My group’s final film ‘Hung’ tells a story that is emotional and dark, yet cruelly true to reality, where many audiences could watch it and empathise or even relate to the characters in some way. My roles on Hung were Assistant Director and Distributor. The story engages its audience by building tension and anxiety which is felt through the protagonist and projected off screen onto the audience. Though inevitably realistic, the ending of Hung is still shocking and upsetting to viewers which was accomplished through the techniques used during production and postproduction. In the book ‘Cinematography Theory and Practice: Image Making for Cinematographers and Directors’ Blain Brown explains that choosing the frame is “a matter of conveying the story, but it is also a question of composition, rhythm, and perspective” (Brown 2011). During the filming of the emotional final scene, we wanted to establish shots where two people across a wide room were looking at each other. This involved shooting from multiple angles that could be interpreted as perspective shots. The framing of these were also important in highlighting the emotional impact of the scene where we held the shots, allowing the reality of the situation to sink into the characters as well as the audience.
Though I could not attend the studio exhibition, I have received a lot of feedback in regard to the film who have said the themes of the story were very strong and emotional. The combination of editing, acting, shot framing, and pacing have allowed the film to come together well. Pacing is relevant because in class we discussed the importance of the element of time being an important factor especially when creating a short film. The book ‘Film Directing and Fundamentals: See Your Film Before Shooting’ discusses the importance of time and place where Nicholas T. Proferes says “we shorten (compress) what is boring and lengthen (elaborate) what is interesting.”. During postproduction editing, we utilised this idea by lengthening out shots that were key to build tension or display certain emotions. I think doing this was one of the most positive and successful aspects of the end result of our film. I think the cinematic experience is one that is overlooked when discussing the enjoyment of a film. While I did not see Hung in a dark cinema, and on a cinema screen, multiple people have told me the viewing environment was perfect for a film such as Hung. The darkness, the quiet, and the focus of the audience on the film allow emotions to be at their most vulnerable. In ‘On the Evolution of Film Theory’ by David Fenner, he explains that “One cannot pause a cinematic experience; one cannot see anything beyond perhaps the exit signs.”, and that “This enveloping is essentially a central characteristic of the cinematic experience”. During production, we would try to create moments in the scene that were especially cinematic and would appear so especially on a big screen to really intrigue our audience.
The most problematic aspect of the entire film process was probably timing where all crew felt quite rushed for time and stressed with the minimal amount of preparation we were able to do before our shooting days. We all handled this very well though and managed to all contribute our part so that what needed to be done, got done as efficiently as possible. As distributor, I would have liked to have more time to promote the film in different ways, however due to the time crunch, we finished editing the film very last minute, so making a potential trailer was not possible. However, I am happy with how I was able to promote the film through Playback Film Festival posts, an interview, as well as some last-minute posters. If we had more time to complete this project, I would definitely work on a very short trailer that could be posted to spread word of mouth. In terms of the film itself, I think more time would have allowed us to trial different editing techniques. While we were able to do this to some extent, we were more so focused on having a completed film, than taking the time to explore styles of editing and colour grading.
One key thing I’ve learnt from my studio experience is how important a good concept is for a short film. A short film has many disadvantages to a feature length film, the main one being the time, so it is very important that what you are putting in the film is carefully selected and used with meaning so that the film makes sense and is entertaining throughout the entirety of the film.
As Assistant director and distributor, I was lucky enough to work with everybody on set, as well as the crew involved in post-production/distribution work. This was a very positive and enjoyable experience as everyone put in the effort to make the process go as smoothly as possible. We worked together on set, and in post-production, collaborating ideas, listening to everyone’s advice and opinions. Making the studio poster was a rushed process as we were waiting on stills from all groups, but once myself and the other distributors were given these, we got together and came up a brainstorm of ideas that finally gave us the final Studio poster. A lot of it was done individually, but all distributors were contributing their thoughts virtually. I think that my biggest takeaway about working collaboratively is how important all communication is between all crew. I knew this was important, but I’d never been so responsible for the communication on a project as I was on this one. Everybody needs to be on the same page at all times. If there is the smallest change made by someone, everyone needs to know or there becomes a level of confusion that is never resolved.
Overall, I had a great experience working as part of this studio.
References:
- Brown B (2011), Cinematography: Theory and Practice: Image Making for Cinematographers and Directors, 2edn, Taylor and Francis Group.
https://ebookcentral.proquest.com/lib/rmit/detail.action?docID=720723&pq-origsite=primo
- Proferes N (2001), ‘Film Directing Fundamentals: See Your Film Before Shooting’, Routledge Taylor and Francis, Amsterdam.
- Fenner D (2021), ‘On the Evolution of Film Theory and Aesthetics’, Journal of Comparitive Literature and Aesthetics, 44(3):107-114.
https://www.proquest.com/docview/2705446797?accountid=13552&sourcetype=Scholarly%20Journals