1> In what ways do you hope your screenings/exhibited/screened work (whether individual or group produced) engaged its audience and communicated a key concern of the studio?
At dinner in “Say Grace,” Ella, who is haunted by guilt over her sister Grace’s death in an accident, gathers her family together. Despite its gloomy plot, this psychological thriller strives to fulfil the studio’s “show, don’t tell” approach through the use of symmetrical imagery and aesthetically beautiful tableau shots. Considering the film’s focus on the dinner scene—which might potentially feature much dialogue—we relied on visual storytelling to craft a lengthy, uncomfortable scene in which no one speaks, as they all mourn the loss of a family member. Using the screenplay and shot list as a “visual blueprint”, we created enigmatic and eerie aesthetic settings to establish the film’s tone through deliberate attention to detail in visual storytelling. Additionally, we strive to minimise dialogue in order to maximise screen real estate for character expressions, such as the mother’s panic over the wine spill or the daughter’s escalating anxiety leading up to the climax, during which she experiences hallucinations, disorientation, and a loss of time and space as a result of her trauma. This trauma transports her to the night of the accident, where she attempts to rescue her sister but realises that she is no longer there.
2> 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 would want to improve and extend and why?
As previously indicated in the reflection, in addition to the colour grading and the additional worldbuilding shots, we would also like to enhance the script and narrative. This could involve a more in-depth exploration of the protagonists’ backstories and a subplot that is related to the reason for Ella’s visit to her parents. We believe that our current film is either a bit too fast-paced, with a plethora of details occurring in a brief seven minutes, or that it could benefit from a more in-depth examination of the emotions and expressions of the characters, which could be achieved through additional screen time. Furthermore, the narrative appears to be moving at a hurried momentum; it is possible that the cadence could be enhanced through more meticulous editing to ensure that the plot progresses more naturally.
3> From your studio, reflect on an aspect of two other students/group’s media work on the website in terms of specific insights they produced about a key idea addressed by the studio? Visual Blueprint Studio Website: https://www.mediafactory.org.au/2024-visual-blueprint
From the presentations in class, I was already interested with the pitch of “Three Strikes” by Elsa, Vic, Lloyd, and Lexie. Their concept was somewhat innovative and intriguing to me. Upon viewing it on the big screen, it is evident that they have successfully executed their visions and exceeded my modest expectations. Initially, I believed that the concept was not only uniquely bold but also somewhat difficult to accomplish. I always believed that comedy was a challenging genre to master. Nevertheless, upon viewing it, the group has effectively accomplished good humour. The Professor’s serious “all work no play” character and Lady Butterfly’s “don’t care” attitude are a lovely juxtaposition. I also find the dialogue between Spi and Lady Butterfly to be quite amusing to listen to. In my opinion, these “bits” of humorous moments could be further enhanced with a little more intricate sound design. In addition, I appreciate the group’s utilisation of visual storytelling techniques to establish the dynamics between characters. It effectively communicates and adheres to the “show, don’t tell” philosophy of our studio. A prime instance is the exceptional quality of the production design elements. The initial introductions of each character, particularly Lady Butterfly’s pink and fabulous bathtub and Spi’s rustic home with a full-on detective atmosphere, are particularly appealing to me. Lady Butterfly, in particular, is a character who has the minimum dialogue; however, the audience is able to discern her characteristics through the set, props, and costumes. In terms of cinematography, I am particularly fond of the top-down shot of Spi gazing upward at his planning board, which has also been featured as the posters for the film. The lighting, the dim vignette effect that extends over the frame, and the props details in the background collectively produce such a visually stunning and intriguing image.
Upon seeing the film “COMITIUM” by Joel Bernoth, Fida Chowdhury, and Gabby Li, it becomes evident that they skilfully used the “show, don’t tell” philosophy, a fundamental concept that we place great emphasis on at our studio. This kind of storytelling immerses the reader in the protagonist’s inner turmoil by allowing for a detailed examination of the subconscious and the fallibility of perception. Their film centred on a young guy who encounters a creepy masked group conducting a ritual, as the film progresses, he finds himself difficult to differentiate between his nightmares or reality. What stands out most are the meticulously arranged masked characters and the use of tableau symmetry shots. This method adds to the film’s spooky, ritualistic vibe while also making for stunning visuals. In addition, the film’s steady pace also gives it a strong, deeper layer, allowing the audience to feel every emotion and come to every realisation with the protagonist. I particularly appreciate the night sequence in which the protagonist abruptly awakens from his paranoia. I noticed that the lighting effectively intensified the eerie, unsettling atmosphere. As there was no spill of light into the surrounding area, the protagonist’s appearance seemed almost consumed by the darkness, it also seemed that surrounding him, there is nothing else, but darkness. I also appreciate the sound design. Frequently, the wind serves as the sole aural element, which I believe serves to accentuate the isolation of the single-person narrative.
4> For the other studio website you engaged with, describe a key idea that you think the finished media/studio work communicated with reference to a specific example (i.e. a particular individual/group work) Please note the name of the studio and the name of the work
In the scene in cinema 2024, Kevin Sun’s “Picture the Moment” was recommended to me. He characterises his work as an endeavour to replicate the “Ghibli Aesthetic,” which entailed the integration of visual narrative techniques, including framing and compositions, in a manner that was inspired by the beautifully executed images in Studio Ghibli films. I was astounded by his framing work; his images depict landscapes that are both aesthetically appealing and naturalistic. A significant number of them feature symmetrical elements and a variety of wide shots with well-balanced, well-thought-out compositions. This appreciation led me to the realisation that this work could readily be distinguished in our studio, Visual Blueprint.
In this regard, I am of the opinion that his work effectively communicates and embodies the studio’s objective, which is to investigate the ways in which coverage/decoupage images can improve the overall narrative of the film. I discovered that the narrative is quite simple; in essence, it pertains to a photographer who employs his friend’s camera to capture images in the heart of Melbourne. Nevertheless, the narration is elevated to a greater depth by the coverage sequence that is present in the work. The photographer’s emotions are characterised by his passion for photography, but he also experiences a sense of isolation and loneliness each time he gazes into the viewfinder. He is ruminating about his old friend, who now seems no longer. However, he senses a faint sense of connection in each photograph he takes. The creator, Kevin, appears to believe that his current work is different to the version that incorporates copyrighted Ghibli Studio music. However, I have not watched the earlier version. I would venture to say that just by the framing and cinematography, in conjunction with the current music, have resulted in a stunning portrayal of the Melbourne city that is reminiscent of a Studio Ghibli film, which was what he initially aimed to achieve.