Ashton Sterling Bingham’s “Measure of Creation” Is A Father-Daughter Gaze Into the World
Director Ashton Sterling Bingham has released a new short film called “Measure of Creation,” an intimate exploration of childhood that captures the pure, unfiltered perspective of a child navigating the world with curiosity and innocence. The film is a testament to the unadorned beauty children see and experience.
According to Bingham, “Measure of Creation” began as a fun and simple way to connect with his six-year-old daughter – an audio journal of sorts. The interview of mostly lighthearted questions took a profound turn when he asked her, "What is purpose?" Moved by the depth of his daughter’s reflections, Bingham was inspired to craft a film that visually encapsulated her worldview.
“Listening to the conversation a month later, it struck me… people need to hear, see, and feel this,” recalls Bingham, who is repped by REVERSE in the US.
Determined to create a film that resonated with authenticity and emotional depth, inspired by his daughter’s recorded words, Bingham shot myriad vignettes of his daughter and family. He also enlisted cinematographer Carter Fawcett to shoot some of the scenes. Their footage blends real, spontaneous moments with choreographed scenes featuring Bingham, his daughter, and various family and friends. A particularly poignant shot in the film is from her 7th birthday party, which Bingham says perfectly captures the film’s emotional core.
“That shot of her blowing out the candles was one of my favorites,” says Bingham. “The way she looked around, seeing everyone clapping, captured that moment perfectly. It was a real, emotional reaction — exactly what I was hoping for – and a once-in-a-lifetime shot that I had one chance to get right!”
Bingham experimented with various cameras, lenses, and techniques to juxtapose how children see the world versus adults. Integral to this effect were rehoused brass Petzval lenses he rented from a fellow filmmaker in LA and prime and fisheye lenses.
“I loved experimenting with the Petzval lenses and quickly fell in love with their unique look and feel,” he explains. “The way they isolated the subject was perfect for the natural vignette effect I envisioned, illustrating how children see the world through a smaller, simpler lens. The decision to use extreme close-up macro shots alongside super wide-angle shots was deliberate, capturing the juxtaposition of something small and delicate, like a ladybug, with something vast, like a flower field that seems to go on forever.”
In post-production, Bingham meticulously edited the film himself. He cut to the original raw interview audio recorded on his phone to maintain authenticity and intimacy. Music was also pivotal in shaping the film’s emotional journey; he selected “Chant” by four-time Oscar-nominated composer Dan Romer for the score.
“I always approach a project with the mindset of creating my director's cut and believe that a great director is also a great editor,” concludes Bingham. “Understanding how to capture performances and their connection to the narrative is essential. Romer’s evocative strings in ‘Chant’ add a profound emotional layer to the film and guide the edit tremendously.”
