Experimental Media Task001 // Experimental Film

rhythm.

a film by saboor akram.

SYNOPSIS:

In the fluid dance between the sea's waves and the depths of my inner self, this film captures the harmonious interplay of nature's rhythm and my own. The undulating tides, gently lapping against the shore, mirror the ebb and flow of my thoughts, emotions, and aspirations. As the waves crest and break, I feel my inner world resonate, reflecting the cyclical nature of life. The film delves into the synchrony between these forces, illustrating how the sea's ceaseless movements parallel my journey of self-discovery and alignment. It is in this dance, where water meets land, and the external echoes the internal, that I find a sense of balance, tuning my life's frequency to match the rhythm of the sea.

RESEARCH:

In crafting the experimental short film, I drew inspiration from a diverse array of cinematic, literary, and visual art sources, each contributing to the film’s rich tapestry of themes, visuals, and narrative techniques.

The thematic exploration of nature as a metaphor for inner journeys in Terrence Malick’s "The Tree of Life" deeply influenced the symbolic and existential layers of our narrative. Similarly, the dynamic use of aspect ratios in Xavier Dolan's "Mommy" inspired the evolving frame of our film, reflecting the protagonist's expanding perception.

The black-and-white cinematography of Alfonso Cuarón’s "Roma" provided a reference for using monochrome visuals to emphasize emotional depth without the distraction of color. This choice enhances the film's introspective quality, focusing on the interplay of light and shadow. Ingmar Bergman's "Persona" and its innovative use of close-ups influenced our approach to capturing the intricate details of the protagonist's experiences, enhancing the psychological intensity of the narrative. The technique of double exposure, seen in "Eternal Sunshine of the Spotless Mind," was also pivotal, enabling us to visually merge the protagonist with the rhythmic sea, symbolizing their syncing internal states.

Fritjof Capra’s "The Tao of Physics" and Hermann Hesse’s "Siddhartha" provided philosophical underpinnings that enriched the narrative, offering insights into the harmony between self and nature, a central theme in our film. These works helped frame the narrative’s exploration of the protagonist's alignment with the universal rhythm. The poetic voiceover in our film echoes the reflective and transcendent qualities found in Walt Whitman's "Leaves of Grass" and the mystical poetry of Rumi. Their writings on unity with the universe and self-discovery parallel the journey of our protagonist, enhancing the film's lyrical and introspective tone.

The black-and-white landscapes of photographers like Michael Kenna and Ansel Adams influenced the visual style of our film. Their ability to capture the profound beauty and emotional depth of natural scenes guided our cinematographic approach, particularly in how we depict seascapes.

Each of these elements, from cinematic techniques to philosophical texts, was interwoven to create a film that not only explores the alignment of an individual’s inner frequency with the rhythmic patterns of nature but also uses visual and narrative techniques to evoke a deeper connection with the viewer. This synthesis of inspirations and techniques has culminated in a unique filmic expression of self-reflection and discovery.

STORY:

Stop running! I heard.

Wait and see, I heard again.

Why? I asked 

Don't be scared of the known, much waits at the unknown. 

Water turned into the flow of this new found freedom.

A reality I had been unliving with the fear of what I had lived. 

So breathe, you'll match the rhythm of the sea.

And that's when I opened my eyes.

FILM TREATMENT:

The treatment of the film employs a thoughtful, minimalist approach, using monochrome visuals to enhance the narrative's depth and introspective quality. This stylistic choice strips away the distractions of color, focusing the viewer's attention on the interplay of light and shadow, which subtly echoes the internal complexities and contrasts within the protagonist. As the film progresses, the aspect ratio evolves from a constrictive square to a wider frame, symbolizing the expansion of the protagonist's vision and understanding. This visual widening mirrors the thematic journey from introspection to a broader, more enlightened perspective.

Double exposure shots are strategically used throughout the film, merging images of the character with the undulating waters. This technique visually represents the syncing of the character's inner rhythm with the rhythmic movements of the sea, reinforcing the film's central motif of alignment and connection. The voiceover serves as a guiding narrative thread, articulating the protagonist's internal dialogue and emotional evolution. The poetic lines "Stop running! I heard. Wait and see, I heard again. Why? I asked" initiate a narrative of self-inquiry, which is further developed as the protagonist learns to embrace the unknown, finding freedom and alignment with the rhythmic pulse of the sea. The culmination of this journey is marked by the protagonist's realization, "And that's when I opened my eyes," signifying a new level of awareness and a harmonious integration with the natural world.

FILM STRUCTURE:

"Rhythm" follows a meticulously crafted narrative that seamlessly intertwines visual and auditory elements to explore the profound connection between nature's rhythms and human introspection. The film is structured into three primary acts, each defined by its thematic focus and visual style.

1. Act 1: Introduction to the Sea and Self

The film opens with monochromatic shots of the sea, capturing the undulating tides against a minimalist backdrop. The use of tight aspect ratios emphasizes a sense of confinement, mirroring the protagonist's initial emotional state.

A poetic voiceover introduces the protagonist's internal dialogue, reflecting on the interplay between their thoughts and the rhythmic movement of the sea. This act sets the stage for the protagonist's journey of self-discovery.

2. Act 2: The Dance of Alignment

   -  Transitioning to wider aspect ratios, the visuals gradually expand, symbolizing the protagonist's growing awareness and connection with nature. Double exposure techniques are used to merge images of the protagonist with the sea, illustrating their alignment with the natural world.

   -  The voiceover deepens, exploring themes of freedom and the fear of the unknown. The protagonist begins to embrace the rhythm of the sea, finding parallels between the external environment and their internal state.

3. Act 3: Harmonious Resonance

   -  The film reaches its visual climax with expansive seascapes and intricate close-ups of the protagonist, capturing the culmination of their journey. The monochrome palette is maintained to emphasize the introspective and emotional depth.

   -  The protagonist's internal dialogue resolves with a newfound sense of balance and harmony, encapsulated in the line, "And that's when I opened my eyes." The film concludes with a harmonious resonance between the protagonist's inner world and the rhythmic patterns of the sea.

Each act is meticulously designed to reflect the protagonist's evolving state of mind, using visual and narrative techniques to create a deeply immersive and introspective cinematic experience. The integration of philosophical insights and poetic voiceover enhances the film's reflective tone, making "Rhythm" a compelling exploration of the synchrony between self and nature.

SHOT LIST :

"Rhythm" employs a diverse array of shot types and techniques to create a visually compelling narrative that mirrors the protagonist's internal journey. The shot list is carefully designed to enhance the thematic depth and emotional resonance of the film, utilizing a combination of static and dynamic shots, close-ups, and double exposures.

1. Opening Sequence:

   - Establishing Shot: A wide, static shot of the sea, setting the tranquil yet powerful tone of the film. The monochromatic color scheme immediately introduces the introspective mood.

   - Close-Up: Detailed close-ups of the protagonist’s face, capturing subtle emotions and internal conflicts. These shots emphasize the initial sense of confinement and introspection.

2. Act 1: 

   - Medium Shot: The protagonist standing at the shoreline, with the sea in the background. The medium shot provides context and begins to illustrate the relationship between the character and the natural environment.

   - Tight Aspect Ratios: Shots with constrictive aspect ratios (e.g., 1:1) to visually represent the protagonist’s limited perspective and emotional state.

3. Act 2: 

   - Dynamic Shots: Tracking shots following the protagonist as they move along the shoreline, symbolizing the gradual shift from introspection to exploration.

   - Double Exposure: Shots combining the protagonist’s silhouette with the rhythmic movement of the waves, creating a visual metaphor for their syncing internal and external states. These shots are crucial in conveying the film’s central motif of alignment with nature.

   - Wide Shot: Expansive views of the sea, with the protagonist as a small figure within the frame. This transition to a wider aspect ratio signifies the expansion of the protagonist’s awareness.

4. Act 3:

   - Close-Up: Intimate close-ups of the protagonist’s eyes and facial expressions, capturing the moment of realization and emotional climax. The use of light and shadow in these shots highlights the internal transformation.

   - Static Shot: A return to static wide shots of the sea, now imbued with a sense of harmony and balance. These final shots mirror the opening sequence but with a deeper emotional resonance.

   - Final Shot: A powerful closing shot of the protagonist standing at the water’s edge, looking out to the horizon. This shot, framed with a wide aspect ratio, encapsulates the protagonist's newfound alignment and harmony with the natural world.

Throughout the film, the interplay of static and dynamic shots, the strategic use of aspect ratios, and the integration of double exposure techniques work in unison to create a visually rich narrative. The shot list is meticulously planned to ensure that each frame contributes to the overarching theme of rhythm and alignment, providing a deeply immersive experience for the viewer.

SELF EVALUATION:

In reflecting on the creation of this experimental short film, I have identified several strengths and areas for improvement that have significantly influenced my approach to filmmaking. A key strength lies in my ability to blend visual and narrative elements effectively, using techniques like monochrome aesthetics and evolving aspect ratios to deepen the thematic impact of the film. My dedication to a cohesive artistic vision helped maintain a consistent tone throughout the project, which was crucial for conveying the film's introspective and philosophical themes.

However, I also recognized some weaknesses that impacted the production process. One such area is time management, particularly in the pre-production phase, where more thorough planning could have prevented some scheduling conflicts and rushed decisions later on. Additionally, while I was successful in integrating complex visual techniques, I found that my technical proficiency with some of the more advanced editing software was lacking, which sometimes limited my ability to fully realize my creative intentions.

Moving forward, I aim to enhance my skills in these weaker areas by seeking additional training in film editing and production management. Engaging more collaboratively in the early stages of planning and continuously refining my technical skills will be essential for my growth as a filmmaker. Moreover, I plan to conduct more extensive research on cinematic techniques and narrative structures, which will enable me to experiment more confidently and innovatively in future projects. By addressing these areas, I believe I can elevate the quality of my work and more effectively bring my artistic visions to life.

PRODUCTION:

Equipment used in production:

Sony a74 + SIGMA 24-70 mm F2.8

iPhone 14 pro max

Stock Footage from pexels

Voice over using iphone

Edited on : Davinci Resolve Studio

Sound Resources : Epidemic

MOODBOARD:

Risk Assessment Form – Part A

     The contents of this risk assessment must be communicated to all students, staff, contractors, actors and persons involved.

Production Title:	Experimental Film - Rhythm	Unit/Year:	Level 4 - 2024
Group:		Unit Leader:	Saboor Akram
Campus Address: Course:	310 Street 1, Sector F DHA Phase 6, Lahore, Punjab Film & Design	Student Producer Name: (All students are responsible for safety in production) Email: Mobile:	Saboor Akram saboorakram23@gmail.com 0333 0445042
Filming Start Date/Time:		Filming End Date/Time:
Brief Summary of filming/activity: Outline of what is proposed/ Sequences, set-ups etc.	Filming involves scenes shot near bodies of water, using natural lighting and electronic equipment to capture reflective sequences without direct human portrayal. The narrative involves the poetic interplay of water as a symbol of the subconscious.
Team members / experts / contractors / contributors etc. List those involved Add additional lines if needed.	Name	Role	Contact Number
	Saboor Akram	Director and Director Of Photography	0333 0445042
Location: Full address (incl. postcode) / Type of location (private house, rented house, church etc.)	Home, archive footage from trip to Istanbul	Location permission: Details about the location permission: applied, acquired, n/a etc.	Permission acquired from local authorities.
Have you notified the local Council? You must do so if you are: Filming in a public place, Using weapons, Have cast in uniform	Yes, due to public filming.
Have you notified the Police? You must do so if you are: Filming in a public place and filming any illegal activity, Using weapons, Have cast in uniform	Not applicable.
Nearest A&E: Name/Address/Number Nearest Police Station: Name/Address/Number	-
Nearest bus & train stops for the location / local taxi phone number:	Train: - Bus: -  Taxi: Careem
General fire and emergency plan:	All team members are briefed on emergency exits and meet-up points. A first aid kit is available on-site, and all members are informed about the nearest A&E services.
Facilities (food, drinks, toilets): If providing catering, please state your plans.	The whole film was managed, planned and executed by me alone, so I catered to my logistical needs as I progressed with the shoot.

Hazard list – select your hazards from the list below and use these to complete Part B
Situational hazards	Tick	Physical / chemical hazards	Tick	Health hazards	Tick
Access/egress blocked/restricted		Contact with cold/hot liquid / vapour		Allergic reaction
Animals/insects (wild, pets, performing)		Contact with cold/hot surface		First Aid/Medical requirements
Boats		Electric shock/live electrical equipment		Infection – COVID-19
Cold / Hot environment		Explosive blast/release of stored pressure		Lack of food / water
Compressed Gas		Fire/Smoke		Lack of oxygen
Confined Spaces		Hazardous substance		Physical fatigue
Crush by load		Location lighting		Repetitive action
Derelict buildings/dangerous structures		Laser light		Smoking on set
Drowning	X	Lightning strike		Speed (running, sports)
Falls from height		Noise		Static body posture
High atmospheric pressure		Poor visibility/night shooting		Stress / anxiety
Manual handling		Radiation		Venom poisoning
Messy environment		Stroboscopic light		OTHER HEALTH HAZARD
Mines/excavations/tunnels/quarries		Vibration
Nudity		Visual effects (smoke, fog, snow, fireworks)		Environmental hazards
Object falling, moving or flying		OTHER PHYSICAL/CHEMICAL HAZARD		Litter
Obstruction / exposed feature				Nuisance noise / vibration
Roadside working		Managerial / organisational hazards		Physical damage
Sharp object / material (glass etc.)		Management factors (lack of communication, co-operation, co-ordination and competence)		Waste substance released into air
Shot by firearm		Lone working		Waste substance released into soil / water
Slippery surface	X	OTHER MANAGERIAL/ORGANISATIONAL HAZARD		Weather
Stunt				OTHER ENVIRONMENTAL HAZARD
Trap in moving machinery
Trip hazard
Vehicle collision/accident	X
Violence, assault by person
Weapons
OTHER SITUATIONAL HAZARD

Risk matrix – use this to determine risk for each hazard i.e. ‘how bad and how likely’	Likelihood of Harm
Severity of Harm	Remote e.g. <1 in 1000 chance	Very unlikely e.g. 1 in 200 chance	Unlikely e.g. 1 in 50 chance	Possible  e.g. 1 in 10 chance	Likely e.g. >1 in 3 chance
Negligible  e.g. small bruise	Trivial	Trivial	Trivial	Low	Low
Slight  e.g. small cut, deep bruise	Trivial	Trivial	Low	Low	Medium
Moderate  e.g. deep cut, torn muscle	Trivial	Low	Medium	Medium	High
Severe  e.g. fracture, loss of consciousness	Low	Medium	High	High	Extremely high
Very Severe e.g. death, permanent disability	Low	Medium	High	Extremely high	Extremely high

Generator-YES/NO	Company-Hired from	Full Name of trainer	Proof of training	YES	NO	Signature

Risk Assessment Form – Part B

Hazards2 List what could cause harm from this activity  e.g. falls from height, trip hazard, fire, etc.	Who exposed List who might be harmed from this activity e.g. staff, contractors, contributors, public, etc.	Risk3 For each hazard, decide level of risk as if you were to do the activity without your controls	Control measures For each hazard, list the measures you will be taking to minimise the risk identified e.g. appointing competent persons, training received, planning and rehearsals, use of personal protective equipment, provision of first aid, etc.	Risk3 For each hazard, decide level of risk once all your controls are in place
Water-related Risks (drowning, slipping)	Crew/Cast/Contributors	Medium	Clearly marked safe areas, wearing of non-slip shoes, life vests available for scenes close to water.	Low
Electric Shock/Live Electrical Equipment	Crew/Cast/Contributors	High	Use of battery-operated equipment where possible, regular inspection of cables and equipment, all electrical setups are to be handled by a qualified electrician.	Low
Manual Handling (carrying equipment on uneven surfaces)	Crew	Medium	Team lifting for heavy equipment, pre-assessment of terrain, use of carts or other aids in transporting equipment.	Low

1 – complete separate table for each activity     2 - from hazard list in Part A     3 - from risk matrix in Part A

Kit list Please insert the full kit list that you will be using at this location. You will be able to access that once you have it booked on SISO.  Include all the accessories (like sandbags, stands, flags etc).
List of crew members that are inducted into using your equipment. Add more lines if necessary	Name	Role	Contact
	Saboor Akram	Director + DOP	0333 0445042
Kit storage plan Please include the address of the location where the equipment will be stored, the type of location, and who will be responsible for the kit at the time of storage.
Kit transportation plan Please state any travel details that are relevant to the equipment. How will it get to and from location, who will be responsible for it.

Risk Assessment Form – Part C

Signatures - The names below are confirming the date that they have read and discussed this risk assessment with the production team.  Based on the information supplied on this form it is noted that the control measures are considered appropriate and proportionate to the hazards identified.  At all times, students retain responsibility for their own safety and for those around them.
Student Producer: Saboor Kram	Date:
Production Coordinator/Manager: Saboor Akram	Date:
Unit tutor:	Date:
Technician/Tech Tutor (supervising the studio):	Date:
Estates Services Manager (where UCA routes, building features etc are impacted):	Date:
Resources Coordinator/Manager (Medium/High Risk/International Shoot):	Date:
Programme Director (high risk/International Shoot):	Date:
Health, Safety & Wellbeing Advisor (High Risk/International – discretionary):	Date:
Head of School (International Shoot):	Date:
Deputy Vice Chancellor (International Shoot):	Date:

Additional control measures required by any of the above signatories?

Don’t forget to print and bring your Dynamic Risk Assessment form on set for any additional measures that could come up during filming.