I feel a little bit of nostalgia every time I think back to the process of making our fashion film. Aptly titled “Chimera“, this film went through several processes to get to what it is now.

Prior to the studio, I know very little about fashion films. I have interest in fashion, yes, but it is mostly very personal. I find my inspiration from influencers in social media and people walking by at the street; very rarely would I watch short films made by big fashion houses. This studio opened my eyes in that way. It helped me branch out of the fashion I’m comfortable in, urging me to explore the types of fashion I wouldn’t have normally. During this studio, I’ve probably watched more fashion films than I have before. The types that caught my eye were experimental ones, seemingly without a plot or structure, but has this air of magnanimous mysteriousness in them.

Speaking about Chimera, the concept came from Sylvia. Having a friend that’s designed this gorgeous elusive black dress, she wanted to use it for this project. At that time, I currently had no direction to which I wanted to make my fashion film, so I happily followed. The dress itself intrigued me, as it is somewhat masculine in shape and colour yet still feminine in some way.

Acting as director, Sylvia took the lead in filmmaking and I assisted. I am glad to be paired up with her, as I learned so much. I have very little experience with the camera and its tools, and having someone who were there to guide me was helpful. Oftentimes I felt like I could’ve contributed more if I had more experience with the camera, but I have to keep reminding myself that it’s a learning process. Together, we collaborated on what shots looked good, what movements the model should make, as well as on the lighting. Lighting was very tough to get right. We did some test shots in the studio at RMIT, and it didn’t look quite right with the fabric of the dress. Sylvia’s friend, Lulu, came to help. We wanted a more daylight look, but it was hard because we didn’t know much about lights, and the studio doesn’t have substantial equipments. After the third time booking the studio, we finally found something that we’re satisfied with, using a mix of tungsten and daylight lights.

I enjoyed filming in a controlled environment like a studio. It was very comfortable, as we could put music on and take our time redoing shots. We encountered more obstacles when shooting the forest scene. For instance, there was a lot of people at the park, with it being Mother’s Day. Sometimes it’s also hard because of lack of lighting. However, since we were going for an experimental look, we knew we could edit out the people however we’d like. It was during this stage that we decided to omit the image of leopard completely from our film. We felt like it didn’t really match anymore with the footage that we’ve shot.

During post-production, we were a bit confused where to start, as we had a lot of footage. We started out by watching them one by one, putting the footage that we don’t like in a folder named “Trash”. The next step was opening Adobe Premiere, and laying out the core structure of our film.

Being “experimental” for me is harder than actually working with a clear structure. We have an idea of what we want the final product to be like, but there are about a million ways we could go about it. This scared me a whole lot, but creating many copies of sequences helped (as per Nick suggested), because then we could play around and not lose the previous edits.

Overall, I did learn a lot in this studio. I learnt technical things, such as how to operate a videocamera, use a stabiliser, and set up lighting. I feel like it would’ve been very helpful if there was a workshop dedicated to learning about setting up lights, as it is a crucial part in getting good shots. I also felt like RMIT doesn’t have adequate facilities for Media students, in terms of the studio and its equipments. Sylvia played a huge role in helping me get acquainted with the camera, and I first tried using a stabiliser that was hers.

During post-production, I definitely experienced many firsts; trying out different effects, learning keyboard shortcuts, and creating copies of sequences. Despite sitting on my bum for several days editing, it was a good kind of tiring. I feel like compared to filming, I enjoyed editing more. I enjoyed the sense of accomplishment when you finished editing a sequence, and replaying it. It was good having Sylvia by my side, as we could give each other feedback and rely on each other’s skillsets in areas that we lack of.

Our final film definitely wasn’t perfect or super polished, but I truly feel like we’ve done out best. I think something I discovered that is cliched but true is  that it is more about the journey rather than the final product, just as it is about the little details that make up the film. The placement of the audio, the exact shots chosen, the colour grading, the talent’s movements — they are all what makes the film what it is.

On Friday, Sylvia, Becca, Kiki (the model), Lulu (Sylvia’s friend, there to help) and I embarked on a little roadtrip to Redwood Forest. Becca was the designated driver, since she’s the only one among us who can drive and has a car. We met up at Sylvia’s place and did Kiki’s makeup while waiting for Sylvia. Our inspiration are:

I do my own makeup and I can say I’m pretty good at it, but I’ve never done someone else’s makeup. It was a bit nerve-wrecking for me, but hey, just try right? Using my Limecrime Venus palette, I went to work. Sylvia then did the rest of Kiki’s face.

Once Lulu and Becca arrived, we were set to go. One and a half hours drive away, we brought little sweet and savoury nibbles and put on some good chilled music to accompany us.

Redwood Forest was more beautiful than I thought it would be. I didn’t take actual snaps from the day, but here are some pictures I copped from Google.

 

Sylvia brought her stabilizer, which resulted in amazingly smooth shots! We struggled a bit with deciding what shots looked good though, since the forest was lacking some key elements present in our storyboard (e.g. big rock the model to stand on for the final shoot). We tried making her stand on a log of wood instead, but we weren’t sure if it will look good. Anyhow, we shall decide on the sequence and the length of them in post-production.

As the shooting came to an end, I am really thankful for Kiki the model, who was really enthusiastic throughout the whole shoot (both in studio and outdoors). Even though it was freezing out, she never whined. Everything she did was with a smile. This film wouldn’t be in production without her so I am very grateful! I also learned so much from Sylvia, who has quite an extensive experience with filming and filming equipments. Looking forward to seeing the shots in the computer screen!

Realizing we were short on time, Sylvia and I began to think of alternative ways to find a model. Everyone we contacted on starnow.com.au either a) not available during our shooting days, or b) wouldn’t reply. We scoured our friends and friends of friends, trying to see if any of them are aspiring models looking for experience.

I found that one of my classmates does modeling on the side, and Sylvia also suggested some of her friends. We ended up picking a friend of hers, who luckily was available on the Wednesday we were planning to shoot on.

Kiki is her name, and she is very enthusiastic and bubbly! This made shooting her so much fun. Prior to the shooting day, Sylvia had altered the dress to fit Kiki’s frame. With several extra pins, we were all set to start.

We did a test shoot to test the lighting already, so we knew what to use. With the storyboard to help us guide, some background music, and camera and tripod, the cameras started rolling.

We didn’t really encounter much problems. Kiki was very welcoming of directions whenever she herself was stumped on what movements to do. Sylvia is very knowledgeable with the camera (since it was hers) and the equipments, which made the shoot run smoothly. After about three hours, we were wrapping up.

During feedback time in class, Christina mentioned how it would be better with more closeup shots. We might do a reshoot next week. Other than that, we also still need to shoot the forest sequence, which we will do at Redwood Forest next week with the help of Rebecca (who’s going to drive us there).

In preparation for the pitch, Sylvia edited the test shots we took on Wednesday, to mimic the final look we are after. This included colour grading it, changing the temperature, adding slow motion effects on some movements, and putting an addition of background music. On D-day, I presented with some anecdotal comments from Sylvia.

With the help of a slide containing image of the dress, storyboard, and our edited test shots, I think we managed to pitch our film idea quite clearly. I have to be honest, in the beginning, I was a bit intimidated and wanted to try avoid mentioning to the panel that we want to explore the topic of “feminism” due to the loaded meaning of the word. We decided to just go through with it, hoping for the best. The panel seemed to like our pitch, although there were conflicting commentaries regarding some of the symbolisms we want to use in the film.

Christina (I think) mentioned on how hard it would be to find stock footage, but Robin disagreed. This gave me hope to pursue our original plan of using a panther to symbolise the evolution of the girl.

To symbolise being constraint my societal values, we want to use a red string, circling and tied around the girl and the dress. Nick commented on how he didn’t really see the point of using a red string, recommending the use of a more literal “red cage” to draw comparison with the panther imagery. I quite see Nick’s point, but using the string gives more of a depth to our film I think, letting the audience ponder on the interpretation of the symbolisms.

During this discussion, the panelists and some classmates also offered more constructive criticism and ideas, such as a forest location and shooting the first part of the film outdoors rather than in studio. I mentally wrote everything down in my head so that Sylvia and I could discuss it further.

Moving forward, I feel quite nervous for all the things we still have to do. This includes finding a model, finding a forest location, start shooting both indoors and outdoors, and editing. I’m feeling positive, though, and excited to embark on the production of our film.

With the pitch looming in, there are some things we have yet to organize, mainly the model and shooting location for the forest scene. During the break, I briefly visited the Dandenong Ranges to see if it fits with the look we’re after.

So on Monday, I hopped on a train to Belgrave, then took a bus thereafter. I was a bit taken aback when I arrived, since the forest looked completely different to how I pictured it. Instead of a vast land of coniferous forest, I found that the entirety of the “forest” is carved out surrounding a highway.

As I hopped off my bus in the middle of nowhere, I felt a bit lost. Yes, I was in the Dandenong Ranges, but it was so BIG. There were no train stations nearby, nor roadsigns. I decided to catch an Uber right then and there. Thankfully, one showed up not too long after, and coincidentally, the driver was a filmmaker himself.

About the Dandenong Ranges, I was a bit skeptical to shoot here because of very little space between the trees as well as not enough tracks to go through the forest area. I admitted this to my groupmates, and they mentioned how the forest is too pretty, and doesn’t really match the look we’re after. So we crossed of the Dandenong Ranges from our list.

On Wednesday, I’ve booked Studio B for us to use, to do a shoot test. With little to no experience with studio lighting, we wanted to test them out and see what works best with the dress. Since we haven’t gotten a model yet, I volunteered to model the dress.

The dress itself was too big and too long for me to wear, since it is a size 10. For the real shoot, we’d need some pins and fabric tape to keep everything in place.

Throughout the three hours we spent, we tried out various lights, from tungsten to LEF, and different temperatures. At the end, we decided that the best lighting was one front overhead tungsten, dimmed, and a daylight LED light facing the curtain.

To be honest, we weren’t satisfied with how these lights reflect on the fabric of the dress. We thought the dress could’ve looked better. However, I think this might be due to the dress not fitting well on my body, making it look not as good overall.

This week we got a glimpse of fashion throughout history, represented by personal items belonging to Christina. I particularly liked the demo, because not only we got to learn how fashion has evolved (I’m using the term “fashion” very loosely, since it’ll take forever to list down the subcultures and their fashion style over the years), but also get firsthand experience from the eyes of Christina. I wasn’t born yet in most of the era when these pieces were popular, so I did get many interesting insights.

1930s

Some traits of this hankie that represents 1930s fashion is the use of natural fabric. This piece was delicate, more delicate than the standard hankie today.

1940s

This hankie is a reproduction of one bought in New York, Christina says. The flowers are maroon, which was one colour that became popular during this era.

1950s

In 1950s people started wearing cardigans. There was a big Chinese revival, and cardigans such as these became very popular. One would wear it out to dinner/the theater.  Fully lined, have tine little clips of lining.

There’s a Mexican feel with the images of donkey. This hankie is more folk, popular during the 50s.

1960s

This piece was bought in Paris at an op shop, the tag still on, Christina reminisces. Although she loved it, she never wore because it never fit quite right. This piece is made out of synthetic material, which was popular throughout the 60s.

1970s  Lots of people wore belts like these. The hippys were the “cool kids” during this time.

Big collars on jackets were very in in the 70s.

1980s

This piece was bought in Japan, and represents the “post-punk new wave” of the 80s. Other subcultures during this period of time would be the goths and mods.

For this project brief and the upcoming ones, I am lucky enough to be paired with Becca and Sylvia, both quite comfortable with using the camera and have extensive background knowledge in video-making. For PB #2, we decided to go the experimental route, playing around with effects, both during shooting and in post-production.

The vision came from Sylvia, who wanted to use a dress she has as the main subject. We had some trouble looking for a place to shoot, since Media students don’t have access to the photography studio. Luckily, Sylvia has a friend studying photography, and they helped us book a section of the studio under their name. The studio gave us a place to shoot, but unfortunately, since we used photography lights (which we think should be different to lights used for filming), we were a bit wary of it not being bright enough or faint lines showing up on the footage. During the shoot, we experimented with glass surfaces (buying them cheap at Savers), a canvas, paint, and glass prisms.

Some things we did and how it went:

• Splashing paint on the canvas — this one was pretty fun and self explanatory. Basically, we put the canvas upright, mix a lot of water into the paint, and start dripping paint on the canvas. We plan to overlay this footage over footage of the dress.
• Mixing paint around on a flat glass surface — I managed to get a flat glass plate from Savers, and we decided to mix the paint around on it. This creates an interesting myriad of colours that we can overlay on some other footage as well.
• Dropping droplets of paint in a glass vase filled with water — this one was a bit more experimental than the previous two. In our minds, we visioned it as colours mixing in the water, but the paint didn’t really work. It just fell on the water as a blob. Perhaps food colouring could’ve been better.
• Putting a glass prism in front of the lens — this one was Sylvia and Becca’s idea, which came a bit later after we shot the other footages. Becca happened to have a touristy Paris prism with an Eiffel tower image in the center (which you can’t really see/decipher when you press the prism onto the lens). The shape of the prism acts like a mirror and multiplies the subject being shot, creating a sort of psychedelic trippy effect.
• Blurry shots of Sylvia wearing the dress — since our video is “experimental” we want to incorporate blurry shots as it appears “mysterious”.
• Normal shots of Sylvia wearing the dress — we shot this when we shot the prism footage; which was days after we got the other footages. Basically we decided to do this after hearing Christina’s feedback, in which we should still clearly show the details of the dress, regardless of the experimental look we are trying to achieve.

The playing around was fun, but the editing part was the hard part. Since our video was supposedly experimental, we didn’t have a clear structure in which we want to base the video on. All we had was these footages to play around with on Adobe Premiere. This proved to be hard, as we each had different ideas on how to craft the film. On top of that, the various feedback we received in class made us a bit lost. This was when we decided to just edit on our own.

I quite enjoyed this decision, as I had creative freedom to  play around on my own. Although I have to admit, I had several issues whilst editing, such as Premiere lagging due to the myriad of effects used, as well as having a hard time deciding on how to end the video.

Alas, I persevered, and I think I’ve made something that I, and we as a group, can be proud of. Sylvia and Becca shared their own versions of the video and it all looked so good!Thankfully, our worries regarding the photography lights messing up with our video fragments were proved to be unfounded. The footage all turned out great. I can say I’m glad we decided to go on our own in post-production, since we all can go about our own ideas and explore them, creating quite distinct final products.

This week was pretty fun, with the help of Sylvia’s friend who’s a photography student, we booked a photography studio at building 9 to shoot our video. So thankful for Sylvia’s friend, because without her help, honestly I had no idea where we could’ve shot our video.

The star of the video shall be Sylvia’s dress. It’s midi length, sleeveless, and white in colour with pinkish tones and black paint-like smears of ambiguous patterns.  The concept of the video is using lots of effects in post-production and layering of footages to create something of experimental nature. What will the final product look like? We don’t know yet at this point.

Prior to that day, we decided on the props we wanted to use. Some things we brought were:

• Paint + brush
• Blank canvas
• Glasswares (glass plate, vase, etc)

Alongside with the studio space, we were also given some lights to work with. We faced some initial mishaps, such as the lights kept shutting off and on again, as if theres some electrical short circuit going on. The lights also weren’t bright enough, and we reckon this is because these are photography lights, not usually used to film. The camera also wouldn’t mount on the tripod provided by the photography studio, but this was easily countered by borrowing a different tripod from the guys in charge of the media suites.

However, the shoot session went well overall. We first played around with mixing paint on a flat glassware, then threw around droplets of paint on the canvas. This is followed by dropping paint on a vase full of water to see what it’ll look like (didn’t achieve the look we were after). Lastly, we also filmed some blurred footage of Sylvia wearing the dress. We deliberately cut off the face because we thought it’s more “aesthetic” this way (also, this was what Sylvia wanted).

I think everything went pretty well and I am excited to do the next step — editing!

This week is a bit of an interesting/fun one because it involves playing with an actual camera! I have to be honest, I’m not the most proficient with cameras, despite studying Media, which is something I know I’m lacking at. Due to this, I was very excited for the workshop.

Robin walked in pushing a massive and heavy-looking trolley full of cameras and its accessories. And the class began!

We then got into groups of three or four to practice being hands-on with the camera. What I was surprised of was how heavy, bulky and massive the cameras are. No wonder one cameraman would need a number of assistants!

There were a couple of camera jargon that I learnt that day.

1. White balance: Basically, adjusting the “white balance” means adjusting the colours on the image so that it looks natural. The goal is to make the image as similar as possible as to how we see it when it was taken. The human brain automatically adjusts the colour temperature of the things we see, whereas different light sources (lightbulbs, sunlight, etc) have different colour temperature. The colour white would seem the same indoors or outside to the brain, but not to the camera, which is why we always have to adjust the white balance prior to filming by setting it against a white foreground.
2. Zebra pattern: Zebra pattern is a camera feature that overlays stripes on top of areas that are overexposured. These patterns don’t appear in the real footage, but can be used as indication for exposure levels.