SCRIPT - PROJECTION BREAK DOWN - SCRIPT/LIST - TECHING PROJECTIONS
RESEARCH AND SOURCING
Script Breakdown Process
My process started with a detailed scene-by-scene breakdown, where I looked into various elements like location, atmosphere, emotional state, time, visual representation, and space. This initial step was crucial as it set the foundation for the rest of my work. By exploring the atmosphere of each scene, I found inspiration and guidance for decisions on color composition, creative editing, and rhythm.
Much of this breakdown happened through discussions with Simone, focusing on the meaning and emotions of each scene. These conversations were invaluable as they directed my research and the sourcing of the right footage. By engaging in these dialogues, I captured the essence of each scene and ensured that my visual and emotional interpretations matched the overall story.
After these initial discussions, I created a detailed list of locations, visual imagery, and symbolic elements. This organized approach helped me conduct easily the research and sourcing process. By working through the list scene by scene, I could efficiently identify and organize different sceneries, making the process easier and more coherent.
Additionally, I highlighted all the cues so Amelia Fenwick, who is responsible for calling the show, and Martina Villamayor, who is programming the Qlab for sound and projection, could easily access all necessary information. This included details like cues, projection content, and file names. The clarity and organization of this information were crucial for the smooth execution of the show.
The success of this process came from its clear and organized nature. I could easily access all the information, which helped me progress quickly. However, one challenge I faced was relying on discussions to understand the emotional states and symbolic meanings of scenes. While I had a good understanding of each scene, I had moments of hesitation regarding certain themes or symbols. These uncertainties were quickly resolved through my constant communication with Simone.
Moving forward, my next steps involve exploring further research and applying all the information gathered during the breakdown process.
For his production "Worldeater", Simone Martis asked me to be his projectionist, simultaneously to being his Production Manager. This is the part whereI had the opportunity to instill my creative practice into Simone’s creative world and production. I curated and crafted a series of visual landscapes that followed the world Simone Martis described in his script. In this process portfolio page i will break down the different steps and actions taken to create this visual landscape and scenery.
The process began by breaking down the script, creating characterization for the main character (also named Worldeater) and exploring each scene's emotional, symbolical and actual landscape description. I then continued by researching films and sourcing footage, videos, and images related to his text and references. The the real creative work started happening in the experimentation phase, where i really played with editing, trying new techniques and playing with color and collages.
As a projectionist, translating the imagined world of the writer into a visual reality is always a delicate task. It involves coordinating atmosphere, symbolism, color composition, visual landscapes and rhythm. This project was particularly enjoyable because it involved creating an eerie, openly fabricated world. I enjoyed the challenge of crafting this fictional scenery, using techniques like repetition, layering, and masking to convey the emotional themes of each scene. The road scenes were my favorite to create; sourcing long road footage that matched the scenic descriptions and experimenting with color and composition to produce a surreal atmosphere.
This experience was rich for me in terms of gaining editing skills, Teching skills (Qlab) and learning more about cinematography and the relation between a character's emotional state and the visual landscapes depicted.
PROJECTION PORTFOLIO
EXPERIMENTATION FROM RESEARCH- EDITING
EXPERIMENTATION - TECH - CUE LAB - FINAL WORK
EXTENDED RESEARCH (CLICK BELOW)
SOURCING VISUALS
My research for projection began with an in-depth characterization of Worldeater, focusing on his various emotional states, his quest, and the significant themes and symbolic moments, particularly the fields and road scenes. Key themes in Worldeater include internal turmoil, the quest for self-discovery, isolation, and the search for escape, freedom, and redemption.
To develop the visual landscape for the production, I researched road movies that explore similar themes and whose cinematography resonated with me. Films like "My Own Private Idaho" (1991) by Gus Van Sant and "Paris, Texas" (1984) by Wim Wenders, provided rich visual and thematic inspiration. "My Own Private Idaho" captures the internal struggles and desire for belonging, while "Paris, Texas" explores themes of isolation and redemption against the backdrop of expansive landscapes. These films influenced my approach to depicting Worldeater's journey, as their visuals effectively convey the profound emotional and thematic elements central to the story.
In addition to these cinematic inspirations, I focused on creating a fabricated American Midwest aesthetic that would enhance the surreal and eerie atmosphere of Worldeater’s world. The wide, open fields and endless roads common to the Midwest became a canvas for exploring the character's internal turmoil and quest for self-discovery. I sourced numerous clips, videos, and images that represented these iconic landscapes, ensuring they aligned with the thematic elements of the production.
Through careful editing and creative manipulation, I aimed to blend realism with a heightened sense of the surreal. I experimented with color grading to evoke different emotional states, using muted tones, bluish color palettes for moments of isolation and earthy hues for scenes depicting a quest for the self and freedom. Techniques like repetition, layering, and masking helped create a textured, immersive experience that mirrored Worldeater’s fragmented psyche. By integrating these elements into the projection work, I was able to contribute meaningfully to the visual storytelling of Simone Martis’ production, bringing his imagined world to life in a compelling and visually cohesive manner.
For an extensive research breakdown, you can click below on the Research Page.
Goal: Creating an openly fabricated world.
Aesthetic: A tangible blend of eerie realism and heightened surrealism.
Through editing, I embraced the "fakeness" of the scenes. For example, in a street corner scene, I timed car passes using masking and blending effects to match tonalities, though it is quite obvious that is a layereyed car passing through a landscape. This was a way to enhancing the constructed and eerie feel of the imagery.
Similarly, in the road sequences, I distorted scale and increased speed to make the scenes smoother and more unsettling. I used repetition, masking techniques, feathering, and blending options, as well as duplication, to create something very immersive and surreal, with elements appearing unexpectedly.
I explored a variety of effects and new techniques such as turbulent displacement, animation, layering, creating vintage TV effects, exploring using noise effects, and collage. Composition by masking and duplicating footage allowed me to develop complex and visually rich scenes.
I had a lot of fun experimenting with the footage I sourced, learning many new skills. The process was very successful, creating a layered, fabricated atmosphere that combined an American road trip with a personal quest and internal turmoil. I have had some issues with my computer sometimes to edit as the files were so heavy, and it made my computer lag, so I had to find a way to go around that. The content that required the most work for me and for which I experienced many different techniques are: The Montage, the Road Scenes, The Fields and the Street Corner with a car passing by (which i found particularly striking)
ROAD EXPERIMENTATION
MONTAGE - experimentation and evolution
Endless Roads
Experimentation With Road
In the road sequence, I worked with very long road footage, which allowed for extensive creative editing. I experimented with scale distortion, layering, perspective, color exploration, and duplicating footage to create a surreal and reflective atmosphere that embodies the essence of a road trip quest.
Montage sequence is one of the edits that took me the most time, because it has evoluted so much. Collectig footage from all the referecne films adnd cinmetagraphy starting with rough cut, cutting down. First version was a bit ifficult, too much infprmation, not in rythm, too condensednd. Second version way better, playing with the sound, experimenting on how to elongate short clips to make them fit timeframes. I then experimented with color - red filter, old tv effects (playing with noise effecteetc) blending frames and playing with references. You can see in the last clip the evolution and edits I have done. I learned particularly a lot about playing with curves, hues and tones to create a monochromous look.
FINAL PROJECTION BREAKDOWN FOR QLAB
EVOLUTION - NOTES - After 1st day of TECH - TRANSFORMATIONS
TECH 1
TECH 2
As I was simultaneously the production manager, I had to prepare my files very clearly and sit down with the sound team to construct the Qlab, choosing fade-ins and fade-outs, and figuring out the details so they could continue without me. I learned a lot about organizing files, keeping track of cues, maintaining a detailed file list and descriptions, so I could delegate effectively and ensure the team had no questions. This organization was crucial for populating Qlab with the right files and smooth transitions. I was lucky to work with a trustworthy and talented team to whom I could delegate tasks confidently.
Those days were intense because I had many adjustments to make between the tech rehearsals. Some footage was too dark for the projector, and some were not well-scaled. Since we weren’t using Isadora due to the short timeframe, I couldn't adjust it immediately from the computer but had to go back into my files, re-edit them in Adobe Premiere, and then replace them in Qlab. It was very time-consuming and stressful, but I managed, thanks to my good organization and thorough breakdown of projection files, which I referenced constantly to ensure nothing was forgotten.
This intense experience taught me resilience, efficient ways to adjust my footage, and the importance of always thinking ahead. The sound team appreciated having a structured document to reference while populating Qlab, and all my projections ran as I had envisioned.
FIELDS - EXPERIMENTATION
Experimentation With Fields
Empty Fields
In the production, many scenes feature wide landscapes and fields, set in different time frames, atmospheres, and at symbolic moments. In my research for these essential American Midwest landscapes, I drew inspiration from films like "Bones and All," "Paris, Texas," and "Interstellar" (2014, Christopher Nolan). The fields served as a compelling tool, dispersed throughout the production, marking distinct emotional states for Worldeater.
We start with classical sunset landscapes and gradually descend into more distorted views, symbolizing the fragmentation of Worldeater's personality and his distorted reality. Linearly, the landscapes I created represent his quest for redemption and self-discovery. I experimented with color, layering, and distortion in Adobe Premiere, especially in the final scenes where Worldeater's reality begins to fragment and distort.
For this project, I layered two different scenes—a sunset and a daytime landscape from Paris, Texas—and adjusted the time reference to create a sunrise effect. I extensively used masking to recompose images, removing distracting elements and adding houses and other components through collages to reconstruct the scene.
With the landscapes, I also experimented with turbulent displacement, adjusting the evolution, time frames, and size of the turbulence to create complete distortion. This technique allowed me to manipulate the visual elements dynamically, adding a unique and surreal quality to the final imagery.
Editing Process
CONCLUSION
Being a projectionist in this production has been an immensely rewarding experience, allowing me to refine a wide range of skills and deepen my understanding of visual storytelling. Through this journey, I have learned the importance of meticulous planning, organization, and the ability to adapt quickly to technical challenges. The dual role of production manager and projectionist pushed me to develop my abilities in file management, cue tracking, and detailed documentation, ensuring that the entire team could work seamlessly even in my absence.
One of the most significant lessons from this experience has been the crucial role of reflecting the emotional state and symbolic meaning of the narrative through visuals and color composition. Each scene required a deep understanding of its emotional core, which I translated into visual elements like color grading, layering, and special effects. This process taught me the art of balancing realism and surrealism, using techniques such as masking, duplication, and turbulent displacement to create a compelling and immersive atmosphere.
Experimenting with different effects, such as turbulent displacement, animation, vintage TV effects, and collage, expanded my technical repertoire and allowed me to create dynamic and engaging visuals. I particularly enjoyed playing with curves, hues, and tones to achieve the desired emotional impact and monochromatic looks, enhancing the storytelling experience.
In conclusion, this experience has underscored the importance of continuous learning and adaptation in the role of a projectionist. By reflecting the emotional and symbolic aspects of the narrative through carefully crafted visuals and color composition, I was able to contribute to a cohesive and powerful production. The skills I have acquired and the insights I have gained will undoubtedly inform and enrich my future projects, allowing me to continue exploring the limitless possibilities of visual storytelling and projection making.
