Exploring the visual storytelling of 'Minus One: Season 2': A cinematographer's perspective

Given today's fast-paced world, visual communication requires a drastic change in the way the medium expresses its content to its audience. I truly appreciate that director Subham Yogi has made the choice of recreating the conventional method of blocking and staging, into a new dimension of storytelling with the means of lighting, colour pattern, tone, lensing and edit. We had to eventually structure the entire film into a visual treat that had a clear definition of the mood, like before breakup, breakup, post breakup and present day situation. Let me explain how we achieved this with an Arri Alexa Mini LF Camera.

The decision to use a single lens through each timeline proved to be a challenge as it becomes difficult to pull off wide and close shots in confined spaces. In addition to this, a new aspect ratio of 1.14:1 was used for the first time in this series.

The series is divided into four timelines to depict four different stages of their life. The day of break up is the centre of focus and all other timelines navigate to this day or from this day. Each timeline also has a visual distinction in terms of lensing, aspect ratio, colour pattern and lighting, to visually involve the audience into the emotions of the characters.

 

TIMELINE 1 – Before Breakup

Timeline 1 is a past narrative where Varun and Ria are in love. A time of young, hopeful, dreamy love which seems unsinkable and immortal. The frames are filled with Varun and Ria’s smiles, close-ups of their fingers interlocked, eyes shut and lips frozen in thought. They move into their house and try to make it their home. Thus this timeline was given a warm and bright treatment. To give the frames an aging effect, we used Zeiss Super speed Vintage lens 50mm.

These lenses are the most comfortable while shooting with handheld or Steadicam. It also helps in controlling flare or distortion. The frames were mostly shot with hand-held camera, which was kept above or below eye level and centre composed off composition to show the intimacy of the characters. We wanted an easy flowing movement and how minutely the characters got attracted to each other. To enhance this, we kept characters in soft lighting without deep shadows, along with a soft filter HBM 1/2. We added a filmic grain as well to get the vintage feel. To keep the older version of visuals, we used a widescreen television format of aspect ratio of 1.66:1 to give a closer feel of 35mm format and to suggest a time in the past. This was used to give a sense of nostalgia.

The transition from T1 to T2 is when the characters break up. Their arguments, fights, discussion all become a part of the transition and these visuals were conformed to the aspect ratio of 1.20:1 with a line dividing the screen, depicting the break up.

 

TIMELINE 2 - Breakup

Timeline 2 is their time apart. It starts with the break up. As soon as they break up we divide the screen into two halves. In this timeline, both the characters go through a transition, a drastic change. The visuals go full dark in Timeline 2. We had to portray the period of bitter separation and isolation, hidden love, ego and vengeance all in one frame. So here we had a dicey situation.

For this, we used Cook S4i 75mm lens, which is more warm. Throughout this timeline, the camera was on tripod with vertical or horizontal pan movements. The shots were either eye-level or high-angle. We lit up the space with high contrast space lighting and contrast character lighting. The aspect ratio here was 9:16, which made it seem like portrait, camcorder or a phone recording shots.

For the two weeks after the break up and before Varun moves out, we see their world in clearly divided boxes. And once Varun moves out, we see them in their separate halves; the other half absent.

Towards the end of timeline 2, Varun and Ria come to an understanding – to remain friends (from Plus one to Minus one). This was a herculean task as we had to use an unusual format of aspect ratio of 1:14:1.

Sigma FF 50mm prime lens was used for this square image aspect ratio. The shots were mostly static eye-level and high-angle with dolly charge. Very bright lighting with highlights and shadows similar to advertisements was used for this scenario and graded to bright warm tone with less contrast.

 

TIMELINE 3 – Present day

This is the current timeline. An absolute different world where both the characters are refined, matured and understand each other to the fullest, though there is a hangover of the past. This is something that needs to be handled with care. The transition from T2 to T3 fades into the nostalgic sunset maroon; a more familiar shade from the time of better communication in their relationship.

We, then, see them fade into a shade the relationship had never seen before: the salmon of friendship. This is the meat of Timeline 3, before it washes away into a white of forever there, but not together. 2.00:1 is the aspect ratio adopted here for giving a feel of a square image that resembles the social media platforms.

The images were conventional and delivered the present timeline of the story. These visuals are the sharpest of the three timelines. However, the colour temperature is the coldest of the three. The life in this timeline is the most real for our characters. This is the real life, which ends the dreamy world in T1 and the experiments in T2. We used the Atlas Orion Anamorphic 65mm lens in T3. The entire timeline was shot in steady-cam at eye level only, with parallel tracking shots composed in rule of thirds. The lighting was classical dramatic lighting. Lighting for the characters was high-key and high-kick backlighting with deep shadows graded to cool and clean contrast.

 

Ending Notes

Timelines are visually distinguished from one another by using a variety of aspect ratios to depict events from the past, the present, and the future. The aspect ratios serve to accentuate the tale by creating a distinct rhythm with the cuts. What makes Minus One S2 special in that regard is the ability to respond and engage in a manner that they feel they have been 'heard' and not just 'listened to'.

Technically it is exceptional at communication - able to explain clearly and briefly what part of our feelings are a normal part of human experience and therefore to be embraced. On the other side, what is unique is the camera movement, lighting pattern and single lensing for each timeline. Varun was given a blue tone while Ria had a warm lighting throughout the series.

Another point worth noting is that Ria is placed to the screen left while Varun occupies the space on the right, throughout the series. Most of the sequences were manually done. The change in aspect ratio also has helped gain the required visual mood and paved way to a unique edit pattern. The use of filmic grain and different contrasts all contributed to the impression of a highly polished and compellingly dramatic film.

My excitement to the extreme was while shooting the transition where I had limitations of the use of robotics or motion controlled equipment. This is why I preferred hand-held camera work with precision timing. In each frame, I was able to feel what I wanted as a viewer. In sum, Season 2 of Minus One is a triumph of audience-engaging and agency-fostering visual storytelling. I found that this season is able to provide an empathetic validation of one's trauma and struggles. The support received from the production design and costume department was of utmost value without which this visual treat would be incomplete. Each session is well-paced and feels 'complete' to the viewer in that sense and that clearly was no accident.

'Minus One: Season Two' is streaming on Lionsgate Play India.

 

(Jebin Jacob is a leading cinematographer who works in the Hindi film industry)