Blog Posts:
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?
In critically communicating about Symmetry and the Arc Shot in Film, my aim was to explore how these elements can be used to centralize the audience’s focus, capture different aspects of a setting, and achieve geometric perfection while maintaining visual interest and creativity. In my film “The Last Bus” we follow the story of a person’s seemingly ordinary day as they navigate the challenges of urban life. As they rush to the stop, the bus pulls away, leaving them stranded. Despite their disappointment, they decide to make the best of the situation and start walking towards their destination.
The Symmetrical Arc Shot involves the camera moving along a curved path around the subject, with the distance from the subject remaining consistent throughout the arc. Smooth and consistent camera movement is typically desired to achieve geometric perfection. Due to my technical ability, I opted for a handheld shaky effect which adds to a slice-of-life and natural feel. This decision was made to enhance the authenticity and realism of the scenes, which I wanted to align with the film’s tone and narrative style. In post-production, I accentuated this effect by experimenting with motion blur and slow-motion techniques for arc shots that were less noticeable. Despite the shakiness, I found that the combination of the handheld camera work and motion blur added a unique and creative dimension to the cinematography, creating a dizzying effect that enhanced the overall visual impact of the film.
Furthermore, I wanted to focus on colour to mimic the aesthetic of filmmaker Wes Anderson, particularly in how he balances tone by juxtaposing depressed characters with vibrant and optimistic colours. Drawing inspiration from Risk’s 2020 article, I employed a complementary colour scheme of orange and blue to convey contrasting emotions and themes within the narrative. To do this, my friend who helped me act wore a blue t-shirt whilst filming during sunset bringing out warm natural lighting. The use of blue tones depicted the protagonist’s disappointment and sense of loss, while orange hues symbolised warmth and contentment. By carefully selecting and manipulating colours in the film and experimenting with camera techniques, I wanted to evoke specific emotional responses from the audience and enhance the visual storytelling experience.
- How did your preproduction/production/post production process go and what would you do differently/improve next time?
In preproduction, I struggled to develop a plot centred around the arc shot, so I decided to incorporate a series of arc shots to make the cinematography more dynamic. To keep the plot simple and focus on the visual elements, I opted to exclude dialogue, allowing me to enhance the audio through sound design. I first created a simple shot list, highlighting the arc shots in bold, then borrowed the Sony FX3 and a tripod, which I was able to familiarise myself with from assignment 1.
Reflecting on the production phase, I realised the importance of understanding the different degrees of the arc and their storytelling effects. Most of my arc shots were not long and close-up, I wished I had captured more 360-degree arcs to contain footage coverage for editing. Also, keeping track of where each arc shot began and ended was crucial for maintaining visual continuity.
I quite enjoyed the post-production for this assignment. After showing my assembly cut in class, my feedback from Cat was to work on sound design and slow down some of my arc shots as it wasn’t noticeable enough. I did this by finding sound effects to enhance the surrounding sounds which included trains passing by, birds sound, and cars driving by. I also attempted to create my own foley. The film lacked emotional reaction since there was no dialogue, so I recorded my own sigh when she read the bus timetable. I also recorded the text messages typing and sending notifications from my own phone. This worked out well and I was glad how easy it was to create your own foley! I then found a suitable soundtrack that fits the mood and aesthetic of the film, something lo-fi and chill.
To improve the visibility of the arc shots, I reviewed the assembly cut and identified areas where the arcs were not noticeable. Some of my experimental arc shots, such as reading the bus timetable, close-up shots of the bench, and the 180 arc shots that turn into a tracking shot. I slowed down the clips and added motion blur to create a smoother visual transition. While this didn’t completely solve the issue, I found that the blurring effect combined with the handheld shots added an intriguing and artistic dimension to the film.
Looking ahead, I would strive to embed the arc shots more seamlessly into the narrative and consider exploring different techniques to enhance their visibility without compromising the overall aesthetic. Additionally, I would continue to refine my understanding of camera movement and storytelling dynamics to create more impactful and immersive visual experiences in future projects.
- 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?
Given the simplicity of the plot and the focus on the slice-of-life genre, I aimed to use arc shots primarily for visual appeal rather than for deeper thematic meaning. I wanted to create visually intriguing cinematography that would enhance the overall viewing experience. Understanding the importance of location in engaging with the plot and maintaining visual symmetry, I selected Essendon station as the filming location. The station offered a variety of visually interesting elements such as the essential bus stops, benches, tunnels, and walkways, all of which contributed to the visual appeal and symmetry of the shots. Recognizing the significance of lighting in cinematography, I chose to film on a sunny afternoon at 4:30pm to take advantage of the golden natural lighting. While I originally considered shooting at night, I decided against it due to a lack of suitable lighting equipment and the potential challenges it could pose to the visual quality of the film. In reflection, the implementation and experimentation of arc shots in “The Last Bus” were successful in enhancing the visual appeal of the film through symmetrical compositions.
Complementary colour schemes involve using two colours from opposite sides of the colour wheel, which, when used together, create a sense of vibrancy and visual “life” within the frame (Risk 2020). By strategically pairing complementary colours, I sought to amplify their individual impact and evoke specific emotions in the audience.
In production, I shot in S-log so I could colour grade easily in post. I wanted to implement a complementary colour of orange and blue to create contrast as it is also commonly used in the colour palettes of many blockbuster films. Orange hues were used to convey warmth, contentment, and creative energy, while blue tones represented feelings of isolation, longing, and introspection (Risk 2020). By juxtaposing these complementary colours, I aimed to deepen the emotional resonance of the narrative and engage viewers on a subconscious level. In reflection on the creation of this short film, there were minor challenges along the way, the process allowed me to experiment, learn, and ultimately improve in future filmmaking.
Bibliography
Risk M (2020), How to Use Color in Film: 50+ Examples of Movie Color Palettes. [online] StudioBinder. Available at: https://www.studiobinder.com/blog/how-to-use-color-in-film-50-examples-of-movie-color-palettes/.
