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

Links to an external site.

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.

Say Grace

Reflection

• 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.

• 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.

• You will present all that you’ve worked on since Week 8 – your pre-production, experiments, images, clips, scenes, tests

• This could include the draft edits, sound mixes and colour grades – and of course, the reflection associated with it 

• 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.

Shot List “Say Grace” 2024

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.

• 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.

• 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.

During the sixth week, the deadline for task 2 is getting closer and closer. I’ve come to realise that the development of the symmetrical arc shot might be difficult, despite the fact that the locations and the tale I was striving for are very straightforward. Consequently, after obtaining input from Cat, I drew up map designs that incorporate the blocking of the skills as well as the blocking of the camera. I don’t have to rethink or design the shot for where everything should go during the shoot since I have already imagined it and noted down the blocking map the night before. This proves to be incredibly handy on the day that we are shooting because it eliminates the need for me to do so. It is wonderful because otherwise, either time would have been wasted or the battery on my camera would not have lasted until the end of the day, which would have resulted in the shoot being stopped. Once more, I have realised that in order to achieve success during production, it is essential to thoroughly plan out the pre-production phase.

During week five, we had a really informative colour theory class. By exploring the intricate world of tones, shades, and tints, we sought to understand the emotional effects of colour combinations, patterns, and patterns of tone. The psychological effects of colour was one of many fascinating subjects we covered. Cool blues have a relaxing effect while bright reds create an energising ambiance; the power of colours to influence our mood and perception is astounding.
On top of that, we looked at colour harmony, which showed that certain mixes are visually pleasing and cohesive, while others are distracting. The world of aesthetically stunning images got vastly more accessible after understanding triadic, analogous, and complimentary colour schemes. It’s intriguing to see how a color can carry different meanings, from orange representing happiness and blue representing sadness, from red could be ominous but also is the colour of love or how green could be a shade of toxicity but at the same time nature.
Colour is more than just a color—it’s a powerful tool for conveying meaning and feeling, as the idea it introduced shows.

Additionally, we were instructed to share our pitch in small groups. I felt this was intriguing since we got to debate our ideas and discover what would and wouldn’t work based on rapid response from our peers. It provided me with an opportunity to strengthen my previously worked-on proposal by considering new perspectives from my peers.

This week’s studio focuses on sound design. Examples from success show productions that I have personally in fact seen, such as Silo and The Last of Us, demonstrate the strategies and methodologies utilised to create hauntingly beautiful compositions that deeply resonate with audiences. As how audio is a very crucial part that can easily make or break a film based on the quality of the sound recorded, the sound effects mix, and the quality control in the editing, in my opinion. I am fascinated by the idea that sounds in a film are important because they may create ambience, elicit emotions, influence the plot, and paint a picture for the audience. This has been something I’ve been focusing on and nearly obsessing over in recent work, with the ultimate goal of enhancing my filmmaking abilities. Furthermore, if not already, I plan to continue improving my audio design skills for any previous or future work. I recently saw a piece of media in which the creators emphasise and show his editing timeline with a catchphrase that resonated with me: “The more mature in filmmaking you are, the more of your timeline would look like this,” which he’s indicated in his premiere timeline where there are numerous different audio tracks as opposed to the video tracks where there are only a couple of adjustment layers. And I can see my timeline is gradually improving similar in this way.

The “golden ratio,” previously covered in week 3 of our studio’s topic, is an idea with long roots in the visual arts and design that also has important applications in the film industry. This mathematical theory explains a ratio that is thought to produce visually beautiful compositions; it is present in nature and is sometimes referred to as the heavenly proportion or the golden mean. As far as I can tell, filmmakers would frame items according to the golden ratio to make them look balanced and harmonious. If you want your visuals to be aesthetically pleasing, emotionally engaging, and an asset to the film overall, you should follow this ratio. Filmmakers take great care to frame their shots in accordance with the golden ratio by positioning characters, objects, and topics either inside the spiral or along the lines that cross it. Not only does this method increase visual appeal, but it also gives the impression of symmetry and proportion to the frame. Speaking of symmetry, the pre-production process of Assignment 1 was finalised, which led me move on the production and location scouting in particular. However, symmetrical buildings and structures are not common nor easy to conduct filming. Consequently, most of the shot I composited involved actors blocking and staging to make it seemed symmetrical.

Exploring further into framing and perspective within the frame during the second week of the studio proved to be an enlightening experience. We delved into the realm of masterfully crafted shots from films like “2001: A Space Odyssey” and “The Grand Budapest Hotel,” which showcased a variety of visually stunning compositions. These shots were akin to kaleidoscopes, blending realism with artistic flair to create captivating visual narratives.
As I worked on refining my pitch, I received valuable advice from Cat to add more depth to the characters’ backstories and the story’s content. Upon more reflection, I came to the following realisation: the central idea of our assignment, “Life is better with a companion,” was expressed not just by the story’s main theme but also by its rich texture and depth.
“Life is better with a companion” alludes to the fundamental human need for social interaction and companionship, providing a deeper definition of this idea. The idea is that it doesn’t matter whether we’re happy, sad, triumphant, or defeated; what matters is that we share our experiences with others. We are shaped and impacted by the companionship we have, which offers support, understanding, and a feeling of belonging.

This week, we were introduced to the concept of symmetrical filmmaking, specifically focusing on the works of Wes Anderson and Stanley Kubrick. I was particularly fascinated not just by the visual aspects of Wes Anderson’s works, but also by the technique he employs in his filmmaking. Specifically, the practice of editing in a rhythmic manner. Through an in-depth investigation, I have discovered that every action within Wes’s frame is driven by a specific rhythm, song, or musical beat. Furthermore, not only are all shots edited with a precise identical time frame, but in certain instances, the interval is precisely 49 frames.
Furthermore, I am particularly fascinated by the fact that the dialogues in his films adhere to a well-defined rhythm, giving the characters’ talks the quality of a theatrical performance or even a musical number.
Cat, our studio leader, also guides us to a green screen studio that has a huge space, significantly greater than the modest one I had been to before. However, the significantly greater space is also accompanied by a stricter set of rules.