Say Grace
Reflection
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In what ways do you hope your final work (whether individual or group produced) engages its audience and communicated a key concern of the studio?
“Visual Blueprint” has been the most valuable learning experience in my course so far. Coming from a background in visual editing and VFX, which were my core interests in previous studios, I have gained significant new insights and experiences in this aspect of filmmaking. This studio’s emphasis on the “show, don’t tell” principle has been particularly impactful.
Throughout the assignments and especially during this big group project, I learned to compose frames in a visually pleasing manner, adhering to the symmetrical framing style of Wes Anderson and other filmmakers celebrated in this studio. I also had ample opportunity to hone my shot construction skills, sets, and production design through real on-set practice. This hands-on experience has been invaluable in achieving the studio’s principle that “visual storytelling often makes the narrative more dynamic and immersive,” a sentiment I strongly resonate with.
Cat, the studio leader, has been instrumental in this journey. Her insightful “2 cents” have consistently improved everyone’s work, and she has become a significant figure for me to look up to. Her background in audio engineering has significantly influenced my newfound interest in audio design. I now believe, as I did not before, that good sound makes up 60% of a great film. This belief was particularly evident in our project “Say Grace,” where sound played a crucial role in building the film’s horrific and emotional tone.
“Say Grace” features a dinner scene where Ella, driven by self-guilt, reunites with her family after the tragic accident of her sister, Grace. This psychological thriller aims to achieve the studio’s “show, don’t tell” principle while producing symmetrical images and visually pleasing tableau shots, despite the melancholy narrative.
Given that the film heavily centres on the dinner scene, which could involve a lot of dialogue, we leaned into visual storytelling to create a long, awkward moment where no one speaks, as they are all grieving the lost family member. Following Cat’s suggestions, we cut many redundant dialogue elements during editing, resulting in a smoother final cut. This approach aligns with what the group initially agreed upon in the conceptualisation phase: allowing emotions, acting performances, production design, and sound to convey the narrative, rather than relying on dialogue to explain it.
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Imagine you are going to keep working on that media piece (e.g. to screen it somewhere else like a festival, or develop it into a different kind of work, and so on) – what would be the core things you want to improve and extend and why?
If I were to continue working on this project, my first priority would be to improve the colour grading for the second half of the film. To meet the deadline, I had to rush through the colour grading process, focusing less on minor details to leave time for more critical aspects such as sound design and fixing bad framing by scaling. However, a more contrasty and dimly lit look could enhance the haunted, psychological horror aesthetic, especially in the scenes where Ella is reminded of her drowned sister.
Additionally, we could improve the narrative to emphasise that Grace was never actually there, only haunting Ella’s mind, by doing an extra reshoot session to show scenes where Grace’s chair appears empty. As Cat suggested, including more shots of the interiors and exteriors of the locations could also be beneficial. This would help establish the film’s setting while providing opportunities for more tableau shots, fitting the assignment’s requirements.
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You will present all that you’ve worked on since Week 8 – your pre-production, experiments, images, clips, scenes, tests
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This could include the draft edits, sound mixes and colour grades – and of course, the reflection associated with it
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More scene deconstructions and analysis most welcome.
Pre-production
I was primarily involved in suggesting ideas for designing tableau shots for the project and did not contribute much to the scriptwriting process, as it is not my strong suit. While waiting for the script to be ready, I actively searched for suitable shooting locations. Aya and I checked out some potential escape rooms, but most lacked a homey quality. Statistically speaking, we decided that filming in an Airbnb would be better. I then sent out mass emails to request filming permission from locations that matched our desired aesthetic. We initially wanted a cottage with an old, vintage, almost Renaissance look. Acting as the point of contact, a new experience for me, I was pleasantly surprised by how open and supportive most property owners were. Kim, the owner of Apple Cottage, was particularly accommodating despite her initial concerns. She understood our needs, even allowing six of us to stay overnight in her small cottage.
Once the script was finished, Christina and I created a detailed shot list in preparation for the shoot. Given our limited time in the borrowed space, I wanted the shot list to be as comprehensive as possible. From past projects, I’ve learned that better preparation leads to a more productive production phase. As I was expected to handle the camera, I would use the shot list as a checklist during shooting. This allowed me to focus more efficiently on framing and composition, rather than wasting time designing shots on the spot.
Production
We encountered several delays before the production phase. Team members understandably got sick, scriptwriting was delayed, Airbnb availability was an issue, and some talents pulled out at the last minute. As a result, we had to postpone our shoot until the very last minute. Despite these setbacks, I believe this shooting experience was one of the best and most professional I have ever participated in.
On the day of the shoot, Aya and I arrived at the location early, before noon, to check out the place and strategically plan the day. We used gaffer tape to mark out spots, creating a kind of floor plan. We rehearsed and tested camera angles, set up tripods and lighting equipment, and moved tables around carefully to avoid damaging the property, given the small space.
Reflecting on shot design, there is one shot that I initially thought was good but didn’t turn out great on screen. With the studio’s emphasis on symmetrical framing in mind, I tried to block each talent in a way that they could all be visible in the frame while keeping the table and frame symmetrical. I also used the cabinet line as a practical line to isolate Ella from the rest, aiming to make her character feel distant and disconnected. However, due to the tight space, the small table, and time constraints (as it was already late and we hadn’t gone through half of our shots), I decided to stop improving the shot, set up the multicams and moved on with shooting. I now regret this decision, as I believe the composition balance would have been better if I had been able to move people around.
Despite this nitpick, the shoot was very successful. I am grateful that the external talents were patient and dedicated to our small project, staying back until well past 11 pm and looking ahead to another two hours of driving to get home.
Post-production
During this phase, things were a bit hectic due to our tight schedule. After assembling all the shots and completing audio sync, Cat provided incredibly helpful feedback on the rough cut. Thanks to her insights, we were able to navigate the editing process faster and more efficiently. Her expertise in audio also helped us hit all the right emotional and psychological thriller notes.
As the deadline drew closer, Aya came through with the audio design sequence for the accident scene. I was impressed and pleased with her work, as it seamlessly transitioned between the two scenes. As we listened to it, I realised we could progress the narrative not only visually but also effectively through audio alone. Aya also was very helpful in deciding and sourcing sound assets for the audio design. There were nights we stayed up past 3 AM to edit over discord.
Additionally, me and Christina were both working together in colour correcting the footage to ensure consistency throughout. Given that some team members had less experience with Adobe, I often found myself stepping up to assist in order to maintain our standards and meet the coming deadline.
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At least 300 words of the above 800 words must be on Collaboration (over the whole semester). Working individually is just as valid a thing to write about as group work. Appraise how you went with it this semester – its pitfalls, upsides (discuss group work done during weekly activities).
One aspect where we could have been more efficient during filming was time management. We began shooting just after 3 PM, later than scheduled, after waiting for everyone to arrive and be fully ready. During filming, we could have been less particular about certain aspects to avoid reshooting less important shots and keep moving along the shot list checklist.
I felt stressed about the timing, especially around 7:30 PM after dinner breaks, as we hadn’t yet filmed any of the main dinner scenes. I found myself reminding everyone that time was running out and compromising some aspects of shot construction to rush through the final shots. Aya was particularly helpful in suggesting culling down unnecessary shots to keep up with time.
Reflecting on this, I realise I should have been more vocal in reminding everyone about the time, something I need to work on from past experiences. Better planning, including a detailed run sheet, and sticking to it more closely would likely have been beneficial in terms of time management.
Overall, as mentioned, this group work experience, especially during the shooting weekends, was one of the best I’ve had. Everyone collaborated well and took on multiple roles, contributing to the overall fun and enjoyable working environment. Aya handled most of the organisation, from equipment management to printing scripts and catering, ensuring the shoot went smoothly. Maddie assisted happily with recording audio and set design. Christina was also very helpful and supported me with setting up equipment and cinematography-related tasks.
Towards the end, everyone pitched in to clean up the place, ensuring it was returned to the owner in the same condition we found it. I appreciate Tori and her sister stepping in to act when our designated actresses pulled out last minute. Tori’s acting skills and dedication to her craft were impressive, especially in the scene where she had to emerge from the water. Despite choking on the bath water, she offered to do it again if we couldn’t achieve the desired look, demonstrating her commitment. I was genuinely impressed by her dedication to her acting craft.
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C) Write one reflection on, or response to, the content of the Presentation in Week 9 by student work other than your own (minimum 500 words). The link to student presentations to review is here: (LINK TO GROUP PRESENTATIONS HERE
I was particularly intrigued by the pitch of “Three Strikes” by Elsa, Vic, Lloyd, and Lexie after viewing all of the other group presentations. I appreciate the novel narrative concept they have proposed for the assignment, which consists of the introduction of three characters, commences with a cold open, and concludes immediately after the heist plotting is completed. I considered this approach to be intriguing; it is also effective in that the audience could already infer that the heist was successful if the plotting was executed correctly. This narrative structure evokes memories of a scene from the Mission Impossible series, in which the agent’s voiceover was used to review the plans during the planning phase. However, the film also depicted the actions as the voiceover progressed. Once the plans have been explained, the subsequent image depicts the celebrations of a successful heist. The filmmakers cleverly integrate the planning and action phases simultaneously, resulting in an intriguing perspective on the robbery. I also liked the extent to which they were delving into the designs, traits, backstories, and aesthetics of the characters. They also specify that their film will include “three protagonists who are all misfits and diverse in personality.” In which I am reminded of the heist/spy films that I appreciate immensely, such as the Ocean’s series, the more recent ones like Army of the Dead and Army of Thieves, and even films like Knives Out, which feature elaborate, visually captivating character introductions. I also observe that they intend to dedicate a day to investigating locations in order to improve their planning and practice, as well as to test camera angles. I discovered that it is always essential to inspect locations in the pre-production process, provided that they are accessible. This is because it facilitates the planning process, which in turn leads to a shooting session that is both on schedule and runs efficiently. Additionally, it offers techniques for preventing potential complications and anticipating the unexpected. I appreciate the fact that they mentioned the inclusion of a split screen in the edit. When paired with a great music selection, I am confident that they could effectively recreate the aesthetics and emotions of their inspirations. Additionally, it is a very nice way to pay homage to these classic films, which I am confident are beloved by more than just myself. I have observed that they have not adequately addressed the principle of “show, don’t tell” in their efforts to achieve studio prompts or communicate their ideas. However, I recognise that a more detailed and comprehensive production design could further improve and enhance the “show, don’t tell” element in their short film. In conclusion, I found the pitch to be both impressive and distinctive. I am anxious to observe the final product and am intrigued by the integration of symmetrical elements with the classic split-screen character introduction sequence.