The CONTENT of this post includes:
– Table of Past Posts
– 22.5s video summary of works
– Goals Revisited: Assessing Achievements
– Challenges: Assessing Obstacles and Failings
– The Work: Assessing Various Purposes of Shoots
– Process: systematic learning, collaboration & direction, adaptability
– Blog Posts in chronological order (including videos)
| Week | Blog Link | Tags | Events / Learning Points |
| wk 2 | http://www.mediafactory.org.au/grace-purnamasari/2017/03/05/a-systematic-process-to-learning-and-doing/ | systematic learning, PAFFWER, EX3 + X200, focus zoom exposure white balance, zebra, understanding goal action obstacle, rehearsal, exercise 1A, panning, collaboration |
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| http://www.mediafactory.org.au/grace-purnamasari/2017/03/05/goals/ | goals for semester |
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| wk 3 | http://www.mediafactory.org.au/grace-purnamasari/2017/03/09/about-sound-part-i-confused/ | shoot-to-edit, meaningful sound |
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| wk 5 | http://www.mediafactory.org.au/grace-purnamasari/2017/03/20/abstract-image-exercise-1b-the-couch/ | iPhone VS X200, exercise 1B, abstract location, collaboration |
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| http://www.mediafactory.org.au/grace-purnamasari/2017/03/22/about-sound-part-ii-led-by-sound/ | sound leading the camera and edit, collaboration |
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| wk 6 | http://www.mediafactory.org.au/grace-purnamasari/2017/03/27/what-leads-me-lyrical-movement/ | research led by camera movement, inspired by Departures |
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| http://www.mediafactory.org.au/grace-purnamasari/2017/03/29/first-foray-into-the-dark/ | fold clothes, communication with actor, tactics, tracking hands, collaboration |
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| wk 7a | http://www.mediafactory.org.au/grace-purnamasari/2017/04/09/tuned-to-pitch/ | research inspiration motivation and approach, filming rituals, presentation, clarity of speech |
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| http://www.mediafactory.org.au/grace-purnamasari/2017/04/13/research-schedule-tbr/ | schedule, goals inspiration and approach | – zooming in: breaking down semester goals into weekly goals | |
| wk 7b | http://www.mediafactory.org.au/grace-purnamasari/2017/04/18/the-ritual-of-making/ | ritual of working | What’s a systematic way of operating and working? |
| wk 8 | http://www.mediafactory.org.au/grace-purnamasari/2017/04/25/wk-8-frustration-significance-of-ad/ | shots list, significance of AD, technical inconsistency, stress, collaboration |
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| http://www.mediafactory.org.au/grace-purnamasari/2017/04/27/entering-the-frame/ | adaptability |
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| wk 9 | http://www.mediafactory.org.au/grace-purnamasari/2017/05/02/rehearsals-devised-theatre/ | behind-the-scenes, devised theatre, improvisation, long take, tracking, reframing, objective, collaboration |
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| wk 10 | http://www.mediafactory.org.au/grace-purnamasari/2017/05/09/two-faced-first-edit/ | research refocused, making changes, hand movements, combining techniques, trust, collaboration, coming full circle |
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| wk 11 | http://www.mediafactory.org.au/grace-purnamasari/2017/05/16/wk-11-two-faced-second-edit/ | edit colour, costume, props, set, camera movement, tracking, meaningful action |
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| wk 13 | you’re reading it |
GOALS REVISITED
By week 7, I knew that I wanted to explore camera movement. Why? Because I had never tried. This semester gave me the opportunity to shoot with an advanced video camera for the first time. I felt like a loser not knowing anything about film thus decided to face my fears. If I want to be a more knowledgeable filmmaker, well then getting acquainted with my tools should be a good starting point.
What is the approach? I have always been intrigued by the theatre. Being inspired by customs and structured performance, the film Departures (2006) by Yojiro Takita portraying Japanese traditional embalming brought forth the idea: to explore camera movement by covering rituals. Why are the two actions compatible? Click here (wk 6) and here (wk 7) to find out.
This week 13, while revisiting my initial goals, I realise I had achieved something. I have become a (little) more disciplined filmmaker practising the technical process of caring for equipment and colleagues on set. While we should be strict about cultivating good habits, it is also part of the working process to be adaptable: to plan beforehand, then allowing changes to happen, and maybe even throw them away for a new plan. This structure and awareness helps me shoot-to-edit and thus encouraging me to make deliberate or purposeful creative choices. Imagining how the images can be edited makes me mindful about the accompanying sound, how they are visually assembled and the general tone.
However, there were some bumps along the road.
CHALLENGES
(what did not work)
Thinking I could handle everything on my own did not work. It’s a bad habit I need to overcome. In week 8, I performed, directed and operated the camera. It was arrogant of me and petty for not being honest with the actor.
Arguing with the sun was pointless. Winter is such a frustrating time: clouds are constantly looming and the sun sets too soon. The dim lighting worked against our schedule until we planned to shoot earlier in the day. It was challenging to fix our clashing schedules.
Sometimes, while I have the vision in my mind’s eye, I forget to explain certain information believing the actor(s) have received the same image. It takes patience and practise to communicate. Till today, I am unsure how to provide concrete visual examples of what is on my mind. On the other hand, I do not want to be overly-controlling because I feel that deriving inspiration from the actor is also part of the work.
I keep forgetting to white balance! This made editing sooo cumbersome! I now understand the significance of an Assistant Director but still made the conscious choice not to work with one throughout this semester. I was too lazy to engage with one.
THE WORK
Directing the Audience
Week 6: Affection
Without a face and character backstory, how to show affection?
1) slower movement (general rhythm)
2) tracing and pressing (by actor)
3) tracking movement
4) blurred lines (by playing with focus and/or light)
Week 8: Deliberate Practise
How to show actions which are deliberate and possibly habitual or ritualistic; actions the character is very used to doing everyday?
1) action enters into frame causes anticipation in audience, creates idea that something is expected to happen
2) portraying character’s straightforward actions in wide shot
3) portraying character’s attention to detail in close up
4) repetition and;
5) continuity editing shows ease and a sense of something “natural” or habitual/ritualistic
Week 9: Continuity
How to direct audience’s focus in a continuous shot?
1) subject or action enters frame
2) camera reframes to welcome new entrance
3) character or object moves in new direction
4) ONE POINT OF FOCUS at a time
5) entrance of new sound
6) attractive colour of subject in focus
Week 10 & 11: Character’s Ritual
How to use action to portray character’s personality without backstory? (combining the above learning points)
1) displaying habit/ritual by having actions enter frame
2) meaningful props, set and costume (using shapes, colours and patterns and to understand what they could mean about character’s personality)
3) if set looks cluttered or messy, establish set before audience can be directed to observe subtle action in wide shot
4) new subject or point of focus can pop if its colour is brighter or fairer
PROCESS
During one of the consultations, Paul mentioned my work from wk 5 exercise 1B, saying something along the lines of, “I think you’d started forming your idea since then.”
I had disagreed because I could not see the connection, thinking, “Errr… What did I do in wk 5?” While planning for this post, encouraged to look at the bigger picture, I realise that Paul was right. In fact, all my work and approach this semester are linked. In that way, my whole journey from beginning to end has been an iterative process. Lightbulb!!!
We were advised to contextualise our work from weeks 8 to 13 but I shall rebel, and talk about my whole semester’s worth of work. This is giving me a headache because there are lots of lightbulbs blinking continuously at the same time. Help, where are my words?
There are some on-going major themes: 1) systematic process AKA “rituals” 2) collaboration, specifically the relationship between director and actor(s) 3) adaptability.
Ok that’s better. Managed to squeeze out some semblance of a structure.
So in the first couple of weeks, I shared about a “systematic process to learning and doing”. By week 6 or 7, I had decided to explore physical rituals but it seems I had been working with it all along, following a mental or psychological ritual. In retrospect, the idea of an organised, repeated method of approaching learning/doing is a “ritual”. Too much of the R word right now. Let’s move on.
Collaboration! I have taken the easy way out, restricting myself to working with my housemate and recently, a couple of her friends as well. The house is a convenient location and it’s easier to carve out time with someone you live with.
While I may be running away from the challenge of approaching strangers (classmates), I was able to focus on the relationship between director and actor (sans presence of other crew/creative members). This allowed me to develop or set in stone a director’s vocabulary, i.e. the careful choice of words I use to communicate.
For example, instead of saying “stop”, I would used the word “pause” as you can see Behind-the-Scenes. This is a direct influence by my acting teacher. Two to five years ago, I had not thought much about his language but now that I am placed in a leadership role, I understand his intentions more clearly.
The word “stop” tends to have a negative connotation as it could bring to mind danger or wrongdoing. This means that saying “stop” to an actor may end up causing him/her to feel rejected and guilty, thus disrupting their energy. The word can also refer to an end, suggesting their energy to drop. This effect of constantly reigniting the engine could tire out everyone very quickly.
On the contrary, “pause” has a neutral connotation. A freeze without being stunned by Arnold Schwarzenegger as Ice Man. It means, “you did not do anything wrong. Please take a short break, and allow me to give you a different direction.”
I do not like saying “action” either though out of habit I still would sometimes. The sound of the word is sudden ad forceful, especially the first syllable. The sound may trigger unwanted impatience and pressure. Therefore, I prefer to simply say “when you’re ready” to create a safer and cooperative working environment.
I am guilty of using prompts that pull in personal life. For example, in the first edit of Two-Faced, you could hear “Nathan’s childhood pictures”. I said that to get a genuine smile from the actor. I do not support this practise and hope not to do it again.
I also like to be influenced by the people on set. Of course, only after I have a good idea of what my fixed goals are. This comes with planning beforehand. I believe that a true collaboration requires trust and the openness to be affected by people (especially colleagues), the environment and schedule changes. This adaptability allows my work to take on new directions. Creative restrictions challenge me to make meaningful choices and have faith in them. Sometimes, being observant to what is happening off set can serve as unexpected inspiration which adds value to the work.
MY BLOG POSTS
Wk 2 A Systematic Process to Learning and Doing
LEARNING PROCESS
What is so scary about being in a new environment, learning something new? It is not exactly the unknown or “newness” that I most fear. More specifically, it is the fear of helplessness; not understanding what questions or resources can be raised and accessed to help make progress.
With my limited experience of twenty three years as an earthling, I discovered the importance of systems, a step-by-step approach to cope with obstacles and hopefully even overcome them. And the first day of class has shown that there will be many challenges ahead.
I quickly realised that only one person in the room had no experience filming with a Sony EX3 or X200 or any advance video camera for that matter. Me. So it was time to learn. I felt like a lost sheep not understanding half of what Paul was saying.
Thus my brain wired: 1) First, absorb what he says as much as I can. 2) Then, observe my fellow table-mates following his instructions tinkering with the bulky black box of a contraption. 3) Follow their actions. 4) Ask questions to clarify doubts and/or emphasise learning point. 5) Repeat. (Picking up the Taiko drums was useful after all: observe, mimic, execute, repeat.)
How has the above systematic process helped? Firstly, asking questions and giving an honest dunno-the-fuck-i’m-doing expression clears the air: I do not know what the fuck I am doing. Caution: sometimes facial expressions can be misread. Secondly, since I have no clue where to start, it is good to practise listening and observational skills before forming coherent thoughts and questions. Thirdly, get straight to it: to learn by doing.
Paul’s first tip was a system too:
PAFFWER – Power, Audio, Focal Length, Focus, White Balance, Exposure, Record
Ok, so now I know there are three rings that can be played with: the Focus Ring (FR) closest to the lens, followed by the Zoom Ring (ZR) and the Iris Ring (IR). The numbers on the FR indicate the estimated distance between the camera and the object which you want to focus on. The ZR has a tab which sticks out that I find makes zooming in or out less smooth. I think the little tab defeats its purpose. The IR adjusts the amount of light that enters the lens. I had never played with this exposure function before so it was very interesting.
The White Balance button is elusive. That little imp. Spoiler alert: I did not use it during our 1A and 1B exercises. Totally forgot about it. Knock knock, PAFFWER. I need to remember this.
I believe Paul explained, the zebra pattern indicates “70 percent light”. So any highlights on a subject should be marked by The Zebra. E.g. side of nose. How would Voldermort feel about this?
APPLICATION PROCESS
Scroll down for video.
Our team set out to complete the first mission. Exercise 1A: direct and operate camera to shoot a single, 10-second shot per person. The shot will include an action. Be conscious of what and how the scene is framed.
Our team’s setting: the stairway landing between two doors.
My teammates were very lovely people who were inclusive, easy-going and willingly answered my questions. I am thankful for learning in that safe environment. Observing my team members also gave me more time to be familiar with the filming process and identify possible problems they encountered before my turn to play.
I had been inspired by Stanislavsky’s acting methods, i.e. identifying goal, action and obstacle. However, I implemented this approach not as an actor but as a director. My primary goal for the actor was: to sit on the stairs. The primary obstacle was: the door. The actions are: open the door and sit on the stairs.
Firstly, I rehearsed with the camera to frame the door and then the stairs. This way, I practised the panning movement and also identified where exactly on the stairs Arfi could sit.
“Could you sit on the fourth step? Beside the railing.” Arfi clarified, “here?”
“Yup. Please go behind the door now. Open it then sit on that fourth step.”
And we rolled. Arfi opens the door. Then a stranger surprised her and blocked her path. Interestingly, the unforeseen circumstance gave the actor a new obstacle but having rehearsed, the path is clear to her. Arfi continues and completes her goal. It was also fortunate that the added obstacle gave me time to pan and continue being in sync with the actor’s movement.
Wk 2 Goals
GIVING TO AND RECEIVING FROM THIS COURSE
We were assigned to create an “aesthetic masterpiece” but not to have “a creative crisis”. (More about Exercise 1A here) Throughout the first class, I kept asking myself what film form is. It made me realise that our media studio aims to equip us with the technical knowledge to execute whatever simple or abstract ideas. There is no point, if a storyteller has the most imaginative and thought-provoking concept but is unable to present the idea in a clear and effective way. I believe that being conscious of our creative process is being “True to Form”.
Typing this right now, my goals are revealed to me:
1) To be a disciplined filmmaker by practising a care for equipment and everyone on set
2) To be a purposeful storyteller by making considered choices about what and how things are in frame
3) To be a creative film editor by learning and applying ways to cut, string, foreshadow, trick, hide, reveal stories
4) To be a considerate and effective director by communicating with team members honestly, clearly and kindly
My obstacles:
1) Ignorance
2) Clumsiness
3) Fear of socialising
4) Looking down on myself
5) Unaware of strengths and weaknesses
6) Being easily demotivated by my obstacles
My actions:
1) Update blog regularly to reiterate learning points in a coherent and cohesive manner.
2) Do not be afraid of looking foolish. As Dutch scholars Erasmus and Peter Bruegel believe, everyone is inherently a fool and deranged.
3) So no harm trying something new.
4) Critically analyse the creative choices a storyteller makes.
I still do not know how, with specificity, I can achieve the above goals. They may also disappear or evolve along the way. Hopefully through this course I can develop not only various aesthetics of film form but also a form to filmmaking.
Wk 3 About Sound (Part I): Confused
Below is a one-min edit made last semester. I roughly explored the significance of sound preceding a cut and the impact of music. It was not previously uploaded on this site and now seems like an opportunity:
The above video is not what this post is about. I am writing to explain why I am confused:
For our third exercise, we had been assigned to film our individual “expertise” on the condition we record sound effects before recording videos on a later date. I did not understand the reason for the specific task sequence.
Paul explained that films usually have their original soundtracks and background music prepared before shooting scenes. I was quite surprised but immediately comprehended. In most cases directors and music composers are not performed by one person. Both leaders need to orchestrate a different group of people. Both the visual and music of a film can feed off and affect each other. Furthermore, the director/editor may want to compose the visual action in relation to the beats of, or change in music because sound is a powerful manipulator of emotions.
The purpose of our exercise is “so that the sound leads the images. When you record sound after vision, it’s often an afterthought. When you record it first you concentrate solely on the sound.”
However I do not understand how sound can lead. It seemed impossible because I visualise the shot before imagining possible sounds present in the scene. So isn’t the film still being led by the image?
Then Paul advised us to “shoot to edit” and “it’s just another way of doing things, good to disrupt, do things differently”. Something clicked in place, albeit softly.
Perhaps, I had been regarding sound effects as unimportant. To “shoot to edit” gives me the idea to imagine, creating rhythm with sound effects and the moods it could evoke. In this way, sounds effects would lead the editing process. Ahhhh, ok typing this right now I finally understand what he means by “sound (leading) the image.” I had misunderstood. I was overcomplicating things and did not see the bigger picture. Something just clicked in place, loudly.
Unfortunately, at 0457 in the morning, I am unable to illustrate my finding with appropriate vocabulary and grammar. So allow me to present somebody else’s work and words. The video below has rhythm and harmony between action, sound effects and narration. Meet Sonia.
My completed exercise is uploaded on About Sound (Part II). Stay tuned, the fog is lifting.
Wk 5 “Abstract Image” Exercise 1B: The Couch
Assignment
Put together a one to two minute “abstract” film – work that does not attempt to represent external reality, but rather seeks to achieve its effect using shapes, colours and textures. Shots can be recorded using a camera or phone. There should be at least 6 of 30-second shots which investigate a place.
Sentiment
Why a couch?
It is convenient. Shooting at home makes it more likely my housemate will comply to be the subject of experiments. Plus, I did not want to risk lugging around an expensive, heavy camera alone in public. This novice wants to tinker with camera functions. Setting up at home allows me to study at my own pace.
It is not just a couch. More than a common object, it is also a place. The confines of a couch functions to host activities for entertainment, socialisation and comfort. One does not simply sit on a couch. One strategically rests one’s soft bum with legs crossed and cushion in arms to watch a movie, eat dinner, chat, snore away, possibly bum-to-bum. And I am sure you have more ideas, dear reader.
It is also a symbol of luxury, to a certain extent. I regard it as a secondary furniture; its presence a sign of disposable income. With all the fun activities it associates, the couch would usually be in company of other luxury items such as a television, laptop and/or coffee table. The couch is only functional because of its relationship with various other objects, humans and dogs.
This film aims to portray the relationship between human and couch. From a couch, it becomes the couch.
Exploration
Below is a justification of some of the more significant shots. Not all shots used are listed. Not all shots were applied to the final edit.
Objectives:
1) Watching a movie is an event. How to show the significance of a couch during one’s pre-movie preparation process?
https://drive.google.com/open?id=0B_OjS2hozZBvaWd4NkhsX3JaNlE
https://drive.google.com/open?id=0B_OjS2hozZBvVWxnMURDR1dMUms
https://drive.google.com/open?id=0B_OjS2hozZBvdi1TdE9mR0hOVnc
2) How to translate the abstract feeling of comfort and excitement into something visually relatable?
https://drive.google.com/open?id=0B_OjS2hozZBvYnB4Z2RISjZqWEk
https://drive.google.com/open?id=0B_OjS2hozZBvb1YyaUJBS195M1U
https://drive.google.com/open?id=0B_OjS2hozZBvWG9xb0gyYXJBSkE
The Sony X200 was effective in capturing serious or mundane actions due to its stationary position, smooth movement, exposure and focus functions. In contrast, the iPhone 6 Plus shoots very expressive tracking shots. The popcorn scene above shows how a phone can imitate the movement of one’s head to indicate surprise, curiosity and comedy. Its mobility also allows more interesting sounds and textures when moved against the sofa.
| PROS | CONS | |
| Sony X200 | steady on tripod | not mobile |
| consistent focus (manual) | shaky without tripod (weak muscles) | |
| smooth zoom and pan | ||
| play with exposure (manual) | ||
| iPhone 6 Plus | very mobile | difficult to mark positions without tripod |
| captures interesting sounds due to movement and friction | cannot adjust focus and exposure separately | |
| pressing zoom button creates unwanted sound |
Wk 5 About Sound (Part II): Led by Sound
Scroll down for video and process.
I always felt that the image on screen is a primary element of film while sound is a secondary element. So as a visual learner and logical person, my filmmaking journey had always been led by the vision in my mind. Sound was a follow-up during the editing and recording process.
As explained in my previous post About Sound (Part I), I could not imagine how our filmmaking process could be led, instead, by sound. I was confused because I thought we were meant to isolate sound from the image. Well, that is possible as a creative idea. However, it is impossible to do that in my head, especially during the early stages of brainstorming.
This is because film includes so many different knobs, buttons and axles. To work towards an end product would require one to consider various elements during the ideation and planning stages. Consider a silent film, and the process would still be led by the lack of sound. Consider our current sound project and it is about setting up the environment and editing which works with the already-recorded sound effects we have.
Sound Leading the Camera
The tapping and folding SFX we recorded previously were quite “clean”, i.e. signal to noise ratio was high. So I wanted to shoot at least one scene inside a confined space.
As a group, we did not listen to each other’s samples before deciding on set location so we were largely driven by collaboration and taking turns to play with the camera EX3 and H4 Zoom.
Sound Leading the Edit (and possibly the audience)
Alec wanted to capture the protest outside so we managed to record “noisy” sounds which have reverb and overlapping voices of various frequencies. This made me think about juxtaposing noise with a “quiet” visual and what that could mean.
In the film, there are three types of sounds which represent three different planes of consciousness. The sounds bring the audience into each character’s environment and also their headspace.
The bird, its chirp and soft traffic noise depict a peaceful park-like environment outside. Then we get a visual of what is on the ground and although there seems to be no one, we hear noises of protest. Then a character appears, in deep thought trying to write. There is only one pen in hand but we hear multiple pens tapping. This indicates a surreal quality. Accompanied with an over-the-shoulder shot, the protest gets louder. Suddenly, it’s a wide shot of him and the din is disrupted by sounds which are reflective of the peaceful park-like environment.
In the above bit, there are two different types of sounds: peaceful park VS noisy protest. The latter represents the character’s chaotic mind-space while the former represents his actual physical environment. Then the audience is brought inside a room. Although the character moves, the scene is silent. This contrast puts the audience into a third environment.
The sounds have a pattern: ABCBA. This sequence is meant to connect the environments and characters together: the female character is imagining the male character imagining something. Unfortunately, this intention may be too far-fetched. My sisters did not get that at all.
Wrap-Up
It is possible for sound to lead the filmmaking process. We can record SFX before visualising and conducting our experiment around it. This approach may cause creative restrictions yet give rise to creative solutions.
In fact, sound is so informative and provides a better understanding of the context. I learnt how it could compliment the visual or otherwise, be brought into attention as a storytelling device. The latter intention then becomes a fun way to confuse or surprise audiences.
Wk 6 What Leads Me: Lyrical Movement
Hashtag, latest obsession.
No, that’s a lie. Sort of. I’ve been thinking about this for the past year now. “This” refers to camera movement in relation to a character’s movement. Take David Moore’s dance videos below as an example. He moves the camera and edits in a way which highlights or compliments the dancers’ movement, emotion and change in music. The camera has turned from a passive voyeuristic tool into an active participating dancer.
I’m not interested in contemporary dance.
Modern dance and its choreography videos are usually led by sound. Their movements are based on the beats and story of the song. (Generally, or at least back then, movement in Asian traditional performing arts are created concurrently with its music. I would love to film it one day. Oh but I digress.)
I’m interested in being led by camera movement – the performance quality of the camera itself. I want to explore how camera movement can enhance the lyrical value of a human, organic action.
The film “Departures” (2008) by Yojiro Takita gave me a direction: rituals. They are actions which are both performative and “natural”. Varied movements also give the camera more room to play with. Below is the opening scene of the movie.
Thus I have been inspired. What activity then should I film? Let’s try to make the bed. Why? Like the couch, the bed is both an object and a venue. It also has relationships with other objects in the room. On the other hand, it has bigger space which allows both big and small movements by humans, accompanied with different objects. This allows the camera more space to dance too.
Wk 6 First Foray into the Dark
By the end of my first consultation with Paul, I had been given the green light to explore camera movement. He advised being aware of the wall and incorporating colours/textures (which I did not take into account seriously in this first round). Feeling rather disoriented still, I decided to stop moping and take the first leap.
Scroll down for some shots and link to next related post
PROCESS & CHALLENGES
I managed to shoot something! Congratulations! (Still fumbling in the dark though) My housemate was kind enough to be subjected to the lens again. Unfortunately, Her bed and duvet rejected. So change of plans: we will fold clothes instead of making the bed. Without purchasing anything, I wanted to see how my limited resources would work.
SET
The minimalist set turned out looking clinical, in part due to the light blue bed sheet and props available. There were also restrictions: glass wall/window reflected the camera, position of lights easily cast my shadow, squeezy walking space and my short height. Mmm, stop whining.
On the bright side, there was the opportunity to film her reflection drawing the blinds. First time playing with reflections. Well, not exactly playing. I chose a pretty straight forward shot. I wonder now, how else can it be shot?
COMMUNICATION
It was the first time Katherine played a character not herself. It was the first time I directed an adult for camera. So different tactics were used to guide at various points: 1) giving character backstory 2) staging and rehearsing specific movements like a timed dance, including “affectionate pauses” and “mechanical, habitual movements” 3) telling her to hum a tune she knows personally which is related to character motivation 4) to imagine a string pulling sternum towards ceiling, and a soft push on both lower back and abdomen.
I realised that to communicate clearly, there are some things better left unsaid. Instead of explaining all three characters in my head, I should have focused on one at a time. By the end of the shooting session, we only shot it one way so the difference between characters did not even matter. While I may be confused about the bigger picture, the actor needs to know what is wanted specifically from him/her at each present moment.
CAMERA
I was not familiar enough with the functions of my camera. The exposure kept changing whenever the actor moved in or out of frame within a scene. Setting to manual did not help. Where is my manual guide?!
It was challenging to judge the degree of focus due to my poor ability to wink and the small digital screen. crashzoom-focus-zoomout, check! Yeah better remember.
Here are a few of the shots:
Gaining focus (above) and losing focus (below)
Reflection (below)
Exploring various ways to create intimacy (all below)
Well, at least now I am aware of some challenges. Here are what can be done next time:
- Do plan and list type of shots before shooting. Be more organised that way.
- Do not have 3 characters simultaneously appearing in my head.
Commit to one at a time and explain to actor clearly. - Consider what is necessary or unnecessary information.
- Research other ways to communicate with actor. Have multiple tactics in arsenal.
- Know camera before shooting.
So what’s next to explore? What can be added or taken away?
Stay tuned for new inspirations and motivations.
WK 7A Tuned to Pitch
Prior to today’s presentations, the consultation with Paul assured me tremendously. I needed to understand what was needed from us and the scope of our presentation. After explaining the movies and specific ideas I want to explore, Paul suggested 1) to simply put up looped screenshots to visually convey my relevant inspiration 2) that Edgar Wright’s style (Cornetto Trilogy) does not complement my aesthetics 3) and to have a written speech in hand.
Our meeting made me realise that pitches should be communicated in a clear and concise manner. It is not about looking grand and complex. It is about relaying our focus and investigative processes. I believe this understanding will benefit us in the future when selling ideas. (It’s not about me, it’s about the work.)
Now Tuesday has come. Two unexpected guest panelists entered the room. I remember the familiar dread sinking in and the clench of damp hands. Oh, my hands are really sweating. Regardless, unlike last semester, I will not run away. So here goes my three minutes on the floor, in three… two… one…
“Hello friends, my name is Grace Purnamasari.
This semester, my exploration will be led by camera movement. I am interested in the performance quality of the camera: the ways it can move to serve an action in frame. I question, “how can the camera cover the object or actor’s physical activity? How can it complement or counter the on-screen action?” Instead of a mere passive voyeuristic tool, the moving camera becomes a part of the performance as well.
Watching the film Departures by Yojiro Takita, I was inspired to cover rituals. Rituals are fascinating. Like a dance, its meaning is derived from the physical sequence. It takes away or isolates focus from character and narrative story. Hence, using rituals decreases the number of uncontrolled variables to direct. This theme also triggers a rumination about my own filmmaking preparation, execution and learning process – a personal ritual.
Unfortunately, I will not be embalming a corpse. Instead, I have decided to cover everyday-observances, such as folding clothes.
I have no concrete idea what specific tasks will be done each week. However, it is a process of reflection. So each task will inform the next. For example, having recorded the act of folding clothes, I realise the variation of movement is not extensive. Therefore, my next shoot will involve folding a blanket instead, an activity which requires more time and various body movements to execute.
While my curriculum is flexible, it also includes specific ideas: deconstruction, imitation and experimentation. First, to deconstruct the aforementioned Departures and the film An by Naomi Kawase. In their scenes involving rituals, what was the camera angle / movement / focus / depth of field / source of light / colour / props and texture / sounds / how were the cuts sequenced? After which, to imitate their components by transposing them onto my folding ritual. Then, to experiment by editing differently and including other ways to cover. How can the scene creep in, or be reframed to introduce a new item or be stationary to welcome an entrance? Deconstruction, imitation and experimentation. Loosely, this will be my working process.
The camera is a new friend and I am not the most disciplined person. So starting and seeing through every week will be a challenge. But I want to be a better filmmaker and I hope to receive everyone’s guidance.
Thank you.”
Wk 7A Research Schedule
SHOTS:
- entering frame
- reframing for new entrance
- long take
- fixed series of actions
EDITING:
- colour grading
- exploring slow-motion fabric movement
- consider sound (diegetic VS non-diegetic)
IDEAS:
- day time VS night time
- communicating abstract themes: affection, respect, compassion, time, to reminisce, to surrender
- movement: clothes, blanket, body movements (esp. hands)
- relationship between body and objects: upper body sliding onto bed, finger(s) tracing doll, hands feeling pillow, sniffing pillow, “dancing” with blanket, mirroring “dance” movement with folding movements (big vs small)
LOCATION:
- bed
WEEK 7
– Thur 20 Apr: shop for props, plan fixed series of actions (sit and look out, open window, fold blanket, fold clothes, sniff pillow, trace doll, interact with bed, close window)
WEEK 8 Entering Frame & Hand Movements (Inspired by Departures and Pickpocket)
- Thur 27 Apr: blog about film that inspired, plan blanket shots
- Fri 28 Apr: shoot blanket, explore relationship between body and objects (props)
- Sat 29 Apr: edit blanket, post blog
WEEK 9 Long Take (Inspired by An)
- Tues 2 May: blog about film that inspired, plan long take shots, consider which action to highlight/downplay (based on last week’s edit)
- Thur 4 May: shoot long take
- Fri 5 May: edit long take, post blog
WEEK 10 Reframing for New Entrance (Inspired by Sympathy for Lady Vengeance)
- Tues 9 May: blog about film that inspired, plan reframing movements, consider what is unnecessary
- Thur 11 May: Shoot reframing
- Fri 12 May: edit, post blog
WEEK 11 Exploring Camera Stillness (Inspired by Jeanne Dielman and Fire At Sea)
- Tues 16 May: blog about film that inspired, plan angles
- Thur 18 May: Shoot angles
- Fri 19 May: edit, post blog (consider which actions are best depicted through which cam movement. why?)
WEEK 12 Combining Techniques
Wk 7B The Ritual of Making
In every experiment, there are variables. Controlled variables provide a degree of consistency. This helps prevent unwanted interference and brings focus to the subject being tested.
If camera movement is the independent variable then what are the constant variables?
Character’s Action Sequence
- opens balcony door
- caresses bed
- interacts with pillow and doll
- sits up on bedside
- stands up and walks to other side
- strips pillows, drops covers and doll into basket
- rearranges pillows
- strips blanket, drops cover into basket
- folds blanket
- takes basket and leaves
Camera Operator’s Action Sequence
- takes tripod out of bag, head first
- unclasps handle then positioned somewhat parallel to floor
- unclasps legs to release and spread out
- adjusts height, upper tier first
- takes camera out of bag
- pulls down grey tab and swivel to left to lock camera on tripod
- slots in battery and memory
- adjusts bubble
- power on, opens lens
- switches to A, low gain
- takes white paper to place at subject’s location
- crash-zooms into white paper and presses white balance
- readjusts focal length for framing
- adjusts focus and exposure
- record
Learner’s Process
- goals
- shoot
- edit
- reflect on relationship between making and product
- revise goals
- repeat
Wk 8 Frustration & Significance of AD
In week 6, I covered the folding of clothes. I had planned those shots but did not pen them down. Not having a visual plan made my mind more disorganised which affected the actor as well. Having learnt, this week 8, I decided to list my shots before recording.
|
SCENE |
SHOT |
TYPE |
DESCRIPTION (subject action) |
VARIATION (camera action) |
|
1 |
1 |
CU |
Balcony door opens, feet behind door, shuffles in the cold |
|
|
2 |
CU |
Balcony door opens, feet behind door, shuffles in the cold, turn and kneel at bedside |
Track feet to bedside position |
|
|
3 |
CU |
Balcony door opens, feet behind door, shuffles in the cold, turn and feet dangle at bedside |
Track feet to bedside position |
|
|
4 |
MS |
Balcony door opens, chest-down body behind door |
||
|
5 |
MS |
Balcony door opens, chest-down body behind door, turn and kneel at bedside |
Track body to bedside position |
|
|
6 |
MS |
Balcony door opens, feet behind door, shuffles in the cold, turn and feet dangle at bedside |
Track body to bedside position |
|
|
2 |
1 |
LS |
Upper body to bed, cheek to bed, hand stretches to caress bed, pulls pillow to bury face in, lift fingers hand searches for doll, feels its features |
Cam on opposite side of bed, stationary (then creep) |
|
2 |
MS/CU? |
Upper body to bed, cheek to bed, hand stretches to caress bed, pulls pillow to bury face in, lift fingers hand searches for doll, feels its features |
Face enters frame, fingers on doll |
|
|
3 |
LS |
Upper body to bed, cheek to bed, hand stretches to caress bed, pulls pillow to bury face in, lift fingers hand searches for doll, feels its features |
High angle, stationary |
|
|
4 |
MS |
Upper body to bed, cheek to bed, hand stretches to caress bed, pulls pillow to bury face in, lift fingers hand searches for doll, feels its features |
Track hand, shallow DOF, POV of doll’s original position |
|
|
3 |
1 |
LS |
gets up, rubs cheek, sit up on bedside, faces balcony, hand creeps, covers doll’s eyes |
Cam on opposite side of bed, stationary, low angle |
|
2 |
MS |
gets up, rubs cheek, sit up on bedside, faces balcony, hand creeps, covers doll’s eyes |
Cam on head of bed, stationary, low angle |
|
|
3 |
MS |
gets up, rubs cheek, sit up on bedside, faces balcony, hand creeps, covers doll’s eyes |
Cam on foot of bed, stationary, low angle |
|
|
4 |
MS |
gets up, rubs cheek, sit up on bedside, faces balcony, hand creeps, covers doll’s eyes |
Cam on opposite side of bed, upside down, stationery capture face, turn right side up during sit up capture back |
|
|
5 |
ECU/CU? |
gets up, rubs cheek, sit up on bedside, faces balcony, hand creeps, covers doll’s eyes |
Dutch angle, wobbly, capture eye/s, trace shoulder to fingers cover doll |
|
|
4 |
1 |
MS |
feet travel from left side of bed to right side where basket is, dolls and pillow case into basket, strip other pillow |
camera at last position, stationary, refocus, crane up to second pillow action |
|
2 |
LS |
upper body travel from left side of bed to right side where basket is, dolls and pillow case into basket, strip other pillow |
camera at last position, stationary, refocus, crane up to second pillow action |
|
|
3 |
MS |
upper body travel from left side of bed to right side where basket is, dolls and pillow case into basket, strip other pillow |
pan, eye level, edge foot of bed |
|
|
4 |
LS |
upper body travel from left side of bed to right side where basket is, dolls and pillow case into basket, strip other pillow |
pan, eye level, edge foot of bed |
|
|
5 |
1 |
LS |
(pillows on table), butt-face gets up on bed to roll quilt, strip, throw into basket |
cam side of bed |
|
2 |
LS |
(pillows on table), butt-face gets up on bed to roll quilt, strip, throw into basket |
cam right foot of bed |
|
|
3 |
MS |
hands touch quilt, roll |
hands enter frame, angle at head of bed, stationary |
|
|
4 |
CU |
hands touch quilt, roll |
hand/s enter frame then track |
|
|
6 |
1 |
LS |
pull bed sheet, strip bed, throw into basket, gets off bed to right side |
cam at left foot edge of bed, low angle, stationary |
|
7 |
1 |
LS |
flap quilt, fold, place at foot of bed |
cam at balcony door, stationary |
|
2 |
MS |
flap quilt, fold, place at foot of bed |
cam at balcony door, stationary, eye level, blanket in air enters and leaves frame frame |
|
|
3 |
MS |
flap quilt, fold, place at foot of bed |
cam at foot of bed, bed level, blanket in air enters and rests on bed |
|
|
8 |
1 |
CU |
pillows put in position, beat shape, take basket away, leave, come back, place doll |
hands enter frame, creep out, stationary at re-entrance |
|
2 |
MS |
pillows put in position, beat shape, take basket away, leave, come back, place doll |
hands enter frame, creep out, stationary at re-entrance |
Seemed like the session will run smoothly!
Nope.
There was an unforeseen circumstance. In any case, my fallback plan was to direct, act and operate the camera on my own. It was a nightmare.
CHALLENGES:
– sun and uncontrollable change in lighting
– not being able to frame the actor on screen because I could not be in two places at once
– going back and forth behind and in front of the camera to check recordings
– remembering actor’s and props’ first positions
– inconsistent camera operating ritual
LESSONS LEARNT:
- Be honest and professional
I should have said no to my housemate when she brought an unwanted guest and used my film space. Later, I should have not allowed my petty ego to steer me when I lied about not needing her in front of the camera. - Focus on one thing at a time
Do not be overly ambitious. Do not be distracted and go off-track. The doll was redundant and having watched the long scene with it, it seemed very self indulgent and meaningless or in other words, “jerking off”. The idea of having the character’s fixed action sequence backfired. - Significance of a First Assistant Director
I could imagine the convenience of having an AD when Paul shared his experience with us; how working together made the work experience so much smoother. However, based on week 6’s shooting experience, I believed that as long as I was more organised, the presence of an AD is excessive. Then I changed my mind when week 8’s shoot quickly became overwhelming.
a) no one was challenging me about the shots that were redundant or secondary
b) wearing so many caps, I would forget to white balance and check exposure as the day wore on and an AD would help maintain technical consistency
c) maybe the shots list should be organised based on camera location/position as well
d) IT WAS JUST SUPER STRESSFUL. In the end, I did not even bother looking at the shots list.
On the other hand, things got complicated due to personal issues with the actor. Would I still find an AD necessary if things go as planned with actor next week?
Wk 8 Entering the Frame
Scroll down for video of last edit.
THE WEEK’S RESEARCH
Rituals are purposeful, deliberate acts. How can I portray a sense of purpose with the camera?
Viewing the embalming scenes in Departures, it occured to me that, having an action enter a frame could be a possible answer. The camera becomes the stationary anticipating eye, welcoming something to happen. The camera is thus likened to the performance space, encouraging and revealing a set of practised movements.
Initially, I had merely intended to record a series of separate shots but it ended up becoming a linear sequence. The afterthought proved to add more meaning into the work: when small actions are connected, they add up and form a more meaningful picture.
Working towards a linear sequence also gave me more practise to “shoot to edit”. While recording, I constantly noted what the actor’s “first position” was, in relation to the previous shot, for continuity.
This week, I see that a purposeful entrance accompanied with combining smaller actions together can create a “ritual”.
EDITING
While planning the shots list, I had a preconceived idea of the content and order of actions. During the shoot and editing process however, I allowed change to happen. Sometimes, it was done to overcome unforeseen challenges, hence the redirection. Other times, it was a new aesthetic choice based on whatever resources available. The end product is never fully faithful to the initial idea in mind.
I think it’s a good thing to be adaptable and allow the work to breathe; to be moulded by unpredictable circumstances. It helps me become more open to admitting what had been mistaken to work. On the other hand, it means I am not confident about any concrete idea and this can be problematic. I tend to lose sight of my primary research and end up filming flippantly. The research and reflection can then only happen in hindsight.
It’s good that I had made lists about my goals to keep some form of framework and consistency – a systematic learning and making.
THE INITIAL IDEA
“Every action has an equal and opposite reaction”, or so Newton believes. (Honestly, I live by this.) The main action is to effectively strip the bed. The interaction with the doll, an object at home with the bed, was meant to show dread and delay. A responsibility to clean the bed is countered by a distraction caused by the doll.
The shots list included more scenes with other dolls, caressing the bed and breathing in pillows. I thought these actions would inform better the character’s motivations (main action) and challenges (counter action).
THE CHANGE
However, during the shoot, I felt like those counter actions looked very self-indulgent, especially caressing and breathing. I am not very sure why. Maybe it was because subtle actions tend to take time to notice. They looked contrived in mid or wide shots, the only type of shots that could be executed working on my own. (This is what happens when you work without a good plan B.)
When I finally attained the assistance of a camera operator, the only counter actions I committed to were 1) reaching out for doll and 2) abandoning doll. It was probably a better outcome because the audience should not be overwhelmed or distracted from the main purpose: stripping the bed.
There are a lot of unused shots. I feel a strange sense of satisfaction rejecting things but it sure is heartbreaking to dispense with the invested effort and time.
THE UNANSWERED
- I have yet to pay much attention to editing sound and colour.
- Can explore more varying hand movements?
- Still unable to capture effect of objects e.g. duvet beat in the air
LAST EDIT
Wk 9 Rehearsals: Devised Theatre
Two videos in this post.
Scroll down for a Behind-the-Scenes.
Scroll to bottom for Final Shot, unedited.
THE EXPLORATION
Shooting long takes gave me the opportunity to expand on the idea of lyrical movement. How does the camera maneuver in ways which compliment/counter action onscreen? What is the effect of the moving camera? Does it serve to spy or to stalk or to tail? Are characters aware of the persistent camera?
Long takes require objective, choreography and communication. Rehearsals are thus essential for trial-and-error to achieve the desired image.
DEVISED & ITERATIVE PROCESS
Devised Theatre refers to a collaborative process by the whole creative team; everyone improvises until a fixed, consistent text emerges for presentation.
Of course, we could not begin with nothing. Our limitations provided the framework. The performance space was limited to the living room, balcony, and part of the kitchen. I questioned, “what actions can the characters take in ways which add meaning to the space?”
With this initial thought, the “text” has begun to take shape. I was inspired to take a step further, providing a more concrete idea for the actors by including the following actions: to take a break, to eat, to step out, to return. While my directions gave them creative limitation, I also allowed myself to be affected by them.
I had expected to work only with one actor, my housemate Katherine. However, on a last minute notice, we had guests over due to private reasons. Rather than avoiding their presence, I took it as an advantage to have them be a part of the set and thus contributing to the text. With that, the set had added meaning and the performance took on a more meta perspective. Rather than a mere display of a living room, kitchen and balcony, it had (purposefully) become a film set.
Off set, Lelly seemed to take a keen interest on the book (prop) so I took that sincerity and made it a part of the performance text as well. The book has now a new purpose: it was not just a mere prop for Katherine but something more meaningful to Lelly. On the other hand, Lelly’s presence is now more purposeful. Ann working on her laptop also informed the audience of the house as a working space and made more concrete the performance’s meta effect.
Moving around the space seemed like a dance between the actors and camera. We had to repeat actions in various ways to build up the choreography for smooth transitions. In this way, rehearsals were an iterative process where we would identify problems, communicate them and then applying solutions together. For example, having been instructed to exchange the multiple items in their hands, the actors came across an inconvenience before Lelly specifically decided to give with her right hand and receive with her left while Katherine took the opposite direction.
Gradually, as the choreography gets mapped, our objectives become clearer too.
(Main) CHARACTER’S OBJECTIVES
Ultimate Goal: to stop filming
Smaller Goals: to show disdain, to rebel, to talk to a friend, to eat, to get some fresh air, to obey
CAMERA’S OBJECTIVES
Ultimate Goal: to convey characters’ objectives
Smaller Goals: to regard or disregard, to stalk, to nag, to lead, to instruct character
DIRECTOR’S OBJECTIVES
Ultimate Goal: to facilitate actors’ and camera’s journey and objectives
Smaller Goals: to visualise and communicate choreography between actors and camera, to decide what will be captured in frame, to direct movement that is outside of frame, to help actors move in the most convenient/efficient way.
Wk 10 Two-Faced: First Edit
Firstly, I would like to address the contradiction in my research. In an earlier post, I had explained that I wanted to cover rituals or physical movements detached from character and backstory. Yet for the past few weeks, there’s been an increase in the characters’ perspective (albeit subtle hints of it) although I still take care to focus on the physical movement rather than being distracted by any emotional investment.
The gradual change was organic. Across the weeks, after multiple shoots accompanied with personal time together, my housemate trusts me more now, both on and off set. This allowed her to be more willing to invest a larger part of herself for the work. I was also more comfortable about making her uncomfortable.
On the other hand, I am not completely going against my previous goals. As mentioned in another post, I wanted to play with more hand and blanket movements – what I was not really able to do with the “Burrito Roll” shoot. It did not happen that time because 1) during the shoot I was distracted wearing so many different caps 2) I could not picture other meaningful ways for the body to interact with the fabric on the bed.
Furthermore, some contrast possibly adds to the dynamic of the project.
From a general research of physical movement, my exploration is now more specific. The choice to get rid of the bed was inspired by images from Pickpocket (1959) by Robert Bresson. I wanted to cover hands. Since the bed took up such a large part of the set and I am unable to use it to my advantage…
Off with the bed!
Thank you for your notes and guidance, Paul and Robin.
I had combined various ideas from the last few weeks: rhythm, frame perspective, entering into frame, changing camera movement (reframing) to introduce new entrance (of subject or action).
Interestingly, the project has possibly come full circle. I did not realise the above video had elements from all my previous works.
What I have yet to incorporate: editing sound and colour grading.
So the above is my first edit. Stay tuned for more progress and notes on challenges.
Wk 11 Two-Faced: Second Edit
Editing colour is a pain in the ass.
Video has two distinct parts, separated by character’s two opposing attitudes and shooting method.
Hence, I shall reflect on them separately: PART I and PART II.
THE CHALLENGE
During shooting, the lighting and exposure was inconsistent due to the weather and my error. It made editing very difficult because I had to adjust the colour and exposure across the first 13 cuts. Unfortunately simply copying and pasting would not work. I had to go back and forth to compare each shot with another. I am whining but it is only a suffering because this is a new experience. Perhaps there is also a more convenient method I have yet to discover.
ACTION
PART I
I started thinking of more personal rituals, compared to the more “objective” ones from weeks before. Writing this, I realise it is not unknown territory. As can be watched in week 5’s post, a character prepares for a private movie night.
This week, the character shows us how she celebrates tea-break.
Wanting to push myself, I wondered, “how can actions be made more meaningful?” A possible way would be, to have the actions inform audience about character personality. Working towards this goal, the actor was pushed as well as I wanted her to invest more of herself. Thankfully, by now our working and personal relationships are close enough to trust each other.
The camera is “obediently” stationary and we see a playful, straightforward personality. On the other hand, we hardly see a well-lit, frontal view of the character, hinting that there is something to hide.
PART II
“How can camera movement be made more meaningful?”
Then the camera moves and we see a different side to the character. The camera takes on a less passive stance as it physically interacts with the actors. Could the camera itself be a personality too?
Firstly, the fourth wall is broken to acknowledge its active presence. This happens when the camera “rises” or cranes upward attracting the main character’s attention and catching her eyes.
Secondly, rather than simply tracking on the same plane, the camera swivels, enters/exits the space and physically “dances” with the actors. I use the word “dance” to refer to how the camera is aware of the positive and negative space around the actors. It moves like actors would in a simple warm-up exercise when everyone would walk around a room to find and fill an empty space. It seems the camera has its own consciousness.
Thirdly, likened to our eyes / sight, sometimes action enters the frame while other times, the camera’s movement is led by moving action. Furthermore, there is only one point of focus at any one time. The subjects also vary in focus, in close-ups or wider shots.
CHOICE OF COSTUME, PROPS & SET
I pulled in various items from Kat’s (housemate/actor) and my personal inventory.
PART I
The main actor was to wear something warm-coloured to stand out because the lighting and props made the set look blue.
The props were a large source of inspiration for character development. Initially, I was planning on a less character-driven image and simply wanted to cover tea preparation. I had a more oriental tea set but decided against it when I saw Kat’s more modern one. The latter brought to mind my colourful blanket and collection of children’s books. The props complimented each other and put together, informed me about how the character and action can be shaped.
The set can look crowded. I learnt from Departures that having a busy background is not necessarily disadvantageous; that a subtle action can stand out if all else is still. So I applied that idea during filming.
PART II
The second set had to look a lot more cluttered and busy. So there were a lot more junk around. The pizza was a specific choice as it connotes carelessness and grease.