Goodbye #78

It’s been a long two-year journey, starting at AS Level and working my way up to A Level. Officially, I can say this is the last blog I’ll write in my life, or at least for a very long time. Over the past two years in AICE Media Studies, I’ve learned how to analyze media and understand how it affects us in way I thought I could ever do. I also want to thank my partners Madison and Rafael for always being there and being people I could count on throughout this process. Now that that’s out of the way, here’s my entire A Level production:

Here the 5 minute film:

Here is the poster:

Here is the social media Page(It is split in two video):

CCR - CCR # 77

 

CCR

It was also established that there will be the moment in any creative process that you stop, stand aside and really look at what you have created. It is at the point that you understand that the journey is as important as the end product. That is where I am at present. Echoes in The Seat is finished. What started as a concept gradually turned into a short movie about grief, loss and silent emotional rooms that come after the tragedy. It is about a teenage boy that is referred to as Rafa by my friend who goes back to a park after he lost his best friend, Madison. He sits in a lonely bench thinking before leaving behind him a note. The last scene is when Madison shows up and finds the letter, which supports the message of the film: there is nothing wrong about being not okay, and one always has a way out.

The only part of the process was to complete the film. Critical Creative Reflection calls out a further analysis such as not only of the created, but of how and why we created it. Now that I can clearly understand that the movie is a social grouping, and a social issue, the aspects of production combined to create a coherent sense of identity, how we stimulated our audience with emotions and social issues, and how research underpinned our choices and gave us the freedom to both conform and break the norms.

Since the start, we planned to be represented. What we did not want to come up with is something shallow or less memorable. We had a desire to tell a story that bore some truths especially those who are going through grief especially at a young age. In its bareness, Echoes in the Seat is about teenagers and emotions after loss. The character of Rafa has no name in the film. That choice was deliberate. In not providing him any definite identity we had enabled him to be universal. He can be used to symbolize all people who have gone through hard times of losing or having no one. This method makes the movie friendlier to viewers since they can relate his experiences to theirs.

Mental health is also one of the problems of our project. Although the cause of the death of Madison is not explicitly observed by the movie, we deliberately suggest that she could have committed suicide. It was not an impetuous choice. The responsibility of media who represent suicide is extremely high, and these are the responsibilities of the media who represent the youths. It is possible that a serious subject will be glamorized, simplified, or mishandled. That was a danger that we were aware of. That is why we did not dramatize but rather tried to be subtle. We did not want to demonstrate any graphic descriptions or clear elaborations. Rather, we depended upon mood, silence and emotional expression. The melancholy in the pose of Rafa, the inanimate park, all the weight of the letter all indicate loss without beating about it.

Our conduct in approaching the subject matter was thus intended to manifest the reality of grief as we are meant to feel it, rather than the spectacle of grief. Suicide is the riddle to unravel or the dramatic twist to the storyline full of shock in numerous movies. We have strategically shunned that style. We did not focus on the "why." We did not give dramatic flashback and confronted dialogue. We did not do this; but left the absence itself to have a meaning. The approach honors the intricacy of mental health struggles and would not simplify them to easy explanations.

Having the 988 Suicide and Crisis Lifeline in the end of the movie further helps to reinforce this image. The fact that suicide is among the major causes of death amongst the youth in the United States is pre-emptive and renders the issue incontrovertible. The addition of the hotline behind the text, It is okay not to be okay, gave the film an even stronger impact that does not rely on the narrative. We provided an empirical resource. The representation is best materialized when it is not just a replication of the experience but also, in providing support. Through this, we were able to recognize the heavy nature of the subject matter coupled with strengthening hope and assistance.

Trying to think over how the elements of production made a sense of identity, I understood that branding is not the part of a corporation or large-sized production only. However, in spite of being students ourselves, we acquired a particular tone and personality of our project. Titles are an element of the reflective mood, as the name of the work itself, Echoes in the Seat, creates. The bench serves practically as a character a witness to recollection and sorrow without utterance. The word echoes connotes persistence, which serves to add weight to the notion that even when one is no longer there his or her influence lives on.

Filming was an enormous contribution in this identity. The dimmatic light and low colors were used to capture the depressing mood. Extreme shots of Rafa sitting alone want to stress his loneliness, whereas close-ups ensure minor emotional variations. We did not use extreme camera shots or fancied angles. Rather, the images are stable and serene and support the reflective quality of the film.

Sound designing also adds to this unity of identity. We did not use dramatical music so much, we just listened. There is realism caused by the slight sound of wind, remote nature and background noise. There is understated music when the music is played. This choice corresponds to our desire to depict depression without the gesture. In editing option was the same philosophy. We did not use fast-fades or flashy effects. Scenes linger. Shots hold. The rhythm is reminiscent of the heavy determination of loss processing.

This identity was also extended to our social media presence. The Instagram account created by Rafa as a part of the project consisted of posts that were in the same tone as the film. Behind the scenes pictures, still pictures that created the anticipation though the same visual consistency was present.

Another important part of our work was the involvement of the audience. To make the viewers interested is one thing; to emotionally commit with them is another. Every person experiences grief and it is that universality which establishes an immediate bond. Giving a stark, familiar picture of loss, we made the viewers think about their experiences. The movie does not inform viewers on how they ought to feel, rather it challenges people to read through.

The participatory of the audience was one more important part of our work. Entertaining viewers is not about capturing the imagination of the viewers, but about involving them emotionally. Grief is universal and the same fact generates instantaneous connection. By providing an intimate but familiar image of grief, we prompted the audience to contemplate their own lives. The movie does not inform viewers about the proper way of feeling; it incites the viewers to make interpretations.

There is a lot of ambiguity in this engagement. The entrance of Madison at the end is suspicious. Is she real, Is she imagined, Does the scene belong to memory, closure or otherwise. With such questions left open, we invite further thinking to the viewer after viewing the film. It is also interactive as the viewer seeks to digest and make interpretation on his own as the frame concludes.

Social media also fortified this relationship. The content of the behind-the-scenes captured the interest of the followers who were able to see the process and not just the result. They were able to observe the cooperation, the difficulties, and the advancement. This openness created expectation and engagement. At the release of the film, the audience felt that they were part of the film making process. This engagement was also facilitated by the blogs that I used when writing, in the process. They wrote not only the production reports but also personal reports. The readers were not simply watching a project, but rather tracing a journey.

The project was informed by research in both direct and indirect ways. Although I did not engage in any serious scholarly research, I noticed how the grieving process was discussed in other short films and coming-of-age dramas. Most of them were based on the involvement of heavy songs, observable disintegration, and explicit conversation on feelings. I have been aware of these conventions and made a deliberate choice to break out of them. I desired it to be simple and true to life. True sorrow is mostly witnessed through quietness and not through speeches.

We also discussed the concept of the support resource in the mental health campaigns. Others are not attached to the story, and others are drawn to it unconsciously. Having our message and a hotline be at the emotional end of the film, we made sure that it was not forced on the viewer. Our promotional strategy was also affected by research on social media strategies. The significant experience we gained by watching other independent creators was that the audience values authenticity and process. This knowledge influenced our presentation of the project on the Internet.

Creative decisions were also determined through practical studies of our weekly limitations. We operated on minimal equipment and non-professional actors. We adopted minimalism instead of trying out something that was beyond our capabilities. The silent approach was appropriate to our resources as well as our message. Weaknesses were turned into strengths.

When I look back at all this process, I can observe how all the creative decisions, representation, aesthetic consistency, audience engagement, and informed decision making are interconnected. All these aspects are not placed separately. They support one another. Representation shaped tone. Tone shaped branding. Branding shaped engagement. Interaction made the message leave the screen.

This reflection writing has enabled me to look at what we have done in its full beauty. Echoes in the Seat is no ordinary school work. It is a symbol of development, partnership and deliberate narrations. It is a sign of approaching a serious problem and treating them carefully. It is a say to know that being creative means being responsible.

Above all, it is a symbol of association. Relation amongst characters. Association among creators. Relation of the film to the audience. It might be just the bench in the park which is left empty by the end but the echoes are still there, echoes of friendship, grief, and strength.

The project is complete. I have also realized through this process that meaningful storytelling entails intentionality of every choice. Each shot, each silence, each post in social media made the single whole. I am proud to have created what we did and proud to have thought about each phase.

CCR - Layout #76

Layout

Well, here we are. After weeks of production, countless revisions, and more stress than I care to relive, the blog portion of this journey has officially come to an end. The film is finished. The posts are written. The project is complete.

Well almost complete. There's still one thing left to do: my CCRs. And let me tell you, I am genuinely happy to be at this stage. For those who don't know, CCR stands for Critical Creative Reflection — and in A Level Media Studies, it's the final piece of the puzzle. Compared to AS Level, where we had to create full videos answering four complex questions, A Level is a little different. This time, we still have to answer four questions, but we do it in essay form.

Now, I know what you're thinking an essay that sounds like more work. But here's the thing  our Media Studies teacher gave us a piece of advice that completely shifted my perspective. Instead of thinking of it as a formal, stressing essay that's worth a significant portion of our final grade (up to 20 points, to be exact), she told us to think of it differently and honestly that changed everything for me instead of thinking of writing an essay I would now be writing just a long blog 

Laying Out the CCR before I dive into writing the actual essay, I wanted to use today's blog to lay out my thought process and give you a preview of what's coming. The way I see it, the best approach is to start broad  explain the film in a way that  break down the four questions I need to answer.

So here they are, the four questions that will shape my next blog (aka my CCR essay):

1. How do your products represent social groups or issues?

2. How do the elements of your production work together to create a sense of 'branding'?

3. How did your products engage with the audience?

4. How did your research inform your products and the way they use or challenge conventions?

Now, some of these are easier to tackle than others. But I've been thinking about each one, and I have a rough idea of how I want to approach them.

Question 1: How do your products represent social groups or issues =
This one feels manageable. Our film, "Echoes in the Seat," centers on grief and loss  specifically, the experience of losing someone close to you. Through Rafa's character, we represent individuals who are navigating the painful aftermath of losing a friend. But beyond that, the film also touches on a heavier issue: mental health and suicide. By subtly suggesting that Madison took her own life, and by including the National Suicide and Crisis Lifeline at the end, we're representing an issue that affects far too many people, especially young people. My answer here will focus on how we handled these topics with care and why representation matters.

Question 2: How do the elements of your production work together to create a sense of 'branding'=
Okay, I'll be honest  this one is tricky. Branding isn't something I initially thought a lot about during production, but the more I reflect, the more I realize it's there. From the consistent visual tone of the film to the way we titled it "Echoes in the Seat," everything feeds into an identity. I'll need to dig deeper into how the cinematography, music, editing, and even the social media presence built  to create a  identity for the project. This one will take some thought, but I'm starting to see the pieces come together.

Question 3: How did your products engage with the audience=
This one feels more straightforward. At its core, our film is designed to connect with anyone who has experienced loss or struggled with their mental health. The message "It's okay to not be okay" is universal. We wanted to create something that didn't just tell a story but made the audience feel something. Whether it's the quiet reflection of Rafa on that bench, the emotional weight of the letter, or the unexpected appearance of Madison at the end, every element was chosen to pull the audience in and keep them engaged.

Question 4: How did your research inform your products and the way they use or challenge conventions=
This one is also challenging because my research wasn't heavily focused on the specific issues addressed in the film. I didn't spend weeks studying grief representation in cinema or analyzing mental health messaging in short films. 

So that's the plan. Start broad, explain the film, introduce the four questions, and then answer each one in detail all while keeping that blog-like tone that makes it feel less like an essay

In conclusion, I have a clear idea of how I want to lay out the CCR, this project has been a long journey.

Production - We made it #75

We Made It 

Today's blog post carries a lot of weight for me—probably more than any other I've written so far. This one is special. This one is sentimental. Because today officially marks the end of the production cycle. After months of stress, long nights, more  than I'd like to admit, I can finally say it we're done.

And honestly? The stress was no joke. I'm not being dramatic when I say I was literally losing hair over this project. Like, every single day when I'd shower and wash my hair, I'd look down at my hands and see strands of my own hair just sitting there. It became a routine  But that's what happens when you pour everything you have into something you care about. You give it your time, your energy, your sleep, and also some hair too.

But enough about that. Today isn't about the stress or the struggles. Today is a day to remember for year to come. Our Final Project Is Complete.

After Month of planning, filming, editing, and problem-solving, I'm proud and happy  to announce that our film "Echoes in the Seat "is officially finished.

For those who haven't been following along, let me break down what this film is about. "Echoes in the Seat" follows a teenage boy, played by Rafa, who is navigating life after the recent loss of his best friend, played by Madison. The story takes place in a park a place that held meaning for her, as subtly suggested throughout the film. He sits alone on a bench, reflecting on life, processing his grief, and trying to make sense of everything he's going through.

Before he leaves, he places a note and leaves it on the bench—a small gesture, a piece of himself left behind. And then, in the final moments, Madison appears. She finds the letter. And in that moment, the film delivers its deeper meaning.

The Message Behind the Film. Without giving too much away, the film gently suggests that Madison took her own life. It's a heavy topic because mental health struggles are real. Grief is real. And too often, people suffer in silence. That's why the film ends with a message that I hope stays with everyone who watches it: "It's okay to not be okay. There is someone who can help."

We also included the National Suicide and Crisis Lifeline number 988 for anyone  who might need it. If this film reaches even one person who needs to hear that message, then every stressful moment, every sleepless night, and every strand of hair lost was worth it.

I also want to take a moment to say thank you. To everyone who has been reading these blogs, following the journey, and supporting us through the entire process whether you've been here since day one or just joined in I appreciate you. 

And now, after all that buildup, after all the stress and the late nights I'm happy to finally share it with you.

Let me not hold you any longer. Here it is—the final draft of "Echoes in the Seat."

Production - Social media page #74

Social Media Page

Sup, today’s blog is about something that actually took us a bit of time to sort out—the creation of our social media platform. More specifically, Rafa setting up an Instagram account for our project, since we needed it as part of our final project which shows the creation of a social media campaign.

Rafa did a great job and handled the whole thing by himself. If I’m not wrong, to get everything ready he asked Madison to send him some of the videos and photos that I had taken on her phone. Just to clarify, I was the one recording the videos and taking most of the photos due to being the camera guy. we just used her phone for the better camera quality and additionally since she would be the one editing it would be easier for her to be able to edit the clips and create a final draft.

After that, he created the page, which I call Venti. The name comes from the Latin word for 20, and it’s kind of an inside joke between me and Rafa. It also represents the 20 social media posts we planned for the project.

Of course, it’s one thing to say we made the posts, but another to actually show proof—so here is a screen recording of the Instagram page to show the work we’ve done.

Production - Poster creation #73

Poster Creation 

   Sup, For our final project, we were required to create a poster that we will eventually print. Because of that, we knew it had to look professional and carefully designed. Rafa and I took our time during the planning phase because we understood that the poster would represent the overall message of our video. One of the first things we focused on was choosing the right font. We spent a good amount of time looking at different styles, comparing how each one looked and how it made us feel. Since the topic of our video is serious and centered around anxiety, we agreed that using a simple and clean font would be the best choice. A playful, exaggerated, or overly fancy font could make the topic seem less important or even insensitive. We did not want the audience to think that we were not taking the subject seriously. The font needed to reflect the tone of the project and respect the message we were trying to communicate.

During this planning day, Madison was absent, so Rafa and I mainly focused on discussing ideas and possible images. At first, Rafa had a photo that he believed would work well for the poster.
Later, Madison created the first draft of the poster. In my personal opinion, the draft looked nice and well-structured. The layout was organized, and everything was placed neatly. However, Rafa felt that something was missing or slightly off about it. 

When we later went to record at the park (Lakes by the Bay), I took a photo of Rafa while he was sitting on the bench. The image felt more natural and authentic because it directly connected to the scenes in our video. Madison then edited that photo and used it to redesign the poster. She adjusted the lighting, colors, and overall composition to make it look more polished and meaningful. After she finished editing, she shared the new version with us so we could review it and write about it in our blogs, which is what I am currently doing.

Overall, I believe the new poster is a big improvement compared to the original draft. One major difference is the background color. The updated version uses a brown background, which creates stronger contrast and makes the image and text stand out more clearly. The older version had a red background, which felt too intense and somewhat distracting. The brown tone, on the other hand, feels calmer and more serious, which better matches the theme of anxiety and nervousness portrayed in our video. The final poster looks more balanced, mature, and professional. It clearly reflects the effort we put into both the filming and the design process, and I think it successfully represents the overall message of our project

Final result:

Production - On the job part 4 #72

On the job part # 4 

  sup, this segment of blogs on the recordings  I think is the last because I have to cover other things in my blog such as the poster, In I need to focus in other parts of the production. I might do another one but for right now I think this is it. This blogs is going to be long because the first clip I want to talk about was for me one or if not the hardest to record and its not really complicated just difficult.

    The  first clip I want to talk about is funny enough the first video we recorded. The thing with this blogs is that I was just in my opinion hard to record because It was an over the shoulder shot of Rafa walking to the bench. The thing is that it was really cold and having to walk at the same pace of Rafa was thought and if I am not wrong this clip took at least more than three attempts to record and then the other problem was since I am following him If my shadow appeared we would to rerecord the whole thing and that is not just it, after I am done following him I have to be careful and not lose my balance as he then sits on the bench, then the prelim any clips I mentioned last blog were made to be a perfectly placed with this one well because this was the first clip but if you see the preliminary clips you can notice that this was the original video clip of the final project. Thus here is the clip.

    The second clips is I am not wrong the direct clip after this one, although I am not sure which clip came first whether it was Rafa tapping his feet constantly or this one which is of Rafa moving his hands in a nervous way and at the end it also shares the meaning or point of the video of Rafa tapping his foot while being in the park bench and is of having a nervous tick and just proof of anxiety as many people have different ways one example is that some people talk to themselves or just want to be alone. Thus here is the clip also the clip if I am not wrong is about 12 or 13 seconds.

  In conclusion, both clips play an important role in developing the message of the project. The first clip not only introduced the setting and character, but it also required patience, coordination, and multiple attempts to film correctly. Despite the challenges such as the cold weather, matching Rafa’s pace, avoiding shadows, and maintaining balance it became the foundation of the entire video. The second clip strengthens the meaning by visually showing Rafa’s nervous habits, such as moving his hands and tapping his foot, which symbolize anxiety. Together, these clips successfully communicate how anxiety can be expressed through small, physical actions, while also demonstrating the effort and attention to detail that went into creating the final project