Building a Miniature World

By Visual Artist and Cinematographer Sean Webley. Examples from the museum installation Two Mobility Futures 0∞.

With Artist and Architect Gabriela Bila Advincula and the MIT City Science Cohort.

Excerpt from Primitive Collective Publication by Sean Webley. Primitive Creative Collective Lecture Series: Cinematography III.

TEASER FOR THE PROJECT: https://vimeo.com/690577239

INTRO

It’s rare to encounter a project that is truly novel in every aspect. I knew that we would need to develop nearly every element from the ground up, and I was eager to dive in.

Two Mobility Futures 0∞ had many moving parts, requiring us to create an entire world within the project. The installation consists of nine screens, a central model, and a light sculpture suspended above it. Each element interacts with the others, thoughtfully considering their spatial relationships.

There were four essential elements to shooting the project, each requiring a different approach:

THE MODEL

We decided to shoot the model elements first, as it would connect all the other stories and provide rear-projected images for different sections of the project. Visually, I wanted to convey a sense of scale, making even the smallest screws and car parts feel monumental.

I quickly realized that using a macro probe lens would achieve this effect. This lens allowed us to get incredibly close to the model and navigate between and even through its elements.

One significant technical challenge at this scale was lighting. I needed to recreate the lighting conditions of an entire city on a small scale, so I studied how weather affects light. I experimented with setups to achieve the desired atmospheric effect.

For daylight, I considered not just the sunlight but also the reflected light from the sky and surfaces. To simulate this on a smaller scale, I employed the inverse-square principle for the key light and artificially created fill and bounce lighting.

Simulating a foggy day was another challenge. To mimic the effect of looking through miles of fog in just a couple of feet, we had to create an enormous amount of haze in a tent surrounding the model. While it seemed excessive from the outside, the lens captured it perfectly and added to the sense of scale.

THE WINDOWS

The window scenes required careful detail to convey actions in silhouette while maneuvering the moving elements. We built a set with backgrounds and elements on tracks, allowing for movement. However, for larger movements, we had to move the camera deliberately on a dolly to maintain the illusion of a stationary camera with a moving set. It was a clever camera trick that yielded effective results.

THE LOVERS

The lovers' segment was more conventionally shot but still innovative. Since each frame was one of nine screens, we had to consider the relationships between frames and the overall narrative. For instance, a message sent from one side of the space to the other needed precise alignment in both physical space and timing. We designed frames to create visual connections across the installation, which helped maintain a sense of balance among the screens.

THE CONVEYOR BELT

The conveyor belt presented continuity challenges, as specific items had to travel across the screens at consistent speeds. With a limited frame size to film one screen at a time, we meticulously planned the sequence for continuity across all screens. While the camera and lighting remained mostly locked, compositional considerations were crucial, as aesthetics played a significant role in this piece.

Summary and Takeaways:

When tackling a project, let its unique needs guide your approach. Start from first principles and take it step by step. This way, ideas will naturally emerge from the core themes and concepts, rather than feeling forced.

As a visual artist or cinematographer, consider these questions when developing a concept:

1. Can I break this down into parts?
2. What are the unique elements of each part, and how can I present them independently?
3. What techniques can I employ to make these distinctions clear for the viewer?

By focusing on these aspects, you can create a more engaging and cohesive visual structure.

More cinematography, filmmaking, and art posts to come. In the meantime check out the collective's website: Primitive Creative Collective

To order the publication, click here: Primitive Collective Publication.