Arthur Smith Galiano Portfolio

Duration

Three Minutes

Credit List

Director – Arthur Smith Galiano
Cinematographer – Ben Lappin
Editor – Kieran Vanterpool-Bullen 

This three minute version was edited by Arthur Smith Galiano 

Cast 
Mike is Kieran Vanterpool-Bullen 
Dan is Arthur Smith Galiano

Watch Film 

If the Video below does not play, then click here to watch.

My Role in the Pre-Production

Once I had decided on the narrative idea of the film, my main objective was to produce a realistic production: something that everyone can relate to. So I decided on a mystery theme, with heavy elements of realism. Taking inspiration from the Black Mirror episode “Shut Up and Dance”, which presents a very realistic setting, I used frames from this in my production planning to visualise what my film would be like. After finalising ideas and the theme of my production, I wrote the script for the movie.

One of the final stages before recording was the shot list, during which I ensured we got a range of different shots that allowed the editor to maintain a certain vibe for the film, and therefore ensured shot lengths, tempo, and shot types were considered in advance.

My Role in the Production

Whilst filming, I collaborated with the cinematographer to ensure that the script was followed closely and to ensure the overall vision of the film was fulfilled using a variety of shots. The shot locations ensured that the recording done was simple, and maintaining continuity was easily achieved.

During the production process, many things were tweaked and altered. So I had to problem solve quite frequently. In particular  we recorded a series of dolly shots that transition to other dolly shots, this was tough to achieve as we needed a black swipe before and after the shot (I had taken inspiration from Wes Anderson in Moonrise Kingdom for this shot). However, we overcame this by using pieces of clothing to simulate the black swipe.

Since we had only two actors in our production I could focus on ensuring both characters were portrayed well. In addition, the shooting schedule was easy to meet as we weren’t reliant on actors that might have been unreliable.

My Role in Post production

During post production, the editor put together all of the footage which I had reviewed and provided to him.
I was present during the editing process to supervise, so that my directorial vision was correctly implemented.

One problem we experienced in post production was that some of the clips, that were essential in portraying a certain message, were unclear and recorded in a way that made it hard to understand what we were trying to say. So I worked additionally with the cinematographer to re-record these parts, with better lighting and better quality.

Locations

I developed a comprehensive Shot Location & Continuity Guide to streamline our daily filming schedule. This document served as our primary visual reference for organizing scenes by room. I have uploaded part of it below. 
As you will see I implemented a colour coding system which allowed the crew to immediately identify which scenes needed to be recorded each day, and to clearly see the specific clothing and costume requirements for each shot to ensure continuity across the non-linear filming process.

While the original plan included a broader range of locations, I actively managed a “cut list” during production to keep the project within our scope while maintaining the narrative’s integrity.

Click HERE to see part of my Locations Document. 

Please note that this three-minute video is a condensed version of the original seven-minute film.
I personally edited this shorter cut specifically for this portfolio.

Click HERE to see the full 7 minute version. 

Duration

One Minute

Credit List

Cinematographer – Arthur Smith Galiano 
Director – Aqua Trumci

Cast 
Chaser is Kieran Vanterpool-Bullen 
Runner is Aqua Trumci (Student)

Watch Film

If the Video below does not play, then click here to watch.

As cinematographer for the foot chase sequence Pursuit, I focused on crafting a visually compelling, suspenseful scene while maintaining continuity. I intended to portray tension and conflict through an intense chase through a school. I conducted on-site research to experiment with potential angles, influenced by high-budget productions like Hot Fuzz (2007) and independent shorts. This project allowed me to broaden my cinematography lens and gain a new perspective on the processes required for a quality final product. Though I wasn’t the director, I managed weather conditions, clothing, and props to ensure consistency.

Click HERE to read my full .pdf write-up of this film.

Duration

One Minute

Credit List

Editor – Arthur Smith Galiano
Cinematographer – Arthur Smith Galiano
Director – Kieran Vanterpool-Bullen 

Cast 
Teacher is Kieran Vanterpool-Bullen 
Student is Arthur Smith Galiano

Watch Film 

If the Video below does not play, then click here to watch.

In this project, I based the overall concept off of some popular teacher movies (Whiplash, Coach Carter and Dead Poets Society), and the overarching theme was a bad teacher that is brutal towards a student. I explored different movies to understand what effects I could impose on the audience to immerse them in an unsettling and uncomfortable setting. My intention as an editor was to cut the clips in certain ways to impose the teacher as being a dominant character. For example, placing him over the dialogue of the student using a J-Cut. I used a variety of jump-cuts and J-Cuts to emphasize the tension in the scene.

I ensured that the shots changed frequently to escalate the tension within the scene. The quick changing shots sped up the momentum of the scene whilst presenting a hawk-like presence that the teacher evokes upon the scene. The lack of sound (other than the student performing) also hyperbolized the tension within the scene as all the attention of the scene is on the student, and this parallels the pressure he must feel in this situation. I intentionally ensured that the teacher didn’t speak until 0:50 to show that the teacher doesn’t need to speak to impose an ominous setting on the scene.

Whilst editing, I made sure you could hear the teacher breathing to make it seem that the audience can hear everything that occurs. Nearly like even the audience is being watched with how minute the details are within the scene. The first 40 seconds of the scene is heavily based on the scene from Whiplash when the music teacher is looking imposingly upon the student. I tried to captivate this intense scene by underlining the clips with an audio extract of an eerie sound. I think this is quite important as at times the scene felt empty, but with just a subtle backtrack, it changes the scene and imposes an even more suspenseful scene, as the audience can sense something bad is about to occur.

Click HERE to read my full .pdf write-up of this film.

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