#creative filming technique

[mkteach]

Using nothing but an old sandal, this man floated his iPhone down a water channel and captured something amazing! Watch as his unique idea results in breathtaking footage that will leave you in awe. Don’t forget to like, comment, and subscribe for more creative moments and unbelievable surprises!

[iyemarathichiyenagari1971]

आमिर खान म्हणाला, मी प्रशिक्षित अभिनेता नाही... मग त्याच्या अभिनयाच्या यशामागचे गुपीत काय ?

चतुरस्त्र अभिनेते- सर्जनशील निर्माते आमिर खान यांनी वेव्हज 2025 मध्ये अभिनयाच्या कलेविषयी आपला दृष्टीकोन सामाईक केला मुंबई – चतुरस्त्र अभिनेते-सर्जनशील निर्माते आमिर खान यांनी वेव्हज 2025 मध्ये क्रिएटोस्फियर मंचावर ‘ अभिनयाची कला’ या विषयावरील त्यांच्या अतिशय सहजसोप्या आणि उपयुक्त सल्ल्यांनी अनेकांची मने जिंकली. त्यांच्या चित्रपट निर्मितीच्या अनेक वर्षांच्या अनुभवातून मिळालेला हा व्यावहारिक…

[mazalejeenekasong]

Welcome to EP Ka Meter Films! I'm Eshwarprasad, an independent filmmaker who believes that great stories don’t need big budgets—they need passion and creativity. On EP Ka Meter Films, you’ll find zero-budget short films, authentic storytelling, trending reels, and travel vlogs. My journey began with just a smartphone and a dream, and now I share my experiences to inspire others. Whether it’s filmmaking tips, emotional films, or simple life moments captured on camera, our content proves that anyone with vision and heart can create impactful work. Join me on this exciting journey! #EPKaMeterFilms #ZeroBudgetFilms #FilmmakingJourney #IndieFilmmaking #AuthenticStorytelling #TrendingReels

[epkameterfilms]

Welcome to EP Ka Meter Films! I'm Eshwarprasad, an independent filmmaker who believes that great stories don’t need big budgets—they need passion and creativity. On EP Ka Meter Films, you’ll find zero-budget short films, authentic storytelling, trending reels, and travel vlogs. My journey began with just a smartphone and a dream, and now I share my experiences to inspire others. Whether it’s filmmaking tips, emotional films, or simple life moments captured on camera, our content proves that anyone with vision and heart can create impactful work. Join me on this exciting journey! #EPKaMeterFilms #ZeroBudgetFilms #FilmmakingJourney #IndieFilmmaking #AuthenticStorytelling #TrendingReels

[brandonjohnbarnard]

For my film diaDOGue, I wanted to continue my investigation into non-human agency like I did with Doggy Style and Tinguely Feeling. For both of those previous productions, I tried to embrace chance by recording the subjects (dogs/robots) and having agency in the editing process through the selection of footage and its use in the editing process.

I wanted to twist the format this time around. My plan was to film Toffee and Noodle and then use the selected footage to form a narrative. For example, if they looked concerned, I would write a piece of dialogue where they sounded concerned, and so on.

So, I spent a few hours on the first day filming the dogs. They got tired pretty quickly, so I thought to myself “okay, so this will take a few days. No problem.”

“Stop filming me”

When I woke the next day, I found that Noodle had absolutely decimated my toy plesiosaurus (my favourite dinosaur). It was completely my fault because, one, she is a dog and knows no better, and two, the plesiosaurus lived in the bathroom, and I accidentally left the bathroom door open overnight.

Looking at the crumbled mess of a sea creature on the floor, I thought that it reminded me of Jean Arp’s ‘Untitled (Collage with Squares Arranged according to the Law of Chance)’ — even the colours were reminiscent of it. Suddenly, the plot of diaDOGue was created.

When writing the script, I looked up information about plesiosauruseses, and learnt that they were in fact not dinosaurs (they are marine reptiles), so this discovery entered the plot as well. I really enjoy the process of the entire piece coming together through chance occurrences. The constant looking at the world like ‘how can I use that for a film’ makes everything a lot of fun.

Thanks Wikipedia!

I asked my friend Louis G. Limberg to help voice one of the dogs on the piece. He can be seen in my film After Images (2), but this is the first time I used his help directly. I like to imagine the dogs as really soft, dainty ladies in my day-to-day, so having two men (and one with a particularly deep voice) play the dogs was quite fun.

Normally I would collaborate online, but since Louis is a good friend and the dogs love him, we recorded the audio in person on the 22nd of November, 2024. Also, Louis had a nice microphone, so doing it in person meant I could use the mic as well.

We recorded 8 different takes of the script. In the editing process, I would take the best bits of each recording. It really was all over the place in terms of which chunks were used, with no take really being used more than others.

The music used in the majority of the piece is ‘Dark Ambient backgrounding 001’ by Steaq, uploaded all the way back in 2014! I love the idea that a creative can put something on into the world, and 10 years later it gets used for something dumb like this. I really enjoy the serious tone it gives to such a silly scenario.

In terms of my favourite parts of the piece, I really like the shot of Toffee looking towards the camera and saying “This is all your fault” — it is so genuine. Louis did a great job on the line.

I also like the “what did you doooooo?” being synced up with Toffee barking. A postie put something through the letter box while I was filming, and Toffee acted like a drama queen, as is the standard for her.

It was fun to see the audience side with Noodle.

RIP Rubble, the plesiosaurus.

[videocontentcreators]

Discover the magic of wipe transitions in film! 🎬 From classic Hollywood to modern sci-fi, this editing technique adds style and flair to iconic movies. Enhance your visual storytelling with creative scene shifts. #WipeTransitions #FilmEditing #VisualStorytelling 🎥✨

[photosbyjez]

Bouquet In Culzean Castle -- FOTD Aug 11

Journey through Culzean Castle with this beautiful AI-edited bouquet series. From grand staircases to kitchens, see how AI transforms floral beauty. 🌸 #AIArt #FOTD #AIArtwork #AIArtCommunity

Hi all 👋 My latest post for Cee’s FOTD. We’re now moving on to Culzean Castle & its grounds in Ayrshire for the next series of flowers & settings 😃 Another bouquet from the top of the grand staircase in Culzean Castle. I’ve done a few AI edits for this beautiful bouquet (carousel 👇). I prompted the AI to keep the bouquet the same as in the picture & place it in a grand entranceway of Culzean…

[animationstudio]

Stop motion is a captivating animation technique that brings inanimate objects to life by photographing them frame by frame. Each slight movement is meticulously captured, creating the illusion of motion when played back in sequence. Known for its unique, handcrafted aesthetic, stop motion is used in films, advertisements, and artistic projects to create memorable and engaging visual experiences.

[akwyz]

DO YOUR BEST WORK: Lessons from Pixar on Creativity, Leadership & Why Story Is King | Ed Catmull

Discover Ed Catmull’s secrets to Pixar’s success in fostering innovation, embracing failure, and harnessing team energy. Learn invaluable insights from his experiences with legends like Steve Jobs and George Lucas. Don’t miss these game-changing tips!

There was something magical about that unique combination of people coming together. How do you harness that energy and desire of your team to do something great, no matter where you are? That’s when the best work happens. In a recent interview, Rich Roll talked with Ed Catmull, the co-founder of Pixar and former president of Walt Disney Animation Studios. Ed played an instrumental role in…

[blogrinajob]

Slow Motion: A Mesmerizing and Hypnotic Cinematography Technique

Welcome to the world that slows down time and presents visual wonders: Slow Motion. A cinematography technique that not only displays motion but also captures the beauty of each moment. Imagine, an instant can transform into an eternal moment, and every detail tells its own story. In this article, we will delve deeper into the magic of the Slow Motion technique, exploring how it mesmerizes and…

[thewaltcrew]

Director Kirk Wise, screenwriter Linda Woolverton, and actor Robby Benson on casting the Beast [x]

They gave me an incredible amount of freedom. I didn't want Beast to be a cartoon character. I played it as though I were doing a Broadway show. As if this was a living person. And I wanted him to be funny. By funny, I don't mean shtick or one-liners. I am talking about real comedy. When real comedy works, and is truthful, especially with the Beast, it comes out of the fact that he is so pathetic. For some reason, I really understood that. Ha! Because of that, they gave me a lot of leeway. [x]

My first audition was recorded on, of all things, a Sony Walkman. As a musician, I had branched out into recording engineer and loved to play with sound. When I saw the Sony Walkman I knew it had a little condenser microphone in it, and if I were to get too loud, the automatic compressor and built-in limiter would 'squash' the voice— and there would be very little dynamic range to the performance. I did a quick assessment and wondered how many people who had come in to audition for the part were making that error: playing the Beast with overwhelming decibels, compressing the vocal waveforms. I decided to give the Beast 'range.' Because of my microphone technique, and an understanding of who I wanted Beast to be, they kept asking me to come back and read different dialogue. After my fifth audition, Jeffrey Katzenberg the hands-on guardian of the film, said the part was mine…

Beauty and the Beast was so refreshingly fun and inventively creative to work on that I couldn't wait to try new approaches to every line of dialogue. Don Hahn is one of the best creative producers I have ever worked with. The two young directors, Kirk Wise and Gary Trousdale, were fantastic and their enthusiasm was contagious. I not only was allowed to improvise, but they encouraged it. It never entered my mind that I was playing an animated creature. I understood the torment that Beast was going through: he felt ugly; had a horrible opinion of himself, and had a trigger-temper. Those are things that, if done right, are the perfect ingredients for comedy. Painful and pathetic comedy— but honest. The kind of comedy I understood...

In the feature world of Disney animation, the actors always recorded their dialogue alone in a big studio, with only a microphone and the faint images of the producers, writers, directors and engineer through a double-paned set of acoustic glass. Paige O'Hara and I became good friends; it was her idea that for certain very intimate scenes, such as when Beast is dying, we record together. We were able to play these scenes with an honest conviction that is often absent in the voice-over world...

The success of this film was the culmination of a team effort but I must say, the honors go to the animators— and for me (Beast), that's Glen Keane — and to Howard Ashman and Alan Menken. This was the perfect example of a crew who 'cared'. And the final results (every frame) of the film represent that sentiment. [x]

[artist-issues]

I Hate How She Talks About Snow White

"People are making these jokes about ours being the PC Snow White, where it's like, yeah, it is − because it needed that. It's an 85-year-old cartoon, and our version is a refreshing story about a young woman who has a function beyond 'Someday My Prince Will Come. "

Let me tell you a little something's about that "85-year-old cartoon," miss Zegler.

It was the first-ever cel-animated feature-length full-color film. Ever. Ever. EVER. I'm worried that you're not hearing me. This movie was Disney inventing the modern animated film. Spirited Away, Into the Spider-Verse, Tangled, you don't get to have any of these without Snow White and the Seven Dwarfs (1937.)

Speaking of what you wouldn't get without this movie, it includes anime as a genre. Not just in technique (because again, nobody animated more than shorts before this movie) but in style and story. Anime, as it is now, wouldn't exist without Osamu Tezuka, "The God of Manga," who wouldn't have pioneered anime storytelling in the 1940s without having watched and learned from Snow White and the Seven Dwarfs in the 1930s. No "weeb" culture, no Princess Mononoke, no DragonBall Z, no My Hero Academia, no Demonslayer, and no Naruto without this "85-year-old cartoon."

It was praised, not just for its technical marvels, not just for its synchronized craft of sound and action, but primarily and enduringly because people felt like the characters were real. They felt more like they were watching something true to life than they did watching silent, live-action films with real actors and actresses. They couldn't believe that an animated character could make kids wet their pants as she flees, frightened, through the forest, or grown adults cry with grieving Dwarves. Consistently.

Walt Disney Studios was built on this movie. No no; you're not understanding me. Literally, the studio in Burbank, out of which has come legends of this craft of animated filmmaking, was literally built on the incredible, odds-defying, record-breaking profits of just Snow White and the Seven Dwarfs, specifically.

Speaking of record-breaking profits, this movie is the highest-grossing animated film in history. Still. TO THIS DAY. And it was made during the Great Depression.

In fact, it made four times as much money than any other film, in any other genre, released during that time period. It was actually THE highest-grossing film of all time, in any genre, until nothing less than Gone With the Wind, herself, came along to take the throne.

It was the first-ever animated movie to be selected for the National Film Registry. Actually, it was one of the first movies, period, to ever go into the registry at all. You know what else is in the NFR? The original West Side Story, the remake of which is responsible for Rachel Ziegler's widespread fame.

Walt Disney sacrificed for this movie to be invented. Literally, he took out a mortgage on his house and screened the movie to banks for loans to finish paying for it, because everyone from the media to his own wife and brother told him he was crazy to make this movie. And you want to tell me it's just an 85-year-old cartoon that needs the most meaningless of updates, with your tender 8 years in the business?

Speaking of sacrifice, this movie employed over 750 people, and they worked immeasurable hours of overtime, and invented--literally invented--so many new techniques that are still used in filmmaking today, that Walt Disney, in a move that NO OTHER STUDIO IN HOLLYWOOD was doing in the 30's, put this in the opening credits: "My sincere appreciation to the members of my staff whose loyalty and creative endeavor made possible this production." Not the end credits, like movies love to do today as a virtue-signal. The opening credits.

It's legacy endures. Your little "85-year-old cartoon" sold more than 1 million DVD copies upon re-release. Just on its first day. The Beatles quoted Snow White in one of their songs. Legacy directors call it "the greatest film ever made." Everything from Rolling Stones to the American Film Institute call this move one of the most influential masterpieces of our culture. This movie doesn't need anything from anybody. This movie is a cultural juggernaut for America. It's a staple in the art of filmmaking--and art, in general. It is the foundation of the Walt Disney Company, of modern children's media in the West, and of modern adaptations of classical fairy tales in the West. When you think only in the base, low, mean terms of "race" and "progressivism" you start taking things that are actually worlds-away from being in your league to judge, and you relegate them to silly ignorant phrases like "85-year-old cartoon" to explain why what you're doing is somehow better.

Sit down and be humble. Who the heck are you?

[mazalejeenekasong]

How Eshwarprasad Built EP Ka Meter Films: From Smartphone Dreams to Real Stories

Introduction: You Don’t Need a Big Budget to Tell Big Stories Big dreams often get delayed because we think we need big resources.But the truth is, creativity starts where excuses end. Here’s how I, Eshwarprasad, founded EP Ka Meter Films with just a smartphone and a love for storytelling. The Beginning: Filmmaking with a Smartphone I didn’t have money for fancy cameras or lighting…

[epkameterfilms]

How Eshwarprasad Built EP Ka Meter Films: From Smartphone Dreams to Real Stories

Introduction: You Don’t Need a Big Budget to Tell Big Stories Big dreams often get delayed because we think we need big resources.But the truth is, creativity starts where excuses end. Here’s how I, Eshwarprasad, founded EP Ka Meter Films with just a smartphone and a love for storytelling. The Beginning: Filmmaking with a Smartphone I didn’t have money for fancy cameras or lighting…

[brandonjohnbarnard]

Production history around: Broodiest Flunkey

Finally, I am getting to what I consider the ‘first’ film in my journey as an experimental filmmaker: ‘Broodiest Flunkey’.

This film is a bit rough — it was made as a university project, with a deadline and 3 minute time limit. It was also the first time I had played with many visual effects, and the first time I had shown my work to a live audience.

A lot of what I will be saying in this article will be recycled from my university essay, as my memory on a lot of the details has started to fade.

I created a timeline for this production, so I will try my best to be chronological in the retelling of the film’s creation. Some of the elements may seem tangential, though that is a lot of my practice in general.

I really like the above, because it shows that learning and developing a project (or even personal development), takes a mix of both consumption (books, media) and action (events, trial runs). It also shows how unexpectedly events morph into one another.

In addition to this timeline, I had also created a dated excel timeline of when each event happened (yes, I am thorough). While it shows how ‘Change Spaces’ and ‘Gacha’nce’ fit into the timeline, those won’t be covered here. Noteworthy is how many events overlap with one another, as opposed to being linear.

iDAT XXX

On the 18th of November 2024, I attended an event by Mike Philips, celebrating 30 years since the creation of their institution ‘iDAT’. As part of this event, they ran a ‘telematic performance’ — pretty much information is passed from one system to another, leading to a series of interesting corruptions. This, is then dressed up in a fun avant-garde coat of paint.

It would take a lot later for me to realise that this is a great use of chance as a form of creation. Collaboration, corruptions, improv, a digital exquisite corpse, etc.

MA Experience Design — Design Lab 2

In Design Lab 1, I made a short animation going over the concepts of DADA. Therefore, making video work was heavily on my mind.

The Design Lab 2 brief made me think about what I could do to help the local community. When looking at ‘don’t assume you know your audience’, ‘experiment with materials’, ’leave something beautiful behind’, and ‘make a difference’, it led me down the path of considering making a documentary where I interview people with autism to allow them to be heard and understood.

Autism Documentary

So, I started to plan a documentary about autism, taking the brief into mind. There were lots of worries about it, and I could lie and say they were mostly about GDPR, but it was more so social anxiety of needing to work with so many people!

The in-class activity about making iterative comics was really interesting to me. I wanted to take this idea but apply it to a documentary format. I wanted something similar to the longitudinal study method that ‘Seven Up!’ (1964) engaged in, but also have myself and my beliefs examined as well. This would potentially happen by having a new director for the second film, where they critically look at the first film, and this process is continued indefinitely.

[Accidentally making an exquisite corpse before knowing what that really was!]

Allister Gall Email

The module brief included: ‘collaboration with multidisciplinary partners’. As I was working with film as a medium, I decided to reach out to Allister Gall, the BA Filmmaking programme leader at the University of Plymouth on the 23rd of January 2024. I asked if he was able to send me down the right path, or potentially let me attend a filmmaking lesson.

He let me know about Imperfect Cinema, and that an event was coming up called Cinaesthesia 1. I was very lucky with the timing, as the event was only four days after I sent my email.

[It is funny, I consider this single email an extremely important pivot in my life. If I had not written this email, I likely would not be doing my current PhD, and would not be making experimental art videos. I wouldn’t have heard of Cinaesthesia, and Allister wouldn’t have become one of my PhD supervisors… This email took a minute or two to write, all it takes sometimes.]

The Reason I Jump

During my initial look into autism for the documentary, I read ‘The Reason I Jump’ (2007). The book was written by a 13-year-old mute autistic child living in Japan, and each chapter is them explaining why they do certain actions.

When reading, I realised that there were many areas in which I related to this child, especially thinking back to when I was the same age. While I did not relate to everything, I did more than I normally would with someone. With each example, I started to feel less embarrassed about some moments from my childhood. Moments that I used to fixate on, thinking ‘why did I do that?’ suddenly had an answer that didn’t make me feel as alone or weird.

This feeling of seeing yourself in a book, and this resulting in you being less critical of yourself, I decided to be the message I wanted from my film.

Cinaesthesia 1

This event was run by Patrycja Loranc in collaboration with Imperfect Cinema, and took place at Café Momus on Stonehouse. Patrycja is a PhD student focussing on psychepoetic filmmaking, and the event shared some of this energy.

(Jess Scott, Dutch Loveridge, and Patrycja Loranc at Cinaesthesia 1’s Q&A)

Imperfect Cinema is a Plymouth-based film project created by Allister Gall and Dan Paolantonio, which has the goal of encouraging local artists to create films, as well as to help facilitate events these artists can participate in.

[Side tangent — At this point (8 months since hearing about them), I have heard the two of them go over their intro so many times. It makes me think about what it means to be an academic at university — the need to tear up old ground constantly to explain who you are and what you do. It sounds kind of hellish. I’d struggle to not just make an intro video lol]

As a note for this event, and the ones I talk about later, the networking elements of these screenings are incredible. You get to ask questions directly, sample a lot of local talent, and see the effort of people coming forward. It takes bravery to put yourself out there, and most people there seem to appreciate that.

I was worried that the event would be too ‘heavy’, but it was very casual.

An element of the screening that really resonated with me was the diverse ‘quality’ and styles of work present. There were films presented that I thought ‘I could do that’, and that made me feel like less of an outsider at the event.

At this event, I learnt that a Cinaesthesia 2 and 3 were going to happen in the future, and that they had an open reel for submissions. I pivoted from ‘documentary about autism’ to ‘experimental art film that looked into my own personal experiences reading into autism’.

Getting into Cinaesthesia 2

In order to get a film accepted into Cinaesthesia there were guidelines that needed to be adhered to.

The brief was: “How can the sensory perception/subjective experience be communicated and challenged by filmmaking? How does film allow us to connect to others and the world by exchanging subjective realities?”

It also included that the film must be 3 minutes or less, and submitted by 9pm 21/03/2024.

Experimental Film Production Start

I started my pivot by looking into what made someone’s perception ’unique’, thought about there being so many variables with each person, that everyone’s perception was unique.

In addition to this, I started to consider that my own perception was likely the perception I could best put across to an audience.

I wanted to, somehow, make the audience experience a sense of uneasiness by seeing the world through someone who processes stimuli differently.

Rosemary’s Baby

On the 26th of January 2024, my wife and I watched Rosemary’s Baby (1968) for the first time. It is a great film. In it there is a scene where the main character is trying to work out an anagram by moving around scrabble pieces. I had no plans with this at all. It was just a theme dancing around in my head.

Experience Design’s Telematic Performance

For one of the Design Lab 2 session, Mike Philips wanted us to do a ‘telematic performance’. Since I had seen one prior via his iDAT XXX event, I feel that I had a step ahead of others in the class. This was due to me already knowing what it was meant to look like, and understanding that anything could be used as a step (as long as it caused transformation down the line).

As such, I pushed forward with using Scrabble pieces early on in the sequence, and planned out what the rest of the performance would be.

I would take scrabble pieces out of a bag randomly. Person 2 would make words out of these random letters. Person 3 would then do charades of Person 2’s word. Person 4, who was wearing headphones, had to guess what Person 3 was miming, Person 5, then drew this answer on a post-it note, and added it to a scene on the board.

This whole process was fun, and made me really like the idea of using Scrabble pieces to tell a story.

Scrabble Pieces

Mixing the themes of anagrams and chance, I decided to have one phrase dictate different elements of my film’s story.

I wanted the overall message of the film to be in-line with my takeaway from ‘The Reason I Jump’, so I chose the phrase ‘Be Kind to Yourself’.

Using an online anagram maker, I went through the list of 10,000 combinations, and picked phrases that I thought I could use to string together a narrative that told a story I was happy with.

I wanted to use stop-motion as the technique for these scenes, as it added an eerie feeling that the pieces had a mind of their own, especially since they were what decided the course of the story. Originally, I wanted to film the pieces, and cut out appropriate frames. This did not work due to the camera changing focus, as such I landed on taking still photos after each movement instead.

As stop-motion is a time-intensive process, there were moments where I lost track of what pieces should go where. A colour coded guide was made to make the movement and locations easier to follow.

Pre-Storyboard

Before storyboarding, I thought about elements I wanted to film and why.

I felt that if I went into storyboarding, some fun techniques may have been squeezed out of the production for the sake of narrative.

So instead, I thought about these elements first and how I could use them in the narrative.

Storyboard

Storyboarding your film is useful, however, I did not want to limit myself by structure. For example, knowing how much time was left, or being fixated on scene order. The scenes were drawn in ‘chunks’ and then moved around in order to fit the narrative.

After doing my rough outline of the story, I wanted to make sure I could include the entire narrative in the 3-minute window required by the submission guidelines. As such, I experimented with scene intervals.

‘Yolk Unfit Bedsore’, I thought it was perfect as an opening introduction for a character. ‘Bedsore’ and ‘Yolk’ can both be seen as elements attached to starting the day. Additionally, ‘Unfit’ matched the negative self-image I wanted the main character to have, so the ‘Be Kind to Yourself’ later in the film made sense. Embarrassment seems to be a common issue for some autistic people, so I felt building this into the character was important.

Using this way of thinking, I was able to pace out the Scrabble pieces in a way that completed a cohesive narrative.

With the phrase ‘Befriend — Too Sulky’, I thought I could illustrate that autistic people often want to make social-emotional connections with people, but are unsure how to do so, and the pain this can cause.

I decided on having three second intervals for the storyboard, as I felt this fit best. Any shorter would have been too jarring. Originally, I inserted the Hero’s Journey as a vague guideline for pacing. While this was useful as a rough guide, I did not adhere to it much, as I felt it got in the way of what I believed was a better narrative; perhaps because it made the pacing feel like it was made on a production line.

Once I had my storyboard fully created additional details such as sound effects present, whether it needed chromakeying, and what editing decisions I thought would be needed were added.

In retrospect, I feel that I over-relied on the storyboard. I feel the piece could have been transformed into something more artful by applying wardrobe, doing more area scouting, reframing, and creating some concept art.

Prop Creation

After drawing up the storyboard, I realised that I did not know how I was going to have the other characters in the film be acted. This caused stress as the deadline loomed closer, and I wondered how I would fill these roles.

In order to solve this issue, I decided to use cardboard painted with acrylic for the additional characters instead. I felt that having the main character be the only real-life human added a sense of surrealism, as well as the idea that the plot is ‘from their point of view’. In addition to this, people with autism often feel ‘disconnected’ from other people, and I feel this separate ‘plane of existence’ with 2D vs 3D illustrates this idea in an interesting way.

The character at 0:47 having a sudden expression change was important as it shows the main character trying to grabble with a complex emotional encounter, which is considered a struggle for some with autism.

With the characters being made out of cardboard, I had the worry that this would come across as too jarring to the viewer. To solve this, and to make the overall film feel like it had a cohesive style, I decided to make more elements out of cardboard.

Items like the phone, egg, toothbrush, etc. were made out of cardboard as well. I believed it would be funny to have these mundane elements, that would be way easier to have the real-world items, be recreated. The prop creation was the most time intensive part of the project, but I think it was worth it. When the screening of the film happened, the props were the most complimented aspect by the audience in attendance.

In the film, early on, I have a moment where I flip an egg, purposely showing the cardboard underside. This is to reveal to the audience that I am not hiding the fact that these elements are cardboard — this works as a way to let them in on the silliness.

To help with cohesion for scenes where no props were present, the backgrounds are also acrylic on cardboard. These were added by using chromakeying. The painted areas are purposely small and zoomed in, to make the fact that they have texture and are cardboard more apparent.

Book

The book in the film had two versions, one which was a ‘prop book’, and one that I bound.

The prop book was a cover and back, with painted cardboard sides to resemble paper, and three DVD cases in the middle.

Because the bound book contains pages that were filmed, including the book, this needed to be created after the prop book scenes took place.

In order to match the Scrabble description of the book being ‘finely rusted’, I followed a tutorial by Treasure Books (2023) using cinnamon to create faux rust. This, on top of the book also being obviously cardboard I believed was a fine compromise.

My Wedding

In the middle of this production, with a deadline looming over, was my wedding. I am so happy that the whole process was easy.

[Only while writing this piece had it dawned on me that my filmmaking and married life have been so overlapped.]

Filming

The film was shot on a Sony Alpha 6400 with a SELP1650 lens, and a fisheye shot was done with a 7 Artisans 7.5mm 1:2:8 ED lens. A Sony GP-VPT2BT grip was also used in many scenes to allow for filming while a light was being held.

Two ‘EMART 60 LED’ lights were used to light up the scenes, and a ‘Neewer 5’x7' Greenscreen’ was used for chromakeying.

Some elements of the storyboard needed to be adapted to make the filming process easier. Firstly, a printed breakdown was made of each scene with what happens in terms of editing, effects, sounds, and props present, etc.

For the scenes that were included within the book, a chronological edit of the storyboard was made.

There were moments when parts of the production didn’t go to plan, and as such improvisation had to happen. For example, When the book was put into shrubbery at 2:20 in the film, originally it was meant to be pulled out by string. However, during filming, the string kept snapping. As such, we made the book float behind the main character instead.

Editing

The editing process was turbulent for a few reasons. Primarily, due to Vegas Pro 18 crashing every few hours, however this is unfortunately an aspect to be expected.

The editing process was useful, because it really allowed me to consider which moments were important to the narrative, which I don’t think I would have realised if I handed the work off to another person to edit.

The original cut of ‘Broodiest Flunkey’ was 4 minutes long, and as such 25% of the footage needed to be trimmed down in order to be within the 3-minute window required for submission.

The music at the start of the film is ‘Toc de matinades’ by Rafael Caro (2016), and is Catalonian folk music which is played in the streets early in the morning to wake up people so they can get ready for celebrations. Since this was the day that the main character learnt to be kind to themselves, and that it starts with them waking up, I thought it was appropriate. Also, the tone shift from positive music to more eerie and atmospheric music I felt made the transition feel more contrasted, and as such have more impact.

The sounds of the Scrabble pieces moving was made by moving a container filled with Lego.

With this, the film was finished and rendered. I decided to keep the film internal until Cinaesthesia 2, as associating its premier with the event felt special. This process of keeping videos unavailable until an in-person premier is a practice I feel makes attending an event feel more worthwhile.

Behind the Scenes

Due to the large amount of footage available, I decided to make a behind the scenes video to both commemorate the experience, and as an excuse to remove all the footage from my PC without feeling too bad about it being harder to access.

Cinaesthesia 2

Cinaesthesia 2 took place on 23rd March 2024, and was a lot of fun. Members of my cohort attended which was greatly appreciated.

I would say that the reaction to the screening was extremely positive.

I worried that the subject of autism may have been a bit out of place, or that I would have felt ‘othered’, but then again punk environments have always embraced those that were seen as on the ‘rim’ of society.

Q&A

I was part of a Q&A after the screening, and this was my first time I would talk about my work in a public forum like this. There was something really special about this I felt, and it made me want to talk about my work with others more in the future.

Meeting cool people

It overall was a great night, which made me excited for the future. I met so many cool and talented people, who have stuck around in the peripheries of my life for several months now.

Also, Abi Ali, one of the filmmakers present, stopped me after the show to say my work was her favourite, and guess what, her work was my favourite too.

SO YEAH! This is where it all began. Or rather, where I arbitrarily decided it began. Has it even started yet? Find out next time, on Dragon Ball Z!!

[gotta-winwin]

culinaryclasswars!mingyu x whitespoonchef!reader

a/n: culinary class wars will and always will be my roman empire and i can't help but imagine mingyu as a chef competing...

chef!mingyu already had a large internet following before coming to compete. he was widely known to korean netizens as the "househusband chef," famous for his charming looks and endearing persona.

chef!mingyu only joins the show after much persistence from everyone around him - telling him that it would be perfect to both connect with other chefs and to grow his own craft.

chef!mingyu enters filming the pilot, scared out of his wits at the sheer size of the production and the amount of highly respected chefs around him. as he watches more people walk in, the less he believes he's going to make it very far.

blackspoonchef!mingyu, whose very jaw drops at your entrance, rising up on a platform to greet them. he's always been a big fan of your work and your talent, silently mouthing to himself: she's even prettier in person.

blackspoonchef!mingyu works extra hard in the first challenge because he knows you're watching him. he pulls out all the stops, knowing this might be his only chance to impress you. to get you to notice him. in the end, it's both his intense concentration and skill that draw you closer to his station - and it's the bulging biceps and impressive technique that makes you stay.

blackspoonchef!mingyu, who seems to be silently watching you at all times, although he never approaches you during or after filming. you find yourself watching him back, entranced by his fluidity in the kitchen and the confidence that seems to ooze out of him. all your white spoon chef colleagues agree he's a formidable threat.

blackspoonchef!mingyu, who goes home every night after filming only to return to the kitchen, brainstorming creative recipes that would impress the judges. but most importantly, you. it's you he's thinking about while working, both trying to get your attention and your praise.

blackspoonchef!mingyu, who you quickly befriend during team challenges. he's easygoing and extremely fun to be around, making you crack up between shoots and bringing a permanent smile across your face. you find yourself less stressed whenever he's around.

blackspoonchef!mingyu's dreams are slowly coming true as the two of you grow closer. he's bursting from excitement just to be around you, let alone be your friend! he finds himself waking up fully ready to get back to work - competition stress gone and instead replaced by a bubbling feeling of .... is that love?

blackspoonchef!mingyu who can't help but grin whenever he's watching you compete. it's exhilarating to watch you in your element and all the cameras catch his whipped expression as he watches you intently. the hashtag househusbanddownbad trends on all social media platforms the day that episode airs.

blackspoonchef!mingyu who looks at you like you handcrafted each star and placed them in the sky yourself.

blackspoonchef!mingyu who's the first one up and clapping whenever it's announced that you've won your round, resisting the urge to run over and give you a hug. you're equally smitten as you beam up at him, proud that you've won and happy he's there to witness it.

chef!mingyu who's not beat up about the loss because at least now he can get your number and tell you his actual name. he's got a goofy grin as he watches you input your digits, breathlessly telling you that his name is mingyu. he watches you repeat the name and almost faints at the sound of it coming from you.

chef!mingyu who, despite losing, still visits the set every day to see you. he brings you lunch for your breaks, coffee for early mornings, somehow in tuned with your cravings and your needs. more often than not, he's there to drive you home after a long day of filming and cooking.

chef!mingyu, who is the first person you're looking for when you win.

chef!mingyu, who never ever would have imagined you'd ever like him back lets out a tiny gasp when you run into his open arms, going in for a kiss instead of a hug. he's frozen for a moment before realizing shit i should probably kiss her back. the moment is caught on camera, sending fans reeling at the swoon-worthy moment.

chefboyfriend!mingyu who cannot let you go the entire press tour.