benefited from a slight adjustment.

As the zoom call reading had a more intimate feel, the choice of using a lower angle MCU was suitable. Though this wasn’t the case for when Irma was introduced into the scene. A change of mood, required the scene to visually open up. Looking back on this, I feel the use of slightly wider shots of Irma and Esme would have been more suitable for this sort of interaction. This would allow for the closing CU of Esme to once again signify a change of mood and pace, as we direct attention towards Esme’s visible mellowness.

Exercise 7

Being some of my group’s best work to date, the success of this exhibition was largely due to our strong collaborative process which I mentioned earlier. Due to the nature of the provided text, we felt compelled to approach our shot construction and editing in a more creative way. The text’s opening dream sequence allowed us to provide an unconventional display, which saw us make use of dutch tilts and editing choices that presented the audience with imagery that gave off a subtle uneasiness. Our desire to create an odd display of this sequence was driven by the need to differentiate Esme’s dream-world with her ordinary world. Each group member approached this a little differently. Though working with the same collection of footage, each member of the group produced slightly different interpretations. In comparison to other edits made by fellow members, my edit took a less measured approach which quite quickly implied that what was being shown was in fact a dream. With the use of a strong colour grade, a treatment of the audio track, which contained additional reverb and a deep droning sound effect, it was clear that this was In fact a dream. Other interpretations of this sequence had a more simple display, which left room for the audience to wonder what was going on for a little longer; and question whether or not this was a “real” occurrence or Esme’s mental recollection of past experiences. 

This exercise once again showed a great attempt of editing different locations together and making them look as if they were the same location housing the one interaction. However, difficulties executing moments in the script saw some performative errors that had to be resolved through editing techniques and decisions. A moment in the script required Esme to exit out the same doorway Irma was standing in, followed by Irma’s glance at the laptop. This was not physically possible for obvious reasons. Nevertheless, it was possible to achieve this through editing and performance. Though, an oversight in our plan saw minimal consideration for this moment, which ultimately meant we did not meet the performative requirements to make this an easy editing fix. 

The absence of a clear relationship between Esme and Irma’s footage in the final moments, meant it was hard to edit together Irma in the doorway and Esme’s exit. This was due to the absence of a shot capturing the moment Irma makes way for Esme to exit through the same doorway. Luckily there was footage that showed Esme leaving her chair and walking out of frame, which allowed me to hold the same shot for a little longer. By laying footsteps, shuffling sounds and Esme’s V/O dialogue underneath this footage, I was able to provide the illusion that the exit occurred. Then by ending the sequence with Irma momentarily stationed in the doorway, visibly affected by the interaction, followed by her own exit, I was able to complete the moment.