indecision
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Reflection
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What you were trying to achieve in terms of critically communicating about Symmetry and the Arc Shot in Film and explain the method in which the editing process was used to attempt this?
Arc shots, also known as hero shots, are characterised by a camera rotation that introduces the primary figure in a heroic and favourable light. By doing so, the character is introduced to or reintroduced to the viewer as the show’s hero, and they gain a sense of importance. I built a short narrative around this definition, and the protagonist reappears as the film’s hero. But unlike your typical hero, my creation is a hero of the story simply because he triumphs over the mental obstacles brought about by his own mind. This is a struggle that every “hero” faces on a regular basis. A simple way to put it is that I want to speak to the invisible battle of those who may be neurodivergent or who have problems related to attention-deficit/hyperactivity disorder (ADHD) or similar disorders. The name “indecision” comes from the fact that their idea of normalcy is always battling with themselves over all of the decisions they must make, which can be very draining at times.
In “indecision,” there are two principal arc shots. The first is an arc shot over the protagonist’s phone, a smaller and less impactful shot designed to ease the technique into the narrative. This arc shot also symbolises a behavior common in individuals with ADHD known as “hyperfocus,” which is an intense state of concentration. Those with ADHD often struggle to control their focus, finding some tasks challenging to concentrate on while being completely absorbed by others. My initial concept was to create an arc shot over the phone, incorporating lighting changes to signify the passage of time. I had several ideas, such as moving the light around the phone, but the small room made this difficult. Another idea was to take hyperlapse photos and stitch them together, but this was also unsuccessful due to inconsistent lighting and shot sizes. Ultimately, I decided to capture a time-lapse of the corner, where the light streaming in through the window made for some intriguing shadow patterns that altered throughout the course of the shot. I believed that would make for a visually captivating arrangement when combined with the arc shot in the edit to show the passing of time.
The second arc shot is a portrayal of the protagonist. This shot conceptually signifies the protagonist’s re-emergence as a hero, having battled indecisiveness and ADHD paralysis—a condition also known as executive dysfunction or task paralysis, characterised by an inability to begin, complete, or maintain tasks due to overwhelming anxiety, stress, or mental fatigue. As the narrative unfolds in “indecision,” the protagonist overcomes this paralysis, and the arc shot captures this triumphant moment of determination. Technically, executing handheld arc shots presents a challenge in maintaining smoothness; any wobble or shake is visually unappealing and undermines the shot’s intent. To address this, slow motion and speed ramping effects were applied during editing to highlight key visual elements and condense less visually engaging segments, thus minimising screen time. The speed ramping also subtly conceals any imperfections in the footage’s smoothness. Additionally, a few keyframes were adjusted to brighten the image, reduce vignetting, and lower contrast towards the end of the clips, enhancing the protagonist’s moment of triumph.
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How did your preproduction/production/post production process go and what would you do differently/improve next time?
Pre-Production
Most of the pre-production process was smooth because I had a clear vision of what the film would look like. The only uncertainty in the narrative was whether to depict the protagonist struggling between “work or play games,” as this dilemma could apply to anyone, not just a neurodivergent individual.
Ultimately, I adjusted the script to show that he had to persuade himself to make a phone call. Additionally, based on feedback from Cat, I experimented with creating a floor plan and blocking map, which turned out to be quite helpful. I didn’t need to design shots on the shooting day since it was already done. The blocking map will definitely be a useful addition to my pre-production kit for future projects.
Shot List Assignment 2 April 2024
Production
Although everything takes place in one location and the story doesn’t appear particularly complex, it still took up to three days to film. I ended up editing out all of the unnecessary extra shots because the project criteria only allow for 2 minutes, even though I filmed considerably more than that. I failed miserably in my planning due to this time constraint. The eventual product diverges significantly from the initial concept and script because of this. Although shooting more is generally a good idea, there may be times when it isn’t possible due to constraints such as project requirements and deadlines. I intend to give these considerations greater weight going forward.
Post-Production
Based on the reading, I have experimented with Hullfish’s “project organization” method (2017). While not as comprehensive as his system, I organised all my footage in Premiere into separate bin folders by date and sorted my audio into production sound and SFX folders. This proved to be quite useful, as I can easily revisit the folders to locate any footage I might have missed or misplaced. It’s definitely the start of a good habit, and I hope to integrate this practice more thoroughly into future projects.
Additionally, this is another project where I did not use After Effects at all. Instead, I focused all my attention on sound design and colour grading. For this project, sound plays a crucial role in depicting the protagonist’s struggle within his train of thoughts. The overlapping voices lead to a dramatic moment where he valiantly overcomes them by shutting the voices out. Making a decision may seem trivial, but for individuals with ADHD, it can be as challenging as portrayed in the work. According to Dakic (2009), the use of sound can either directly tell the story or indirectly enhance the movie’s effects. To successfully recreate that feeling, a composition of music and sound effects was layered, not just to enhance it but also to offer the audience a different perspective on what it’s like to have ADHD.
In terms of colour grading, I have chosen a colour theme based on the “Color Scheme Cheatsheet,” giving my image a slight blue hue in the shadows and a subtle green shade in the midtones. According to Risk (2020), the “cheatsheet” suggests that blue conveys feelings of “cold” and “isolation,” while green evokes an “ominous” sense. In addition with the exaggerated contrast look, I aimed for the image to reflect a theme of depression, with a hint of dark green to also signify sickness, foreshadowing the mental and emotional turmoil the protagonist endures.
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Your reflection should also include commentary on what you thought the most and least successful parts of your Symmetrical Arc Shot were, and why so?
The arc shot featuring the phone proved to be the most challenging aspect of the project. Without access to a dolly system, achieving the desired smoothness was a struggle despite numerous attempts. My initial vision of incorporating changing lighting within the shot added to the complexity. Moreover, my stubbornness in trying to achieve this vision led to delays in the project’s progression. In hindsight, I realise that perhaps I should have been more flexible and willing to adapt to achieve the desired result within the constraints of the production.
The project was primarily filmed using natural light, supplemented by artificial support lighting during production. I focused more on the visual quality and the effect of lighting on the scene, especially with the added technique of exposing for the LOG footage. I was quite pleased with how the final color-graded image turned out when the subject was properly lit. Although some shots were not the best and lacked synchronization, I would say that overall, the work turned out quite well.
Reference
Dakic V (2009) Sound Design for Film and Television, GRIN Verlag, Technical University of Berlin.
Hullfish S (2017) Art of the Cut: Conversations with Film and TV Editors, Routledge, New York.
Risk M (2020) How to Use Color in Form: 50+Examples of Movie Color Palettes, StudioBinder website, accessed 18 April 2024. https://www.studiobinder.com/blog/how-to-use-color-in-film-50-examples-of-movie-color-palettes/
Timeline Screenshot
