In the production of this film, I set out to create a fashion arts film that recreated selected artworks and experiences of a North Korean Defector artist Sun Mu. In order to produce the film I had developed a story board which listed all of the scenes I intended to do, this allowed me to clearly break down all of the necessary props and styling for each scene. I found this to be a very useful tool as I had used it again in the studio whilst recording to ensure I had captured all the shots I had imagined to ensure that enough footage is collected for each scene.
In regards to Styling, I feel that the outcome has been very successful. Although each scene has been styled differently, there is a consistent flow of colours and clothing used to keep it all within one particular style. This helped me to achieve a film that’s built up of different scenes whilst maintain consistency. By making the choice to recreate experiences along with existent paintings, I was able to use and demonstrate my styling skills through choosing of own looks. I feel that the overall outcome of the styling has been successful, although the limited studio time meant that I was not able to change the makeup looks as many times as I would have liked. In response to this, I did however change the styling of the hair with most of the scenes in order to create a suitable look for every scene. I feel that the hair styling could have had some more thought invested into it but again the short studio time limited my abilities to do so.
In reflection to the digital production of the film, I feel like some of the clips could have done with shorter cuts as a traditional fashion film is usually built up of quite fast snippets. However selected clips have been intentionally extended; for example the end clips of each scene have been extended in order to add a ‘finale’ touch to the end of the scene. I feel that, if the visuals has been different and perhaps in a landscape layout more effects could have been added to demonstrate my editing skills. However with the footage and visuals I had developed I feel that abstract or intense edit styles would be too much and take away from the aesthetic of the visuals. I do also feel that 3 minutes is a little too long for a fashion film, so constructed the film of 6 different scenes in order to keep viewers involved. Given only a 3hr slot in the studio put me under a lot of pressure to set up, style and shoot 6 different scenes therefore I slightly feel that not enough strong footage was collected for some scenes, particularly for the fish and knives scene.
With little studio availability, I only had the weekend to source a fabric background for the studio as a paper colorama was not able to be sourced on time. By using the fabric background, I feel that it had let down the quality of the film through visible creases. The smaller background also restricted me to shoot in portrait mode which has resulted in having to use pink side bars in the film. I do feel like the side bars work very well with the film, however if I was to do this again, I would ensure to source a bigger, better background so that I can confidently shoot in landscape orientation.
The film also features a lot of scenes of close-up portrait shots to create the idea of being and existence in reflection to the suppression of Sun Mu’s identity. I feel that these shots have been very effective in regards to generating expression, mood and the idea of being. A shot I am very happy with is the very end shot of the model laying in rose petals, this represents the idea of reaching heaven, a better place to be. I feel that even as a single still, that shot is very effective in regards to the insignia, angle work and the entire composition of it. Overall I am very happy with the outcome of this film and I feel that it has fully and successfully reflected all of my intentions and aims within this brief.