For my final assignment, I was the DP for “Bicycle” directed by Oscar Li, and “Muted” by Eiman Khai. “Bicycle is a short film about Emile – a girl trying to be on time for her interview and finds a time machine in the elevator by coincident and “Muted” is about Tyler, who has a warm heart trying to do his best to make his muted brother happy. Developed as part of the From Concept to Cut studio, this project aims to engage audiences through sensory storytelling and emotional triggering—these two films are inspired by missed emotional cues, family relationships, and daily moments. Especially “Muted”, this film invites viewers to feel rather than be told. This reflection is to discuss my experiences during shooting and key things I recognize after this course. It also evaluates the most challenging and successful parts while working on this project and sees what I can do to improvise this film in the future.
“Muted” and “Bicycle” have different goals for the audience. While “Muted” is a film about family relationships, aims to trigger viewers’ emotions, “Bicycle” is more like a film to entertain with funny and unexpected situations. With a lack of dialogue, “Muted” explores the theme of disconnection and reconnection within the family, whilst “Bicycle” is about the powerless and daily situations. Fortunately, both films were well received and enjoyed in the exhibitions.
One of the most successful parts of our filmmaking process was the friendly and supportive atmosphere while on set. From the beginning, the crew agrees to prioritize the actor’s/actresses’ comfort, so we try to communicate openly and encourage the cast to improvise the dialogue by leaving some blanks in the script. By doing that, we hope to make the cast feel more confident and can express their true personalities. In the end, we got some amazing shots such as the heart-warming moment when Tyler shows her muted brother how to play drums in “Muted”, or the dialogue between Emile and the receptionist in “Bicycle” which is both funny and natural. Another key success I noticed after two days of shooting was the director’s decision to limit the number of filming locations. There were only two main places that we were filming at, a small room that we booked on Collin Street and Carlton Garden. I think this choice was practical and forced the whole crew to think more creatively, because of the lack of spaces and settings, we had to redecorate the whole room and be careful in choosing the right camera angles and lighting setups. As Tromp said “Increasing constraints – and thereby decreasing choice and limiting options – actually promotes creativity” (Tromp, 2022), even though the locations prevent us from shooting from the same angle and framing we had a plan, and we have found ways to change the camera position and explored many angles that were not in the shotlist but it looks way better. This encouraged the crew to try new ideas during shooting. However, we still faced some obstacles, in the first shooting day of “Muted”, we planned to place a big Dedo light outside the window and face it toward the window to simulate sunshine, but it did not go as planned. It was raining heavily all day that day so it could be very dangerous if we used electric gadgets in the rain, so we had to put the Dedo light inside the room where we shot the scene, which meant we had to eliminate the window from the shot and work with a smaller frame.
If I had more time to continue the project, the first thing I would suggest the whole crew and myself do is to plan more carefully. I would also be with the director for the location scout and casting. The shotlist should be more details and need more meetings before the shooting day. Although both scripts I worked on were interesting, I would suggest the director focus on expanding the emotional arc between Tyler and his mother to build more tension, so that in the end when Tyler’s mother finds out about the drum kit he made for his younger brother, the moments feels more authentic and emotionally earned, or maybe add a small scenes when Tyler’s mother being stressful in her office would add more depth to the film. By adding this to the film, audiences are more likely to empathize with her struggle, making the twist at the end not just emotional, but earned.
After this course, there are many new things that I have learned and used for the assignments. I have been on several projects before but mostly individually, so I did not use it to create treatments or even a shotlist or call sheet. Making these pieces, gave filmmakers a clear visual and saved a lot of time during shooting (Shai Creative, 2024). I also had a chance to have access to many high-technology gadgets which I had never used before. Moreover, the best thing I experienced was contributing to a crew, it was very professional especially Fred who was in charge of the boom mic and sound editing, I have learned a lot from him. I learned a little bit from each position and got many new connections for my upcoming projects. The thing that surprised me the most was how each person handled their position professionally, which I had never seen in my previous shooting, However, as filmmakers, I know that we all have a strong artistic ego, so we all had our ideas on how to better the film. However, filmmaking trains us to notice the importance of every idea, even a small detail can be something special (Nash, 2011), so we all learned how to respect others and consider every idea equally without bias. This would help a lot for my future career as learning how to respect others could create a space where every crew member could express their feelings and give feedback freely to have the best outcome. Overall, this course is a great example of learning how to respect other members of the crew and prepared me to approach future projects with a deeper understanding of filming techniques.
Reference list:
Nash, K. (2011). Documentary-for-the-other: Relationships, ethics and (observational) documentary. Journal of Mass Media Ethics, 26(3), 224-239. https://doi.org/10.1080/08900523.2011.581971
Shai Creative. (2024, November 19). Shot List vs Storyboard. Shai Creative. https://shaicreative.ai/shot-list-vs-storyboard/
Tromp, C., & Baer, J. (2022). Creativity from constraints: Theory and applications to education. Thinking Skills and Creativity, 46, 1-11. https://doi.org/10.1016/j.tsc.2022.101184