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Course: IB Film Studies Higher Level
The AscensionCommentary
South Island School
Center number: 003258
Candidate number: 003258-100
Candidate name: Stanley Leung
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The Ascension - Commentary
The Ascension is a parable inspired by Judas betrayal of Jesus in the bible, the film
attempts to use this context to explore the idea of greed and cruelty of the real world. The
box is a catalyst for betrayal and symbolises power, making it a crucial part of the film.
I chose to be the cinematographer because I was confident in composing aesthetically
pleasing shots, contributing to the professionalism of the film. Along with my familiarity with
cameras and related equipments (e.g. dolly and tracks), I could increase the efficiency
while filming. Understanding the equipment also meant that I allowed myself more
opportunities to compose individual shots carefully, taking care of the mise en scene as
well as the meaning communicated.
We aimed to target audiences from a relatively broad demographic group, especially
people with religious beliefs because they can identify with the religious connotations in
the film. The broad target market makes it obvious to adapt hollywood conventions, as
they too have a wide range of targeted audience. In terms of cinematography, subtle
camera movements, e.g. slow panning or tracking shots are commonly used to make the
visuals more interesting as well as conveying meaning and intensifying the scene.
The TV series Leveragewas our first source
of inspiration. The director and I both agreed
that the distinctive zoom shots (e.g. Fig 1.1)
would be a useful reference for our opening
sequence. At one level of reading, the
opening sequence was intended to show thebox as a piece of mythical artifact that
descended magically to the isolated beggar.
For general audiences, the fast paced
opening provided visceral thrill at the start of the film which would hopefully intrigue them.
During the first informal script conference, I was briefed by the director and scriptwriter
about the story underpinning our film. The director had specific visions, shots and
execution method for certain important scenes (Fig 1.2 and 3).
Fig 1.1 - A digital composite zoom shotfrom Leverage.
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Fig 1.2 - Image that inspired anintended shot for the film.
Fig 1.3 - Shot mentioned in the initial shot list.
The initial script was incredibly ambitious and I felt some of the shots were not possible.
For instance the shot composition (Fig 1.2 and 3) was not used in the film because the
location chose had inappropriate lighting and environment to provide the level of contrast
needed. Some of which I cannot visualise at all. A shot list was developed based upon my
impression of the script (Fig 1.4). Since this was a silent film, the shot list was quite
detailed because the ideas and the narrative would both need to be communicated
through the mise en scene.
Fig 1.4 - Annotated initial shot list and photo of the director (right) and I (left) and ina script conference.
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We then had a location scouting session, aiming to find an isolated area away from city.
This is because the location needed to symbolise the protagonists high moral value (lack
of clutter, isolation, why no one helped), that he lives away from the cruelty of society. Out
of all the possible locations, we chose the one that match our criteria most (Fig 2.2).
Fig 2.1 - Locations that were not isolated enough. (photos taken while location scouting).
Fig 2.2 - Editor (left) and director (right) onthe location that matched our criteria.
Fig 2.3 - Location (isolated setting) used inthe film.
A storyboard of what I had in mind was then developed based upon the chosen location
after the scouting session. This acted as a loose guide during the production process due
to spontaneous changes to the script during filming. Some of the shots the director and I
had in mind after location scouting required special equipment e.g. a mini jib which we had
to rent. The jib was used during the overnight shoot so that I could move the track around
on the road without blocking traffic. Also, a problem was encountered when filming the
opening and ending sequence of the film. Fig 3.1 and 2 shows the intended crop of the
camera and the actual crop. The jib was not tall enough for the intended crop to work. After
discussion, the director removed this shot from the opening sequence.
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Fig 3.1 - Storyboard visualisation Fig 3.2 - Actual footage
Subsequently, a new opening and ending sequence was made with stock photos and still
frames from the film in Adobe After Effects. I felt this was part of my remit as the
cinematographer as it still dealt primarily with the image. Fig 4.1 shows the layering of
different images used (Fig 4.2 and 3) in perspective to achieve the descending and
ascending effects. It was done with 3D layering and synthetic camera motions. Camera
projection was used to simulate the perspective changes that were needed in the film to
give the impression that the camera was actually descending.
Fig 4.1 - 3D layers in Adobe After Effects
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The jib also acted as a replacement for the tracks we originally had because some tracking
shots were not achievable using them. For example the shot below (Fig 5.1) where the
camera is required to track over the box. To achieve this the tracks needed to be out of
frame and the camera above the box. The only possible way to achieve this was to set up
the tracks on the side, push the jib to its lowest point then mount the camera so that
nothing would obstruct either the tracking, the frame or the box.
Fig 4.3 - Clouds (inverted colours forpurpose of commentary)
Fig 4.2 - First frame (extendedwith Photoshop)
Fig 5.1 - Using the jib as a replacement for the tracks.
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There were various motifs containing symbolic meaning in the film which needed to be
communicated through my choice of cinematography. The box as a symbol of power was
conveyed using low angle shots. In Fig 6.2, the protagonist is shown to be powerful
because he is in possession of the box as is communicated through the low angle shot
used. Also, other antagonists were sitting down looking up at the protagonist, emphasizing
his power. This was one of the shots that I had in mind early on in the pre-production
process.
Fig 6.1 - Storyboard of the shot. Fig 6.2 - Low angle shot of the protagonist.
The importance of the box within the narrative was signified through the subtle tracking-in
movements (Fig 7.1 and 2). Inwards tracking towards the box directs the audiences
attention to it through the leading lines (red lines). This puts emphasis upon its importance,
as well as intensifying the mood. The director and I discussed and agreed on repeating the
track-in movement every time the box displayed its power, thereby emphasizing its role as
a magical artifact.
Fig 5.2 - Editor (left), director (middle) and me (right)planning how to solve the problem of tracking over the box.
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Fig 7.1 - Tracking-in to the box. Fig 7.2 - Tracking-in to the box.
I chose the shot in Fig 7.2 for my trailer because of the intensity that was expressed
through the shot. The beggar looks inside the box and simultaneously I hoped to use
enigma as the audience would be intrigued to know what laid inside.
The apple (eaten by the protagonist) was another important symbol of the film. It
symbolises his realisation of power, similar to how Adam in Genesis(The Bible) gains
knowledge after eating the apple, an intertextual reference. As the protagonist ate the
apple, I deliberately chose to have the camera track outwards revealing his surroundings.
Note that he looks upwards and around him as if he is seeing more. This shot uses both
the apple as a symbol and the camera movement to represent his realisation of the power
of the box. I chose to place the protagonist in the center of the frame to show his
importance.
Fig 8 - Camera slowly tracks outwards.
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The shift of control and dominance is a crucial turning point in the film. This was
communicated through the grading, brightness and contrast of the footage. The antagonist
rebels against the protagonist at night because the religious connotations of darkness
suggested evil and temptation. I made use of the flickering lights at the park as a temporal
transition as well as a visualisation of the shift of power (Fig 9). Binary opposition between
the protagonists and the antagonists costume emphasizes the juxtaposition between
morality and immorality.
Colour and grading was also used in the trailer to convey meaning. I colour graded the
footage (see difference between fig 10.1 and 2) again so that the opening and ending was
more saturated than the rest of the trailer. This was done to suggest that the opening of
the box coincides with the cruel reality represented by temptation as the antagonists are
jealous and want to own this new power. Equally, the text in the opening and ending of the
trailer was black on white, whilst being inverted in the rest of the trailer. This enhances the
effect of the juxtaposition, showing the opposing moral values that the box and the
protagonist/antagonist represents.
Fig 9 - Flickering street lamp.
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Fig 10.2 - Other shot from the trailerdemonstrating desaturated look.
The mise en scene and the continuity of the set design was as crucial as other aspects of
production. The set beggars home was designed while drawing the first storyboard. The
set was built from cardboard boxes, newspaper and most importantly a plastic cup that the
director and I both agreed on. The plastic cup is iconic, representing the act of begging
(Fig 11.3).
Fig 11.2 - Set of the beggars homein the film.
Fig 10.1 - Ending shot of the trailer.
Fig 11.1 - Storyboard, establishingshot of the beggars home.
Fig 11.3 - Beggars plastic cup is circled. Coins
were put inside it, showing authenticity andrealism.
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The set required that we clean up every time we finished filming. For continuity, I took
photos and kept the same pieces of newspaper and cardboard to make sure the set would
look the same in post-production (Fig 11.4). The make-up of the talents also caused med
concern as it needed to be consistent throughout the multiple shooting sessions. A photo
was taken of the initial make-up so that the make-up artist could recreate the look each
time required (Fig 11.5). The continuity made the film seamless in terms of editing, which
is important because it helps suspend disbelief.
Fig 11.4 - Resetting set according to photo.
Fig 11.5 - Make-up according to photo(on computer, circled).
I adapted the uses of hand held camera movement from hollywood films to convey action
and disorientation in the chase sequence,. This increased the intensity of the sequence.
Close ups of both the antagonists and protagonist were used, especially focusing on the
eyes, legs and arm movements. These shots were useful as footage for intercutting in post
production to speed up the pace of the sequence.
Word count: 1568
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