Planimetric Composition
Wes Anderson
Study Outcomes
Although the troubling room layout had proven to be an initial obstacle I needed to overcome during my first filming day, the Planimetric Composition I had first set out created worked out in most of the desk centred shots where our protagonist had been displayed sitting down. When further complimenting this flat way of framing individual shots, I had begun to experiment with the previously mentioned Compass way of panning into various 90-degree points onto an imaginary compass. Even though I had once again faced room arrangement issues, I was able to work around them and produce the example seen below. Due to the equipment restrictions, the wide Wes Anderson way of shooting his movies fell through as the cameras used in the collage weren't able to capture wider frames, further abandoning this technique as it didn't prove to be of any further benefit other than another artistic influence.
Music
After understanding what song structures create the best layouts for the montage-like aspect of my 'on beat cutting' between shots, I decided to begin assessing a rough playlist I constructed for the soundtrack of my FMP. Although I have already used some of the songs for other montages scattered throughout my website, I evaluated each track alongside a rough copy of my shooting script, seeing how each shot will transition into the next by assessed time stamps. At this moment in time, my film will begin with the elegantly high-class song 'Arrival of the Queen of Sheba' by famous Opera composer George Frideric Handel. After we return to our artist's workshop classroom, the composition will decrease in volume until it suddenly stops and seeingly transitions into the 'inspiration montage' song, Heroes and Villains by the Beach Boys. Contrasting the previous 'grand' piece, this song showcases a form of optimism the montage is all about, having the bright and uplifting sound compliment the stylized cinematography at the rather dull sounding hobbies and forms of inspiration our protagonist is displaying.
God's Point of View
God's Point of View
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(Shots taken from my first filming day)
Compared to my previous film-poem attempt, I have strived to create a more substantial portfolio of God's Point Of View shots that are artistically pleasing with the way each framing has a fuller frame of props positioned to introduce the much-needed colour and occupation of empty space that had previously plagued much of my film poem.
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A great example of the integration of these God's Point of View shots is the example shown below. In the initial edit I have created, the protagonist is seen examining the book, breaking the scene with a God's POV of him placing the book onto his desk. Something I learned when evaluating a brief paper on the La Nouvelle Vague for my previous film poem is how someone may go about introducing a spars cut within their film. I didn't need to show the protagonist walking to their desk and then having the God's POV showing his hand placing the book onto the desk, (cutting straight to that shot proved to be more effective.) After this shot, I cut to the protagonist opening said book, quickly cutting to another even closer God's POV of each important page that sets up the montage that follows, abandoning the usual way Hollywood movies may show a shoulder high-angle of the protagonist placed on either third, examining said pages.
Colour
Original
The optimistic yellows of Moonrise Kingdom have found their way into the colour correction segment of the experimentation sections of my brief. With the footage I took as a part of my location scouting documents, I was able to colour correct several shots relating to different aspects of the narrative. The example on the left showcases the 'Rare Bird Watching' section of my 'inspiration montage', displaying a crucial example of the non-diegetic form of text I want to utilise. I believe that I have been able to capture a perfect template for what makes MK so visually significant to me, allowing myself to finally reach a high standard of quality with the metaphoric way in which I emotively portray the character's arc through the colours around him. If you want to find out more about my development of this colour correction mask, how I have been able to introduce a link between the picturesque way I have framed certain shots and 16th-century landscape art, click the button below and view my other colour correction attempts.