How each shot was composed was a massive priority of mine. I like the static tight frames capturing the various alpine elements and allowing them to almost become characters themselves, whilst planting Andy and Fin in the scene.
I enjoy symmetry in frames, so I planned shots where there are very central objects for variety when creating scenes. I consciously planned to give the film a variety of shots, mixing traditional long lens, slow motion snowboard shots, and contrasting to those very close shots, captured using a wide, 10mm lens with good raw audio.
Before the trip, we all agreed that the sound design would be a massive part of the film. We felt that sound is often a big contributory sense to the experience of being in the mountains, and we wanted to make that a priority of ours. Doing it justice was quite a big task but through using external audio and perfecting the audio through sound design, I think we’ve been able to do just that.
“I like the static tight frames capturing the various alpine elements and allowing them to almost become characters themselves, whilst planting Andy and Fin in the scene”
The biggest challenge was the conditions. Using a big cinematography camera, that doesn’t like the snow or moisture. It was a fun challenge to think outside the box and prepare the camera with the limited resources available in an alpine ski town.
The name of the film, Refraction, focuses on the idea that light refracts, as I like to think that my cinematography style is constantly utilising lighting. The film has many flares, sparks of light and shadows that give a lot of texture to the image. The idea that sound can refract, as well, so the layers of sound and the in-depth sound engineering that went into the film, is also a link to the name.”