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An old man dreams of his past, to make the loss of his son feel real again.

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Listen! you hear the grating roar

Of pebbles which the waves draw back, and fling,

At their return, up the high strand,

Begin, and cease, and then again begin,

With tremulous cadence slow, and bring

The eternal note of sadness in.

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For this edit, I allowed the rhythm of the chosen song to dictate pacing. Our selected song has a distinct repeating melody and I found cutting to this melody to be pleasing. Although, I found it important to not cut to the music throughout the entirety of the film, as this can begin to feel predictable and repetitive. So, I've tried to break up the rhythm set by the soundtrack by allowing for longer clips, that go against the rhythm of the soundtrack.

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For Lenses we decided to use the Samyang Prime Lens kit, offering us a wide choice of Lenses of a 18MM, 24MM, 35MM, 50MM, 85MM. Between these lenses we primarily used the 35MM as it gives a simplistic look and space to breath between cuts allowing the film to flow nicely for the viewers. We also used the 50MM quite often due to its natural perspective and ability to create a shallow depth of field making it ideal for our singles.

We also used a Samyang 135MM lens, This lens was useful when creating very specific detailed shots mostly used for B-Roll in the garden of flowers but most importantly used for our final shot revealing the passing of the father's son headlined on a newspaper.

Our final Lens we used was a Lensbaby Composer Pro II. During the scene where the father falls asleep and begins to dream of his son at the beach we used the Lensbaby to enhance the dreamy aspect. The lens allows you tilt it up and down providing us a more creative control over the focus. This allowed us to selectively focus on specific areas of the frame while blurring the rest. This lens meant we could mimic and see the distinct difference of what is a dream what's reality.

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Eastney Pier Location Recce Photos - CADRAGE

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Eastney Pier Location Recce Photos - CADRAGE

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The poem 'Dover Beach' discusses the speaker's disillusionment how religion and his faith due to the advances in science. It is often seen as almost predictive of later 20th century ideas such as the rise of crisis' in faith, existentialism and absurdism. The speaker compares the sounds of the waves to the echoes of sadness in humanity, and explores the vast power of nature.

Rather than taking the poem at face value, we wanted to extract ideas that we thought would suit our film. We therefore took the idea of loss of faith, but wanted to look at loss in a more general sense, linking it to the power of nature. Furthermore, we wanted to explore the interaction between nature and human grief.

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The specifications which i will be using and of which I have upon my SD card for a quicker setup, are:

Video format: 1920x1080 25p

Shooting mode: CineEl

Colour: S-Gamut3.Cine/SLog3

Scan Mode: Normal

Codec: XAVC-I

Shutter: 1/50, 25fps and 180 degrees

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For lighting we used Aputure Amaran F1 LED Lights. These battery powered lights offer both temperature and power intensity options making them quite flexible on set. We only used the lights for the interiors (Living room) which we visualized being quite cozy and warm to represent the house as an comfortable environment for the father. To do this we put the lights on a tungsten temperature around 2500K and a high intensity to fill the room.

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Throughout the edit, the Kodak 2383 D55 LUT included with DaVinci Resolve has been applied. This LUT emulates the Kodak Vision 2383 print film, which is known for its rich colours, high contrast, and overall cinematic look. This LUT was selected to give our digital footage the aesthetic qualities of traditional film.

Application of this LUT is non-destructive. If the intensity of LUT appears too strong on certain shots, the opacity of the effect can be toned down.

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Get access to files anywhere through secure cloud storage and file backup for your photos, videos, files and more with Google Drive.

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We were somewhat inspired by the look of 4:3 analogue film for its texture, grittiness, and ability to evoke a timeless quality (though, there is a debate surrounding filming in 4:3, as some cinematographers argue that it dates the footage to a certain period, as it was once the standard before it became an aesthetic choice).

Our decision to move forward with a 4:3 aspect ratio was to allow for a "more intimate portraiture" (Andrea Arnold to Filmmaker Magazine), as naturally, subjects will make up a larger portion of the frame than 16:9. In a 4:3 frame, backgrounds are not as prominent, drawing focus to the subject solely.

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Lost in Translation opens with two characters exploring a foreign country alone, creating a lonely and melancholy tone. This film utilises the rule of thirds in order to represent the theme of loneliness. By placing the subject at the side of the frame, with empty space dominating the shot, a sense of isolation is created. An example of where we have used this is in Shot 21, a wide shot in which our subject stands to the left of the frame.

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We were heavily influenced by the work of Lubezki in the way he uses natural lighting to greater make his work have a true sense of realism and the uses of the longer take in his cinematography which we tried to use in the film while keeping the tempo correct with the music. Spending longer on shots allow for the audience to become closer with the subject and allows more connection with them rather than looking at other elements constantly changing.

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We made a playlist which we feels demonstrates the emotions that the father in the film is feeling about loosing his son and the way he is feeling as though he should move on from the situation and still trying to preserve his memory.

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Our story follows an old man, Peter, Who is grieving from the loss of his dearest son. As he struggles to accept reality.

We open up with the old man's home. Here we can gain a sense of personality through the look of the home. The garden being full of flowers and garden ware revealing his crafty, creative side to him. The garden itself is used as a metaphor that in order for his heart to heal his heart must grow.

We then enter his living room. His living room looks warm and welcoming. This is to show that the living room is his place of comfort where he can relax and be at peace.

As he falls asleep on the sofa he starts to re-connect with his son. Here he dreams of his Son coming to him. The dream is set at the beach as this is the location where his son went missing and lost his life. The beach is also where his Son and him would often spend their time at, this is suggested to the audience as we see the old man often crafting stone decorations to hang up in his house to preserve the memory of his son.

As the old man re-connects with his son we cut back to real life and see a newspaper article revealing the missing of his son.

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This is an image of one of our Stone Decorations. The prop is seen throughout the film to represent the happy memory of the old man's son.

We hand-made these decorations ourself as we felt it would make it feel more realistic and loving with the handmade look.

To make this we handpicked the stones from a beach (Eastney Beach) and then using a mini Pillar Drill and a 3MM bit size screw, we drilled in the middle to make little holes. Luckily some stones also had natural holes giving a more symbolic look. We then thread a thin wire through the stones and tired them together.

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This image is the newspaper about the son. We didn't want the old man to speak as we thought he would be too heartbroken to do so. To reveal the death of the son we thought a newspaper article that shows the missing of a child just left open in his house would be more touching.

To make the Newspaper we used an online newspaper template and added an image of the son to it.

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“Listen! you hear the grating roar”

“Listen!” serves as a command to the reader, I suspect it’s intended to grab the reader’s attention by suggesting what follows is important.

“you hear” could be the writer speaking generally, as “you” could be referring to a general group of people. However, the writer could also be targeting the reader through the use of “you”, suggesting that what follows could be applicable to the reader specifically.

The imagery of “grating roar” evokes a harsh, grinding sound. Possibly alluding to the power and force behind waves crashing onto the shore. “Grating” implies there’s a rough and unpleasant quality to the sound.

“Of pebbles which the waves draw back, and fling,”

“Of pebbles” implies that the “grating” sound may be coming from the movement of the pebbles, the movement of the pebbles being agitated by the “waves”

“the waves draw back, and fling” sounds to be describing the action of the waves, pulling the pebbles towards the sea, then forcefully ejecting them back onto the shore. “Draw back, and fling” clue the reader into the forcefulness of the waves.

“At their return, up the high strand”

This line focuses on the movement of the waves as they return to shore.

“At their return” refers to the moment when the waves come back to the coastline, completing their cycle of movement.

“high strand” possibly refers to an elevated shoreline, such as waves crashing into cliffs or simply a steep coastline.

“Begin, and cease, and then again begin.”

I believe that this line is referring to the cyclical nature of the movement of waves. “Begin” suggests the starting point of the waves’ motion and “cease” indicates the moment when the waves stop their movement. “And then again begin” reiterates the idea that this process will repeat again and again.

“With tremulous cadence slow, and bring,”

“Tremulous” means shaking or quivering slightly, but this in addition to “cadence slow” implies that the waves have a slow unsteady rhythm. The use of “cadence” is interesting because it’s a term often used in music, suggesting that the movement of the waves has a rhythmic, almost poetic aspect to it. “Bring” implies that the waves are carrying something along with them, likely the pebbles as mentioned earlier.

“The eternal note of sadness in.”

This line suggests that there is a perpetual, timeless quality to the feeling of sadness evoked by the sound of the waves. This sadness is not temporary or fleeting but seems to be an inherent part of the waves’ sound.

“Note” is another musical metaphor used within this poem, likening the sound of the waves to a constant, haunting melody that accompanies the sound of the waves.

“In” indicates that this sadness is somehow contained within the sound of the waves.

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Sony PXW-FS7 camera body
Tripod
Grip remote control
Viewfinder & rail
XDCA extension unit
Vocas baseplate & quick release plate
Follow focus & marking ring
Metabones lens adapter & case
IDX battery charger
2x 128GB Sony XQD card 400MB/s
XQD/SD card reader
Tripod head
Tripod legs
Sony 28-135mm E lens
Matte box
15mm rails
CamRade wetsuit rain cover & case
Samyang 5x prime lens Canon kit
T3.1 14MM ED AS IF UMC II
T1.5 24MM ED AS IF UMC II
T1.5 35mm AS UMC II
T1.5 50MM AS UMC II
T1.5 85MM AS IF UMC II

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"Aftersun" (2022) shot by George Oke was an inspiration to our film poem as it uses natural light and colour to evoke a sense of nostalgia and intimacy. The framing in "Aftersun" would often isolate characters within vast landscapes to symbolize their internal conflict and emotional distance. We adapted this within our film Poem as there are often wide shots of the 'Father' staring out into the horizon to replicate his mood of emotional distance.

Another source of Inspiration we took from "Aftersun" was by shooting directly into the sunlight, this made the film have a sense of realism and make the audience feel like they are part of the experience however for us it was to enhance the dream like look during the 'dream' sequence.