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Here's the before and afters!
Overall very happy with my work on this film. Had some great help from Flo and Chelize who made some artwork and designed the TV show VHS cover. I think we really achieved the look we were going for - a sad, outdated, faded life to surround Anna.
Really excited to see the final film....
This is my document for Prod Design. Just tried to have it as detailed as possible so it was easy when at charity shops to know what I needed.
a snippet from my insp board for set designing Television.
Film Pitch
For this semesters films we had to submit a short pitch for the team based on short synopsis' they provided. To me Televison was really interesting and based off of my response I got to do Production Design!
EXERCISE 2
For this exercise we wanted to portray loneliness - the feeling of coming in alone to your cold flat in the winter and craving the company of someone you no longer know...
I am happy with how this turned out! I think with a little more time we could have nailed it as it was a little harder to do much production design with so little time, but I think lighting and shot composition was out strong point with this one. Again the Crit session was helpful and it seemed like our classmates understood what we were trying to create.
I'll miss making these exercises with my team!! They were super helpful to get used to the new equipment and learn how to set design under pressure and be resourceful.
EXCERSIE 1!
Some ss's from exercise 1 - home. I'm so proud of how this turned out, the Crit session was really helpful and affirming that my classmates got the memory atmosphere we were trying to create. This is exactly how I imagined it looking when I pitched my idea to the group, and getting to do the Production Design and the score for it really made it feel like an homage to my childhood! Little things from my actual childhood were included to make it feel personal, then creating the piece of music for it is always so enjoyable - I was inspired by the synths from the 80's that my dad raised me listening to, also songs like 'memory gongs' by the Cocteau Twins and 'sugar storm' from the Gone Girl soundtrack are songs that, to me, sound like grasps of your memory.
Overall I really loved this exercise and working with my group, I would really love to work with them again and even explore this idea further - some people suggested that this felt like it had twinges of grief in it which I don't disagree with as it is meant to represent the mourning of a childhood. However, it's be so cool to explore this grief aspect of your child self or even someone else in a different film with these techniques.
Shooting day - 29.09.24
This was such a fun shoot, so relaxed and very fulfilling. I can confidently say that every image was an equal collaboration by every group member, we all bounced ideas off of each other all day and are all very happy with the shots we have collected.
Can't stop thinking about Bella's room in Twilight....
These films may be mocked but I have never watched a film that has such a strong atmosphere as the first Twilight. I think about Bella's room about twice a day. We had a talk in class today from a professional production designer and he was talking about how with great production design, you just don't question or even notice any of the choices made, that they just make sense for the characters, and it highlight to me how much skill really goes into this job. How much thought and time and detail is amazing. Anyways, it just made me think of Twilight and how perfectly everything fits its gloomy, angsty, dreamy atmosphere. Bella's bedroom makes so much sense. I wish it was mine.
Some stuff I brought from home + some set dressing on the shoot!
Exercise 1 - HOME
My idea of home is linked to memory - impressions of bubbles and glitter and echoes of music from another room, the washing machine, a tv's buzz as you try to sleep.
For our first exercise my group (group 4) want to emulate this feeling. We plan to create fuzzy, close up shots that look like snippets of your childhood.
For this project I will be doing production design, I have went back home to dig through my memory box to decorate the space with actual objects from my childhood. As well as sitting down with my parents to ask them what we used to get up to and dig out some old tapes to get a clearer image.
A timeless story of human connection and self-discovery, MOONLIGHT chronicles the life of a young black man, from childhood to adulthood, as
For the first creative exercise I read an article about the set-design on Moonlight, dir. Barry Jenkins. The set-design was done by Hannah Beachlor and Regina Crowley, who both give their accounts of working on this film and the process behind their creative choices.
I feel like just by watching the film you can tell how much thought and feeling went into making it, it's so rich with emotion, and this was carried across all levels of production. It's evident how much knowledge goes into set-design, both artists give examples of historical and cultural understanding of the places Chiron's character was brought up. Not only do you need this knowledge of the context of the film, but you need the context of the characters and a deep comprehension of their story. Both artists reference his and his mother's emotional journey when making choices. Thoughtfully adding and subtracting set-pieces depending on the state of his mother and her addiction; they take the headspace of their characters into choosing not just types of objects/furniture, but also the colours of them deeply relating to characters psyches. They comment that colours would be brighter in places Chiron felt safe, whereas they would be duller/darker where he knew he could not be himself.
It's really inspiring to read about set-designers who are so deeply in touch with the material. Beachlor and Crowley have highlighted the importance of giving thought to all aspects of your material. set-design can just be thought of as dressing up a space, but it really does reflect what the material is trying to say.
Thinking about production design and films I've seen recently, the work by Brandon Tonner-Connolly on I Saw the TV Glow came to mind. I really love the choices he made on this film as I think the production design does such a good job of projecting the characters internal worlds onto the sets around them, as it is such a subjective film it ties together perfectly. He does such a great job with colours around the characters that tie in with the trans themes of the film, along with making everything look in place in such a specific time-period. The set design for this film just feels like its bursting with creativity, the places around the characters have so much personality and truly embody the film.
Year 3, On-Set Production
Everything above will be documenting my work involved with my year 3 on-set production module.
Story Board
This is a page from my story board for Red Palm.
This really helped us on set, we'd look through the scenes to shoot at the start of each day and I'd go through the shots with the actors so they know what our setup would be. It was also referred to a lot during the editing process, our editor would use it when I wasn't present to get an idea of what I was looking for.
Character Breakdowns - Toby and June
I looked to a lot of art and music for inspiration when directing Red Palm - illustrations by Edvard Munch really spoke to me in relation to Toby and Junes characters and their relationship. The tragicness and darkness to the pieces really fit the tone and atmosphere we were going for.
The first image is Toby - sleepwalking through life, surrounded by memories and demons that he tries to ignore by subduing himself with substances.
The second image speaks to Toby and June's relationship after June's passing. Toby is on the right, shaded darker, almost a shadow of himself, he is enveloped by June - a brightness that wraps around him - showing that he carries what he did to her in every moment, yet showing that her impact on him also carries a calmness and guides him to safety.
The last image relates to June's character. She resides in the middle of the piece, surrounded by hands trying to catch her and pull her back. This piece of art really reflects how June felt leading up to the events in the film, she had a troubled past with substance abuse and is finally starting to outgrow these habits and these people that enable them. However, they try to pull her back, like Toby it's a way of not letting her go, since he has not worked through his issues yet. June feels the pull of these people as she tries to escape them, but in our story they prevail and their hands inevitably pull her down into her demise.
Red Palm Poster!
This is our 2nd year student film about Toby, a young man trying his best to ignore his life, having accidentally caused the overdose of his girlfriend. After a palm reader confronts him with the truth, we follow Toby on a drug fuelled psychological trip as he tries to determine whether he deserves to live or die.
Character Breakdown- June
I made a mood board for our character June. She is Toby's girlfriend that eventually meets her demise, however we really didn't want her to slide into the one-dimensional generic 'dead girlfriend' trope.
The mood board details June on her way to the party that her and Toby's argument takes place in. The aim was to highlight that June is moving on from this relationship, from people like Toby and old, destructive habits that they all still partake in. The black and white images detail her internal struggles; the art from Edvard Munch is how June feels at this time in her life, being dragged backwards by people she is outgrowing. The other b&w photo details her struggling relationship with Toby that doesn't fit who she is right now, if it weren't for the pill she takes that night, they would have broken up not soon after.
I really enjoy making individual character mood boards, I like to pair them with music that I think they'd listen to, or that really fits their story. In the future I'd like to make them for all major characters, it's such a good way to understand your character, backstory a wise and visually.