Written Reflection
What you were trying to achieve in terms of critically communicating about Symmetry and the Arc Shot in Film and explain the method in which the editing process was used to attempt this?
The arc shot disrupts the orthodox system of filmmaking which obeys the 180-degree rule (Bordwell et al. 2019). The plane of the frame is instead expanded into a 360-degree space where the environment fully wraps around the main subject matter. This consistent motion featured within the arc shot often showcases engaging transitions in relationship dynamics alongside a gradual build up of tension. United with the use of symmetry, the arc shot is further enabled to centralise focal point. Such pedantic composition coupled with the enclosing movement of the camera physically isolates and entraps the subject matter within the centre of the frame. Drawing on the unique visual experience facilitated by the symmetrical arc shot, I intended to capture a sombre moment, exploring the emotional turmoil endured by those who are stepping into the chaotic world of early adulthood.
A wealth of symbolic meaning can be conveyed using an arc shot. The dizzying effect created by the arc motion directly implicates audiences in the disorientation experienced by the main character. As the camera continues to orbit around the protagonist, the cityscape is presented in an overwhelming and hostile manner. This visual disbalance between the character and the setting alludes to the animosity of the adult world and tumultuous journey of growth. Furthermore, the continuous camera motion allows for a seamless tonal transition within the sequence. The orbiting movement acted as a strong foundation for the visual shift in colour. I synchronised the key-framed transition between a warm saturated palette and a blue toned and sterile wash to the rotation of the camera. This mobility, harmonised with the changing colour palette, effectively highlights the character’s progressively dampening mood.
As the sequence is predominantly composed of a long take, the editing process was focused on subtle adjustments to enhance emotional cues. Dakić (2009:2) contends that ‘[sound]…provides a form of continuity or connective tissue for films.’ Thus, sound design was significant in integrating the arc movement and intensifying poignancy. The soundscape features complex layers of audio to match the hasty pacing of the camera movement. Additionally, considering the intimacy of the sequence, ambience is particularly exaggerated for increased immersion and audience involvement (Dakić 2009). The two elements of sound and camera motion unanimously heightens the tension of the scene and invites spectators into the intrinsic realm of the protagonist.
How did your preproduction/production/post production process go and what would you do differently/improve next time?
Pre-productions:
The initial concept began with explorations of narratives that would fit into the requirements of a symmetrical arc shot sequence. I was inspired by the opening scene of Moonlight (2016), where the camera remains mobile and interchanges between a tracking shot and arc shot for a duration of two minutes. The movement allows the long take to remain visually engaging whilst clearly establishing the desolate setting and turbulent character relationships. Similarly, I narrowed the setting down to one location and opted to focus on a relatively simple yet relatable plotline. The sequence straightforwardly unfolds around an ordinary young adult, who repeatedly receives disappointing phone calls. Rather than any form of visual spectacle, the true essence of this scene resides within the emotional progression of the character.
Sections of screenplay
The visual planning was notably simpler than usual as my aim was to solely emphasise the presence of the protagonist. As noted by Studio Binder (2022:9), ‘simplicity is the philosophy and practice of creating only what is necessary within a work of art.’ To maintain focus on the micro-expressions and body language of the character, the protagonist was positioned at the centre of the frame, while any other potentially distracting visual elements were intentionally omitted.
Storyboards
Production:
The execution of the sequence was quite challenging. The filming process was a complicated choreography between the movement of the actor and the camera. As the sequence was to be completed as a long take, each element had to be perfectly coordinated and seamless. It was made even more difficult on the day due to the periodic rain which kept disrupting the continuity of the lighting. Reflecting on this demanding production process, I recognised the need for more b-roll footage or alternative static shots that could serve as substitutes for different sections of the long take. While fortunate that the shoot proceeded relatively smoothly, relying solely on the primary footage without any backup was a risky decision.
Post-Production:
As mentioned before, post-production primarily focused on colour grading and sound mixing. Given the monotony of the setting, visual variety relied heavily on the colours observed in the scene. To convey the significant shifts in the protagonist’s mindset, I implemented drastic changes in the colour range. The sequence begins with a warm, orange tinted palette to parallel the protagonist’s hopeful perspective. However, as her sense of anticipation is decimated by an apathetic phone call, the palette noticeably shifts to showcase dull, frigid blues. For this section of the sequence, I referenced the desaturated cold tones exhibited in Coppola’s Lost in Translations (2003). The film’s choice of a light, blue hued palette accurately visualises the numbing sense of isolation and renders the aloofness of modern cities. Similarly, through colour, I intended to communicate the disheartening experience of the protagonist and her relatable loneliness.
Colour grading process
A deliberate choice was made to exclude any non-diegetic music, opting instead for a raw, hyper-realistic approach to match the poignant undertones of the sequence. The inclusion of dramatised sound effects such as the flat-lining heart monitor and the distant thunder were carefully orchestrated to be rhythmic and timed to synchronise with the on-screen motion. These unrealistic additions also serve to amplify the protagonist’s brewing dread. An escalation of overlapping voices was crafted to underscore tension and lead up to the eventual emotional outburst of the protagonist. A strong sense of immersion is experienced as the viewers are overwhelmed both visually by the disorientating camera movement and auditorily by the climatic eruption of sound.
Sound design
Your reflection should also include commentary on what you thought the most and least successful parts of your Symmetrical Arc Shot were, and why so?
The symmetrical arc shot sequence is particularly successful in smoothly incorporating camera movements. Although the orbiting movement possesses a degree of artifice, the curated interplay between the lingering motion and the character is able to nurture a sense of authenticity. The encircling movement allows the scene to appear immensely intimate and places audiences directly amidst the action. The transitions between the tracking shot and arc shot are also kept seamless as the camera moved in synchronisation with the actions and emotions of the character. The dichotomy between mobility and moments of stillness is executed aptly to leave enough time for audiences to perceive the character’s shift in sentimentality whilst also increasing the emotional beats. Overall, the arc camera movement is applied adequately as a strong visual narrative element.
The least successful aspect of the sequence is the amateurish inclusion of diegetic monologue. Recording diegetic audio is always a challenge due to uncontrollable environmental factors and unpredictable technical issues. The original decision was to record the primary audio on an external camera microphone and have the phone recording with voice memo as a backup. However, as the microphone was continuously moving alongside the camera, the audio levels were consequently uneven. As a result, the phone recorded audio ended up being used as the primary source of sound. The sound quality was surprisingly clear except for an excess of wind distortion. Whilst an immense effort was made to compress the audio and remove any unwanted noise, the wind was still somewhat evident and distracting. Improving from this experience, when shooting outdoors, I would employ the use of a proper boom microphone which has a fur cover to minimise wind distortions. Additionally, I would enlist the help of a production assistant who can monitor the sound levels.
Final Timeline
References:
Bordwell D, Thompson K and Smith J (2019) Film Art: An Introduction, twelfth edn, McGraw-Hill Education, New York.
Coppola S (director) (2003) Lost in Translations [motion picture], Focus Features, New York.
Dakić V (2009) Sound Design for Film and Television, GRIN Verlag, Germany.
Jenkins B (director) (2016) Moonlight [motion picture], A24, New York.
Studio Binder (2022) The Elements of Composition: The Complete Guide, StudioBinder Inc., Santa Monica.
Blog posts:
Visual Blueprint – Week 4 Blog