the girl of my dreams
[Nam][Tran]_s3794311_Asignment 1_Visual Blueprint_2024 from Media Factory on Vimeo.
Reflection
- Write a written reflection of 1000 words (minimum) of analysis and answer: What were you trying to achieve in terms of critically communicating about Symmetry in Film and explain the method in which the editing process was used to attempt this?
My research into the symmetrical work of cinematic greats like Stanley Kubrick and Wes Anderson has led me to the conclusion that symmetrical effects in film are not limited to visually pleasing compositions. According to Nguyen (2019), each of these narrative devices serves to tell a tale; for example, Kubrick’s use of first-person point of view is what makes his horror films so terrifying. According to Kiraz Robert (2022), the leading lines—the lines in a shot that draw attention to important parts of the scene—are what give a one-point perspective its name. Suspense is built into Kubrick’s work by drawing the audience’s attention to the centre of the frame, where a single individual stands, as if a major event is about to happen. This is achieved by the use of leading lines. In the instance of Wes Anderson, the symmetrical aspects of his film serve to convey his distinctive and humorous point of view. Symmetrical compositions might be quite predictable, says Kiraz (2022). Perhaps that’s the reason why Wes Anderson breaks all the norms of modern filmmaking with his visually striking and stylistically unconventional films—all in the name of preserving the symmetrical film style—and keeping audiences engaged. In terms of Wes’s aesthetic, I’ve learned that he and his editor, Andrew Weisblum, enforce symmetry in their edits and that all of his images must be square with respect to the frame’s corners. His work is more reminiscent of a musical or play than a realistic film because of this rhythmic editing method.
Intrigued by this method, I’ve taken it upon myself to experiment with rhythmic cutting in my pictures, meticulously counting the frames in each one. I went to great lengths to ensure that every shot without music would be cut at 2 seconds, intercutting with jump cuts here and there to emphasise movements. As I often do when editing, cutting shots on the rhythm of the music is not entirely unfamiliar to me. But, taking a page out of Wes Anderson’s playbook, I also let the music define the scenario and the actions of my characters. Whatever it was—a wave, the rhythm of footfall, or even the “little” dialogue I had—fell quietly to the beat of the song. Since Andy was daydreaming throughout the story, I thought it added to the overall dreamy, lovey-dovey vibe of the narrative.
In addition, I would like to employ symmetry philosophically in my storytelling. Thus, while conceptualising the film, I came up with the idea that life is better with a loved one. This idea serves as the work’s or film’s as a whole centre theme. Using symmetry approaches, such as juxtaposing views of the protagonist alone with shots of them with a companion, this is shown. The purpose of these contrasts is to emphasise the point that being with a companion improves the quality of life in any given circumstance. 
- How did your preproduction/production/post production process go and what would you do differently/improve next time?
Pre production
Shot List Assignment 1 March 2024
Initially, my pre-production presentation revolved around the concept of symmetrical shots, contrasting the protagonist with his significant other and depicting him alone.
After obtaining feedback from the tutor regarding the need to enhance the development of backstories, narrative, and concepts. By constructing additional elements, I was able to create a story in which the main character engages in daydreaming. This ultimately adds intrigue to the work, as evidenced by the lifelike nature of his “dreams” depicted in the movie. Having learned from this experience, I have come to realise that in order to construct a compelling narrative, it must be supported by a substantial amount of substance. Utilising it as a foundation to expand upon and thus creating a more comprehensive narrative that might potentially resonate with the audience, which is a fundamental objective for all filmmakers.
Production
Moving to the production stage, we encountered delays due to the illness of both the talent and me. Consequently, the scheduled day for filming was cancelled. Due to time constraints during filming, I made an effort to efficiently capture and record as many scenes as possible within a single day.
In my endeavour to progress personally, I have been attempting to create films with minimal reliance on distracting visual effects (VFX). However, this necessitates a greater level of commitment in both the production and pre-production stages. For instance, various types of shots, sizes, and angles, lighting techniques, interesting yet realistic camera movements, blocking, framing, camera equipment, audio recording, and so on. During the filming day, I find it somewhat challenging to manage the tasks of scouting location, staging, setting up the camera, preparing the tripod, and also organising the audio equipment as a solo crew member. I frequently have a delay of around 20 minutes when setting up everything, in contrast to a 3 to 5 second shot. In addition, due to the characteristics of my external microphone being an XLR connection to a different recorder, managing them alongside other variables proved to be complex and certainly time-consuming. Given this information, I might look for an XLR to 3.5 mm connector to establish a connection between my camera and microphone for solo shooting in upcoming projects.
Another problem arose when I attempted to capture the golden hour for my montage shots. Upon reviewing the app, it seems that the golden hour is expected to last for one hour on that particular day. Consequently, I believed that I had ample time to get my images, so I took my time in order to achieve perfection. However, the light behind the cloud diminished quickly after 20 minutes and soon became dark, which was disappointing as it meant there was no longer sufficient light to film with. In the future, I will adopt a more proactive approach and prioritise the urgency of matters that are beyond my control, rather than focusing on my personal desire for perfection.
Post production
By prioritising a goal of minimising reliance on post-production effects, I found that the post-production phase was notably less time-consuming compared to my usual workflow. Instead, I shifted my focus towards enhancing the sound production aspect, drawing inspiration from my experiences in various studios and the invaluable lessons they imparted. I’ve come to firmly believe in the adage that great sound is pivotal to crafting a great film.
As Dakic (2009:2) aptly notes, sound serves a grammatical role in the filmmaking process, acting as a vital “form of continuity and connective tissue for films” and for the narrative in particular. This belief has only been reinforced through my own experiences. Regardless of the visual brilliance of a film, I’ve learned that lacking in quality sound can significantly diminish the overall impact and quality of the work.
By investing more time and effort into sound production, I’ve strived to ensure that every auditory element complements and enriches the visual storytelling. This approach not only maintains continuity within the film but also elevates the immersive experience for the audience, underscoring the importance of sound as an integral component of the filmmaking process.
- Your reflection should also include commentary on what you thought the most and least successful parts of your Symmetrical Film Sequence were, and why so? (This reflection should include the questions in dot points with answers in sentences/paragraphs).
In reflecting on the film sequence, I found that the close-up motion tracking shots at 00:33 and 01:18 were perhaps the least successful parts. The final result was disappointingly blurry and failed to achieve the desired effect. Upon analysing the process, I realised that the original shots involved a lot of motion, as I had to walk backward while balancing the camera. Consequently, when tracking the motion and attempting to stabilise it on a focal point, the resulting effect was jittery rather than the smooth motion I had envisioned.
Furthermore, in order to film in slow motion, I had to crop the frame and record only in 1080p, whereas the rest of the footage was in 4K. This led to a noticeable degradation in quality when zooming in, which detracted from the overall visual cohesion of the sequence. In future projects, I will consider filming stand-a-lone shots separately from slow-motion sequences if time permits, to avoid compromising on quality.
On a more positive note, the standout success of the sequence was undoubtedly the sunset shot, which served as the captivating thumbnail. It stands as one of the most beautiful shots I’ve ever captured, hands down. Beyond the visual appeal, I am content with the audio processing I implemented. While I do have some concerns that the audio may have been occasionally overwhelming, I agree with Dakic (2009:5) that audio played a crucial role in establishing the atmosphere and artificial “presence” of the various locations featured in the film.
By layering and mixing music, ambience, and effects, I aimed to imbue each scene with a distinct atmosphere, despite the absence of dialogue. The use of transition whooshes and stings further enhanced the sense of motion and intentionality in the editing, resulting in a more immersive viewing experience.
Reference
Dakic V (2009) Sound Design for Film and Television, GRIN Verlag, Technical University of Berlin.
Kiraz R (2022) Elements of Composition The Complete Guide Ebook: Visual Principles for Art, Photography, & Film, StudioBinder Inc.
Nguyen T (2019) The Art of Perspective in Cinematography: One-Point Perspective, Symmetry, and the Golden Curve, Medium website, accessed 27 March 2024. https://medium.com/@tuyettrangnguyen95/the-art-of-perspective-and-symmetry-in-cinematography-one-point-perspective-47158772a23e
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