Video & Sound Production [Exercises]

 25.04.2024 - 19.05.2024  / week 1 - week 4 

Sheryne Axellia Putri / 0367267 / Bachelor of Design (Honours) in Creative Media
Video & Sound Production

Exercises

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TABLE OF CONTENTS

1. Lectures

2. Instructions

3. Practical

4. Feedback

5. Reflection

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          LECTURES          

Week 1  25.04.2024_Briefing 

In the first lecture, Mr. Martin briefly explained the module and projects.

Motion picture/Film/Video is made up of many shots ⇾ Each shot requires placing the camera in the best position for that particular moment in the narrative.

⇾ The shot is a continuous view shot by one camera without interruption.

⇾ Sequence is a series of scenes, or shots, complete in itself.

⇾ Scene defines the place or setting where the action is laid.

⇾ A scene may consist of a series of shots or sequences depicting a continuous event.

Cinema technique is all about manipulating shots and sequences that isolate part of it to look at and in what order to see them.

asynchronous class materials

Shot size, camera angle, and composition are all elements of visual storytelling used in film, television, and other visual media.

Shot size⇾ refers to the amount of visible space within a single shot or frame. Different shot sizes can convey different types of information or create different emotional effects. 

Figure 1.1 Week 1 (25/04/2024) Shot Size cheatsheet.

The Different Types of Shots

1. Extreme wide/long shot

To make your subject appear small against their location. You can use an extreme long shot to make your subject feel distant or unfamiliar.

Figure 1.2 Week 1 (25/04/2024) Extreme wide/long shot in cinema.

2. wide/long shot

If your subject is a person then his or her whole body will be in view, but not filling the shot. 

Figure 1.3 Week 1 (25/04/2024) Wide/long shot in cinema.

3. Medium wide/long shot

Frames the subject from roughly the knees up. It splits the difference between a full shot and a medium shot.

Figure 1.4 Week 1 (25/04/2024) Medium wide/long shot in cinema.

4. Medium shot

The medium shot is one of the most common camera shots. The frames from roughly the waist up and through the torso. So it emphasizes more of your subject while keeping their surroundings visible. 

Figure 1.5 Week 1 (25/04/2024) Medium shot in cinema.

5. Medium Close-Up shot

The medium close-up frames your subject from roughly the chest up. So it typically favors the face, but still keeps the subject somewhat distant.

Figure 1.6 Week 1 (25/04/2024) Medium close-up shot in cinema.

6. Close-Up shot

The close-up camera shot fills your frame with a part of your subject. If your subject is a person, it is often their face.

Figure 1.7 Week 1 (25/04/2024) Close-up shot in cinema.

7. Extreme Close-Up shot

An extreme close-up is the most you can fill a frame with your subject. It often shows eyes, mouth, and gun triggers. Smaller objects get great detail in extreme close-up shots and are the focal point.

Figure 1.8 Week 1 (25/04/2024) Extreme close-up shot in cinema.

8. Over-the-shoulder shot

The over-shoulder shot shows the subject from behind the shoulder of another person. The over-shoulder shot may not always feature the 'shoulder' in the foreground. Instead, the aim is to present the point of view from the foreground character's perspective.

Figure 1.9 Week 1 (25/04/2024) Over-the-shoulder shot in cinema.

• Camera Focus⇾ The viewer's point of attention.

1. Rack Focus / Focus Pull

A rack focus is an emphasized focus pull, where the acceptable focus range is intentionally shifted from one subject to another.  Focus Pull = Passive vs. Rack Focus = Aggressive

Figure 1.10 Week 1 (25/04/2024) Focus pull example in Atonement (2007).

2. Shallow Focus

In shallow focus shots, your subject is in crisp focus while the foreground and background scenery is out of focus. This limits your depth of field to create emphasis on your subject.

Figure 1.11 Week 1 (25/04/2024) Shallow focus example in Amélie (2001).

3. Deep Focus

everything in your frame is in focus. This is when you need your audience to feel the scenery or particular scene elements.

Figure 1.12 Week 1 (25/04/2024) Deep focus example in Possession (1981).

4. Tilt-Shift

A tilt-shift lens rotates perspective within the lens and emulates selective focus. It can make parts of your image appear in sharp focus while others are out of focus.

Figure 1.13 Week 1 (25/04/2024) Shallow focus example in Amélie.

5. Soft Focus
Whereas deep focus keeps everything in focus, and shallow focus keeps something in focus, soft focus shots keep nothing in 100% sharp focus. This is caused by either a flaw in the lens itself or through special filters.

Figure 1.14 Week 1 (25/04/2024) Soft focus in Atonement (2007).

6. Split Diopter

A split diopter is an additional lens element that allows for two simultaneous focal lengths. In other words, you can achieve shallow focus in the foreground and in the background, while the middle ground remains out of focus.

Figure 1.15 Week 1 (25/04/2024) Split diopter example in Suspiria (2018).

• Composition⇾ Refers to the arrangement of visual elements within a shot or frame. This can include the placement of characters or objects within the frame, the use of color and lighting, and the balance and symmetry of the overall image. Composition can create visual interest, guide the viewer's eye, and convey meaning or emotion.

Elements of Composition

The Rule of Thirds → Positioning a character to show their relation to other elements in the scene. As the camera frames your shot, keep the image on the intersecting lines. It’s more pleasing to the eye. But also, different camera framing will tell a different story. It is an easy way to determine the character's place in the world.

Figure 1.16 Week 1 (25/04/2024) Rule of thirds used in Nightcrawler (2014).

Balance and symmetry → Shooting a perfectly symmetrical shot, breaking the rule of thirds, is used for very specific reasons. 

Figure 1.17 Week 1 (25/04/2024) Balance and symmetry used in The Shining (1980).

Blocking → Is the way the director moves actors in a scene. The director's approach to blocking is dependent on the desired outcome (e.g., for dramatic effect, to convey an intended message, or to visualize a power dynamic).

Figure 1.18 Week 1 (25/04/2024) Rule of thirds used in Se7en (1995).

Leading lines→ Are actual lines (or sometimes imaginary ones) in a shot, that lead the eye to key elements in the scene. Artists use this technique to direct the viewer’s eye but they also use it to connect the character to essential objects, situations, or secondary subjects.

Figure 1.19 Week 1 (25/04/2024) Leading Lines used Inside Llewyn Davis (2013).

Eye-level framing→ Positions the audience at eye level with the characters, which plants the idea that we are equal with the character. Leading the eye and the mind to consider how we would feel if we were there because it almost feels like we already are.

Figure 1.20 Week 1 (25/04/2024) Eye-level framing used in Macbeth (2015).

Depth of field→ Describes the size of the area in your image where objects appear acceptably sharp. That area is called the field, and the size of that area is the depth of that field.

Figure 1.21 Week 1 (25/04/2024) Depth of field.

Rack focus→ In filmmaking is changing the focus during a shot. The term can refer to small or large changes of focus. If the focus is shallow, then the technique becomes more noticeable.

Bokeh→ (/ˈboʊkeɪ/ BOH-kay; Japanese: [boke]) is the aesthetic quality of the blur produced in the out-of-focus parts of an image created by a lens. Bokeh has been defined as "the way the lens renders out-of-focus points of light". 

Figure 1.22 Week 1 (25/04/2024) Bokeh used in Psycho (1960).

Deep Space→ Is when significant elements in a scene are positioned both near and far from the camera. These elements do not have to be in focus. Unlike, deep focus, defined by elements both near and far from the camera in focus.

Figure 1.23 Week 1 (25/04/2024) Deep space used in Lawrence of Arabia (1962).

• Camera Angles⇾ is used to specify the location where the camera is placed to take a shot. The position of the camera in relation to the subjects can affect the way the viewer perceives the scene. A scene may be shot simultaneously from multiple camera angles to amplify the cinematic effect and the emotions. 

Eye Level Shot⟶ When your subject is at eye level they’re in a neutral perspective (not superior or inferior). This mimics how we see people in real life).

Low Angle Shot⟶  Frames the subject from a low camera height looking up at them. These camera shots most often emphasize power dynamics between characters. A superior character with the upper hand is often framed from down low. This makes an inferior feel like they are looking up to them.

High Angle Shot⟶ The camera points down at your subject. It usually creates a feeling of inferiority, or “looking down” on your subject. There are creative expressions of this type of angle that can vary depending on its context.

Hip Level Shot⟶ Is when your camera is roughly waist-high.

Knee Level Shot⟶ This is when your camera height is about as low as your subject’s knees. They can emphasize a character’s superiority if paired with a low angle.

Ground Level Shot⟶ Is when your camera’s height is on ground level with your subject. Needless to say, this shot captures what’s going on the ground your subject stands on.

Shoulder Level Shot⟶ This is when your camera is roughly as high as your subject’s shoulders. Shoulder-level shots are actually much more standard than an eye-level shot, which can make your actor seem shorter than reality. A shoulder-level shot can maximize the feeling of superiority when paired with a low angle. 

Dutch Angle⟶ I when the camera is slanted to one side. With the horizon lines tilted in this way, you can create a sense of disorientation. 

Bird’s Eye View Shot or Overhead Shot⟶ Is from way up high, looking down on your subject and a good amount of the scenery surrounding him or her. This can create a great sense of scale and movement.

Aerial Shot⟶ Whether taken from a helicopter or drone, this is a shot from way up high. It establishes a large expanse of scenery.

Figure 1.24 Week 1 (25/04/2024) Camera angles in films.

Week 2  02.05.2024_Framing 

Asynchronous class materials

The three-act story structure is a popular narrative framework used in storytelling, particularly in film and literature. It divides a story into three distinct parts: the setup, the confrontation, and the resolution.

Brief History of the three-act structure⇾ Aristotle’s Poetics is the first book any aspiring screenwriter should read. It’s the first playwriting manual on record. The theoretical text lays out critical insights into the foundations of all of storytelling. All stories must have a beginning, middle, and an end.  

The basics of three-act structure⇾

Figure 1.25 Week 2 (02/05/2024) Three-act structure chart.

Act I: The Setup The first act establishes the protagonist, their world, and the situation they find themselves in. This act typically ends with an inciting incident, which sets the story in motion and creates a problem that the protagonist must solve. 

The inciting incident can be a positive or negative event, but it must be significant enough to disrupt the protagonist's world and force them to take action.

Act II: The Confrontation or build is the longest and most complex of the three acts. It's where the protagonist faces a series of obstacles and challenges as they work towards their goal. This act is often divided into two parts: 

  →The first half, where the protagonist makes progress toward their goal. 

  → The second half, where they encounter setbacks and complications. The second act typically ends with a major turning point, where the protagonist faces a significant setback or crisis that forces them to reevaluate their approach.

Act III: The Resolution or payoff is where the story reaches its climax and resolution. The protagonist must confront their final challenge or conflict and overcome it in order to achieve their goal. 

  →The climax is the most intense and dramatic part of the story, where the stakes are highest and the tension is at its peak.

  →The resolution, on the other hand, is the denouement, where loose ends are tied up, and the protagonist's journey comes to a satisfying conclusion.

Overall, the three-act story structure provides a clear and effective framework for storytelling, allowing writers to create engaging and well-structured narratives that resonate with audiences.

Figure 1.26 Week 2 (02/05/2024) Three-act structure broken down.

Week 3  05.09.2024_Storyboard

Asynchronous class materials

Storyboard in filmmaking is a visual representation of a film, animation, or video game, much like a comic strip. It's made up of a series of illustrations or images displayed in sequence for the purpose of pre-visualizing a motion picture, animation, motion graphic, or interactive media sequence.

Traditional vs. thumbnail

Traditional storyboards are basic pencil sketches that include detailed information like arrows for camera movement, characters, props, etc.

Figure 1.27 Week 3 (05/09/2023) Traditional storyboard from Austin Powers in Goldmember.

thumbnail style storyboards are not used as often as detailed ones. There are also thumbnail-style storyboards that don’t have any writing. Here’s an example of a thumbnail board from a scene that needs no introduction, the shower scene from Hitchcock’s Psycho.

Figure 1.28 Week 3 (05/09/2023) Thumbnail storyboard from Psycho.

Most of the time, a storyboard is constructed to match what's already been written in the script but it can also become deeply tied to the actual storytelling process. The importance of a storyboard in animation cannot be overstated.

An animation storyboard and animatics are fundamental steps, not just to refine the specific animation and movements but to craft story beats and character behavior at the same time.

Week 4  05.16.2024_Production

• The production stages in filmmaking can be broken down into three main phases: pre-production, production, and post-production. Here's a brief overview of each stage:

1. Pre-production: This is the planning stage of filmmaking, where all the necessary preparations are made before filming begins. This includes tasks such as writing the script, creating storyboards, casting actors, scouting locations, designing sets and costumes, and hiring crew members.

2. Production: This is the stage where the actual filming takes place. The production team will work together to capture all the footage needed for the film, using the plans and preparations made during pre-production as a guide. This stage can be physically and logistically challenging, as it involves coordinating a large team of people and managing a complex schedule.

3. Post-production: This is the stage where the footage is edited and assembled into a final product. This includes tasks such as cutting and arranging scenes, adding music and sound effects, color grading, and visual effects. Post-production can be a time-consuming process, as it requires careful attention to detail and a keen eye for storytelling.

• Production Crew:

The production crew is a team of professionals who work together to create a film or video. Each member of the crew has a specific role and set of responsibilities. Here are some of the key production crew members and their tasks:

1. Director: The director is responsible for overseeing the entire production and ensuring that the creative vision for the project is realized. They work closely with the cast and crew to block out scenes, direct the actors' performances, and make creative decisions about the look and feel of the film.

2. Producer: The producer is responsible for the logistical and financial aspects of the production. They secure funding, hire the crew, coordinate the schedule and locations, and ensure that the project is completed on time and within budget.

3. Cinematographer: The cinematographer, also known as the director of photography (DP), is responsible for the visual aesthetic of the film. They work closely with the director to choose the right camera, lenses, and lighting to achieve the desired look and mood for each scene.

4. Production Designer: The production designer is responsible for the overall visual design of the film, including the sets, costumes, and props. They work closely with the director and cinematographer to create a cohesive and immersive visual world for the story.

5. Sound Designer: The sound designer is responsible for the audio aspects of the film, including recording and editing dialogue, sound effects, and music. They work closely with the director and editor to ensure that the sound and picture are seamlessly integrated.

6. Editor: The editor is responsible for assembling the footage into a coherent and compelling story. They work closely with the director and sound designer to shape the pacing, tone, and structure of the film.

There are many other roles on a production crew, including grips, gaffers, makeup artists, and stunt coordinators, but these are some of the key positions and tasks involved in the filmmaking process.

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          INSTRUCTIONS          

Figure 1.8 Week 1 (25/04/2024) Extreme close-up shot in cinema. 

Week 1  25.04.2024_Briefing 

1. Document Editing exercises 1 & 2 (Mints & Doritos) in your blog under the Exercises section
2. Watch stop motion short, and share 3 of your favorites in your blog under the Final Project section.
3. Purchase a Tripod for the Phone (with Bluetooth remote control).
4. Watch Everything, everywhere, all at once (before week 3).

5. After reading and watching the articles and video, do the quiz below to test your understanding of the Shot size, Camera angle, and Composition structure:

Figure 2.1 Week 1 (25/04/2024) Module Information Booklet.

Week 2  02.05.2024_Framing & Storyboard

1. Exercise: Shooting practice, shoot & editing (add a caption, post it in your blog under the Exercises section.
2. Exercise: Editing Practise 1(Lalin). Last page of week 2 slides: download the footage and view the Original video.
3. Watch the Editing tutorial video.
4. Lalin final cut: Edit to 35 seconds sharp. Document the process under under Exercises section.

• Firstly Mr. Martin showed us a video of a Christmas ad by John Lewis in 2014.

Figure 2.2 Week 2 (02/05/2024) Christmas ad.

• The second we were instructed to watch was titled, "Unsung Hero", a Thai Life Insurance Ad.

Figure 2.3 Week 2 (02/05/2024) "Unsung hero" Thail life insurance ad.

Then we are instructed to answer some questions about the video that we have watched mainly regarding the framing.

Figure 2.4 Week 2 (02/05/2024) Camera shot.

5. After reading and watching the articles and video, do the quiz below to test your understanding of the 3-act story structure:

Figure 2.5 Week 2 (02/05/2024) Quiz result #camerashot.

6. Your knowledge of 3-act structure a run for the money. By now you should have already watched  Lalin, and Everything, everywhere, all at once.

Lalin

Based on each of the movies...

1. Which part is Act 1, act 2, and act 3 respectively? Describe each act with ONE paragraph only. 

Act 1 

We are introduced to our protagonist. Her name is Lalin, and she is a net idol from Thailand in Japan. We were shown a brief story of how she worked as a net idol, in social media she is very confident about herself, in contrast to when we see Lalin in her house wearing a mask, explaining that she can't stand looking at her face. She explained during her high school years, she was bullied due to her looks and then was given the nickname "Miss Meteorite". In grade 12 she flew from Thailand to Japan to study there. Lina explained that she feels comfortable and safe in Japan because she can wear her mask freely without people looking at her. One day she decided to download and make an Instagram account to post her pictures and activities, and later she became known for working as a net idol.

Act 2

Time skips to summer and Lalin gains a lot of followers and fans on her social media, but she also faces new challenges, such as the struggles to live her normal day without feeling like she is being judged, and the feeling of loneliness. To even that Lanin craves relationships from a partner. One day she received a message from a man named Nut, he was a graphic novelist from Thailand, and he wanted Lalin's help to translate his work into Japanese. The man mentioned the meaning of Lalin's name which means "the moon" and how it is similar to his drawings, this conversation makes Lalin intrigued and interested in Nut. They started chatting very frequently, and sometimes video calling. 

Act 3 

In the final act, Nut visits Lalin so they can finally see each other face to face. Lalin reaches a critical point where she must confront the true impact of her transformation. She discovered that Nut is the same guy in her flashback who dressed up as Santa Claus due to his size, the two have similar struggles in fitting the standard of society. The climax scene reveals the culmination of her internal and external struggles. Ultimately, Lalin realizes that true beauty comes from self-acceptance and confidence.

2. What is the inciting incident in the movie?

The inciting incident in the movie is when Lalin is made to feel different because of her appearance. This event spurs her decision to embark on a journey to move to another country to align with societal beauty norms, setting the main plot into motion.

3. What is the midpoint scene in the movie?

The midpoint scene happens when Lalin’s transformation reaches its peak, and she experiences the height of external validation and success. This scene marks a turning point as she realizes that despite the outward changes, her internal struggles with self-worth persist, prompting her to reflect on what truly matters.

4. What is the Climax scene in the movie?

The climax scene occurs when Lalin faces a critical moment of truth. This is an important event where she is forced to reveal her true self.

5. What is the theme of the movie?

Lalin is the exploration of self-acceptance.

Everything, everywhere, all at once

1. Which part is Act 1, act 2, and act 3 respectively? Describe each act with ONE paragraph only. 

Act 1 The first act features Evelyn Wang, a Chinese-American immigrant who is battling to manage her family's laundromat, her strained marriage, and her troubled connection with her daughter, Joy. This act lays the stage for Evelyn's unbelievable adventures,  in her meeting with an alternate universe counterpart of her husband, Waymond, who explains the multiverse's existence and her special role in protecting it from Jobu Tupaki, a destructive entity.

Act 2 In the second act, Evelyn travels through the multiverse, learning talents and experiences from different versions of herself. She deals with the disruption caused by Jobu Tupaki, who is revealed to be an alternative version of her daughter Joy. Evelyn faces several challenges, discovers the interplay of all her possible lives, and comes to comprehend the deeper emotional and philosophical consequences of her journey.

Act 3 In the final act, Evelyn uses her newly acquired multiversal knowledge and powers to confront Jobu Tupaki and reconcile with her family. She understands that empathy, compassion, and love are essential for healing her relationships and resolving the problem. The climax arrives when Evelyn embraces her daughter Joy, resulting in a resolution that emphasizes the value of cherishing every moment and connection in her life.

2. What is the inciting incident in the movie?

The film's inciting incident happens when Evelyn is pulled aside by an alternate universe counterpart of her husband, Waymond, who informs her of the multiverse's existence and her important role in stopping a cataclysmic event organized by Jobu Tupaki. It additionally thrusts Evelyn into the center of the struggle and sets the plot into action.

3. What is the midpoint scene in the movie?

The midpoint scene happens when Evelyn fully grasps the extent of the multiverse and her ability to tap into the skills and experiences of her alternate selves. This pivotal moment occurs during a chaotic battle in the IRS office, where Evelyn starts to harness these abilities effectively, marking a significant shift in her understanding and approach to the conflict.

4. What is the Climax scene in the movie?

The movie's climax takes place during the intense confrontation between Evelyn and Jobu Tupaki in the multiverse. This scene reaches its peak when Evelyn, having understood the futility of fighting anger with anger, instead embraces Jobu Tupaki with compassion and empathy. This act of unconditional love and acceptance helps mend her relationship with Joy and brings peace to the multiverse.

5. What is the theme of the movie?

The central theme of "Everything, Everywhere, All at Once" is love, empathy, and acceptance in the face of chaos and fragmentation of life.

Week 3  05.09.2024_Storyboard

Figure 2.6 Week 3 (09/05/2024) quiz result #storyboard.

Week 4  05.16.2024_Production

Figure 2.7 Week 4 (16/05/2024) quiz result #production.

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          PRACTICAL           

Week 1  25.04.2024_Briefing 

• Editing Exercise

Download the footage that has been given → Create a new Premiere Pro Project → Import footage into Premiere Pro → Arrange shots on the timeline with proper order → Export video

#1 First Video 

Figure 3.1 Week 1 (25/04/2024) progress #1.

Figure 3.2 Week 1 (25/04/2024) final result #1.

#2 First Video (Independent Learning) 

We were given clips that were not structurally correct, so our task was to compile the clips correctly.

Figure 3.3 Week 1 (25/04/2024) progress #2.

Figure 3.4 Week 1 (25/04/2024) final result #2.

Week 2  02.05.2024_Framing & Storyboard

#1 First Video 

• Shooting Exercise: Framing

1. Low-angle Wide shot
2. Frontal MCU (soft  background)
3. Frontal MS (soft  background)
4. Extreme Close-Up shot
5. Side angle MS (soft  background)
6. ¾ angling MCU shot (with blurry/soft  foreground)
7. Close-Up shot   
8. Eye-Level Medium-Wide shot  

Figure 3.5 Week 2 (02/05/2024) progress #3.

Figure 3.6 Week 2 (02/05/2024) final result #3.

#2 Second Video 

The second task for week 2 is to compile the scene shots from the senior's project and edit the transitions as well.

Figure 3.7 Week 2 (02/05/2024) progress #4.

There is a scene where the guy transitions to disappear, meaning he has left the place before he can meet Lalin.

Figure 3.8 Week 2 (02/05/2024) progress(2) #4.

Figure 3.9 Week 2 (02/05/2024) Final result #4.

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          REFLECTION          

Experience

Last semester I was introduced to After Effects, which is almost the same as Premiere Pro but it has different functions when editing a video. I understand Premier Pro functions for cutting and arranging, things. While After Effects is for motion graphics and visual effects.

Observation

Make sure the camera is focused correctly on the subject. This can be done by manually adjusting the focus or by using autofocus. The angle of the camera relative to the subject can have a big impact on the mood and perspective. 

Findings

Depth of field refers to the amount of the scene that is in focus, with the foreground and background blurred. Using a narrow depth of field can help to direct the viewer's attention to the subject, while a broad depth of field can help to give a sense of range.