Video & Sound Production / Exercises

 

 Week 1 - Week 14 (21/04/25 - 21/07/25)
Felice Jolin (0373636)
Video & Sound Production / Bachelor of Design (Hons) in Creative Media
Exercises 


TABLE OF CONTENT 

Lectures

Instruction

Task

Reflection


LECTURES (Asnchronous class material)

Week 1 (21/04/25)

Shot size, camera angle, and composition are  essential tools that filmmakers and creators use to communicate meaning and express ideas to their viewers. 

SHOT SIZE

Different types of camera shots is used as contrast to give signal to audience. It could emphasize specific emotions, ideas and movement of each scene. Establishing shot is at the head of a scene and clearly shows the location of the action, or showing where everything happens.

Types of camera shot size : 

1. Extreme Long Shot (ELS) or Extreme Wide Shot (EWS)

  • Makes subject looks small compared to the location.

  • Make subject feel distant/unfamiliar.

  • Used when need to emphasize location/isolation.

Fig 1.1 Extreme Wide Shot
 

 2. Long Shot (LS) or Wide Shot (WS)

  • A bit closer than ELS/EWS.

  • If the subject is a person, the whole body will be in view, there is enough space above and below the subject.

  • Gives us better idea of the scene setting and how the character fits into the area


Fig 1.2 Wide Shot

3. Full Shot

  • Subject fill the frame however keeping emphasis on scenery.

  • Also can feature multiple character in one shot. 

Fig 1.3 Full Shot

4. Medium Wide Shot (MWS)

  • Frame object from roughly knees up.

  • Splits the difference between full and medium shot 


Fig 1.4 Medium Wide Shot

5. Cowboy Shot (CS) 

  • Frames the subject from roughly mid thights up.

  • Called cowboy because it is used in Westerns to frame a gunslinger's gun or holster on his hip. 


Fig 1.5  Cowboy Shot

6. Medium Shot (MS)

  • The most common camera shot.

  • Reveal subject in more detail.

  • Frames from roughly waist up and through the torso.

  • Emphasize subject while keeping surrounding visible.

  • Often used for dialogue scene. 


Fig 1.6 Medium Shot

7. Medium Close Up (MCU)

  • Frame subject roughly from chest up. 

  • Emphasize the face but still has distant. 


Fig 1.6 Medium Close Up

8. Close Up (CU) 

  • To reveal subject's emotion and reactions.

  • Frame is filled with a part of the subject ; if person it will be the face.


Fig 1.7 Close Up

9. Extreme Close Up (ECU)

  • The most you can fill a frame with the subject.

  • Often show eyes, mouth and gun triggers. 

  • Smaller object has great details and is the focal point


Fig 1.8 Extreme Close Up
  

FRAMING

Framing is to consider the number of subject to feature in a shot and their physical relationship.

Types of camera framing :

1. Single Shot

  • Captures one subject.
  • Can be framed in any shot size as long as only one subject featured in the frame. 

Fig 1.9 Single Shot

2. Two Shot

  • Two character featured in a frame.
  • Often for performances in a single take, especially for comedy.   

Fig 1.10 Two Shot

3. Three Shot 

  • Three character featured in a frame.
  • Often in adventure film or any that has a group of character.

Fig 1.11 Three Shot

4. Over the Shoulder Shot

  • Shows subject from behind the shoulder of other character, considering perspective. 
  • Provide orientation and connect characters on emotianl level. 


Fig 1.12 Over the Shoulder Shot

5. Over the Hip Shot

  • Camera placed with character's hip in foreground. 
  • Sometimes one character is standing, the othe ris sitting (showing power imbalance). 

 


Fig 1.13. Over the Hip Shot

6. Point of View Shot

  • Showing point of view of one character.
  • Shows viewer directly what the character see. 
  • POV shot is usually withing two other shots, this technique is called shot-reverse shot ; camera shot character looking something -> POV camera shot -> camera shot showing charcter's reaction

Fig 1.14 Point of View Shot

 
CAMERA ANGLE

1. Eye Level Shot 

  • It is the common used
  • It is in the neutral perspective

Fig 1.15 Eye Level Shot

2. Low Angle Shot

  • Frame subject from low camera height looking up. 
  • Emphasize power & dynamic between characters.
  • Superior character framed from down low.
  • Makes an inferior feel of looking up to them.

Fig 1.16 Low Angle Shot

3. High Angle Shot

  • Camera points down at subject.
  • Creates feeling of inferiority/looking down on subject. 

Fig 1.17 High Angle Shot

4. Hip-Level Shot

  • Camera is roughly waist-high.

Fig 1.18 Hip Level Shot

5. Knee-Level Shot

  • Camera height is roughly on subject's knees. 
  • Can emphasize character's superiority is paired with low angle.


Fig 1.19 Knee Level Shot

6. Gournd Level Shot

  • Camera height on ground level with the subject.

Fig 1.20 Ground Level Shot

7. Shoulder Level Shot

  • Camera is as high as subject's shoulder.
  • Can make actor looks shorter than reality. 


Fig 1.21 Shoulder Level Shot

  • Can show superiority if paired with low angle.

 Ultimate Guide To Camera Shots - A Low Angle Shoulder Level Shot From No Country For Old Men
Fig 1.22 Shoulder Level Shot

8. Dutch Angle / Dutch Tilt Shot

  • Camera is slanted to one side.
  • Create sense of disorientation.

Fig 1.23 Dutch Angle Shot

9. Bird's Eye view Shot / Overhead Shot

  • Shot from up high looking down at subject. 
  • Shows great amount of scenery surrounding subject. 
  • Shows scale and movement. 

Fig 1.24 Overhead Shot

10. Aerial Shot

  • Shot taken from helicopter/drone.

  • Shows large expanse of scenery. 


Fig 1.25 Aerial Shot

COMPOSITION

Composition is the placement of elements within the frame of a scene, while shot composition involves organizing these visual elements to express a specific message or intention.

1. Rule of Thirds

  • Keep image on intersecting lines, pleasing for the eyes.


Fig 1.26 Rule of Thirds

 2. Balance & Symmetry

  • Using perfectly symmetrical shot 
  • Artist direct viewers eyes to specific space, leading eyes to centre. 

Fig 1.26 Balance & Symmetry

3. Leading Line

  • Leading lines are real or implied lines in a shot that guide the viewer’s eye to important elements. Used to focus attention and create connections between characters and key details.

 

Fig 1.27 Leading Line

4. Eye Level Framing

  • Position audience at eye level with character, considering we would feel as if we are there. 


Fig 1.28 Eye Level Framing

5. Depth of Field 

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.


Fig 1.29 Depth of Field
 

6. Deep Space Composition

When significant elements in a space positioned both near and far from the camera. Below shows separation from each other highlights their different personalities.


Fig 1.30 Deep Space Composition
 
 

Fig 1.31 Quiz week 1
 

Week 2 (28/05/25)

Understanding Storytelling

Three Act Structure It is a structure that divide stories into 3 parts. Act 1, act 2, act 3 or a beginning, middle and end.  

Act 1 : Set Up

  • Show story's setting, protagonist and their situation
  • Introduce conflics/obstacle that protagonist must solve.
  • Present conflicts that prevent them from goal and forces protagonist to take action

Overall, it is the opening section introduces the key characters and their world, along with a significant incident that kickstarts the storyline.This part usually last 20 to 30 minutes of the film.

Act 2 : Confrontation or Bulid

  • Protagonist move towards goal
  • Protagonist face challenges as persuing goal. 
  • Here is the main part of the story (could possibly the worse things happen this time)
  • Many ups and downs 

Overall, this part increase tension and makesures audiences keep watching. Often the lowest point of protagonist. Remember that story should be dynamic, not just monotone and predictable or it will bore audience. 

Act 3 Resolution

  • Here is the resolution
  • It is either happy or sad
  • Relief or despair  

Overall, the ending provide emotional payoff regardless it is joyful or heartbreaking.

Inciting incident is an event or decision that kick-starts the plot of a story.

First plot point is also called break into act 2, there is no return point here after character cross the barrier.

First pinch point is around quarter of the way through act 2. Often it is the first obstacle, minor and introduces antagonist.

Mid point is the midway of the story and is usually the turnpoint of whether for better or worst things to come.

Second pinch point is important in setting up act 3. Usually during this time protagonist is really in trouble and making audience curious about it.

Third Plot point is the break into act 3, it brings us to the higest stage of the story

Climax is when things lead up to a point. It is the highest point of tension and conclusion of the protagonist main conflict. 

Resolution is where the story come to end, moment to see how the journey has affected the protagonist.

 



Fig 1.32 Tree-Act Structure

We were told to watch Lalin Advertisement video Everything, Everywhere All at Once then answer some questions. 

Lalin
 
1. Which part is act 1, act 2, act 3 respectively?
 
Act 1
It is about  a girl named Lalin. She was being bullied during high school years and decided fly and study in Japan. A place where no one knows her, no one hurts her. She can live freely and become a new person. And when summer came, she gained popularity but there are also some haters.
 
Act 2 
After sometimes, a graphic novelist named Astronut Nut contacted Lalin to help him translate his work into Japanese. the start to develop relationship by updating each other everyday. She started to live a happy life not until Astronut Nut came to Japan with his novel and to surprise Lalin and requested to meet face to face.
 
Act 3  
Lalin refused to meet him saying she's not ready, telling him to go... he doesn't have choice but to leave. After he left, Lalin read the novel and found out that Astronut Nut is her old friend. Realising about that, she chased after him, but they don't get to meet anymore.
 
2. What is the inciting incident in the movie? 
She was being bullied and decided to move to Japan
 
3. What is the midpoint scene in the movie? 
When everthing is smooth and suddenly Astronut Nut go to Japan to meet her in person which Lalin feel uncomfortable to expose herself. 
 
4. What is the Climax scene in the movie? 
It is when Lalin realised that he is her old friend and the sacrifices he made to trace the path to meet her again. In the end she chased him but they didn't get to meet each other.
 
5.What is the theme of the movie?
It was first about bullying and impact emotionally to self insecurities. Which made one live in lies in between social media and reality. It also convey loneliness and the need of companion and connection. Lastly, it is to remind us there are people that love just the way you are.
 
Everything, Everywhere All at Once
 
1. Which part is act 1, act 2, act 3 respectively?
 
Act 1
It is about Evelyn Wang and her family. She is having tax problems and at the IRS audit, she was pulled by a man which is later told as her husband, Waymond from the other universe. 

Act 2
Evelyn was overwhelmed by the versions of her in different univers but she was also told that she is the only one that has the skill from various univers to fight the evil (Jobu Tupaki) that spreaded in many universe which turn out to be her daughter, Joy.  
 
Act 3 
Evelyn started to understand and accept the situation, she faces Jobu Tupaki with kindness instead of fighting. She then regain the relationship with her family, especially Joy.
 
2. What is the inciting incident in the movie? 
When Evelyn was pulled to the multiverse by her husband, Waymond.

3. What is the midpoint scene in the movie? 
When she was told she is the only one with the skill to fight the evil.
 
4. What is the Climax scene in the movie? 
When she was able to accept the existance of multiverse also confront Jobu Tupaki with compassion and fix the relationship with her daughter.
 
5.What is the theme of the movie?
It is about acceptance and connection with people. 

 

Fig 1.33 Quiz week 2 
 
 
Week 3 (05/05/25)

Storyboard
It is a roadmap that guide your journey from script to screen. Storyboard is a visual representation of a sequence, it is an ordered drawing that breaks actions into individual panel. It is often said to be comic book-like form. 
 
They can include description of the shot and any relevant information to ease the production process of filmaking.  As this is the pre-production process, it can contain as much information as possible. 
 
What is in a storyboard ?
Drawings, sketches, reference images
Description of the shot - action, dialogue, or composition. 
Shot specs - shot size, lens length, framing, etc. 
Arrows to indicate camera and/or character movement or how each shot connects to the next.
 

There are two basic versions of storyboard format:
1. Traditional
2. Thumbnail

Traditional Storyboard
Sketches with pencil included detailed information like arrows for character/camera movements.

 


Fig 1.34 Tradtional Storyboard

Thumbnail Storyboard
Storyboards that don’t have any writing. When it’s just you, or a small team, writing might not be necessary. 


Fig 1.35 Thumbnail Storyboard
 
How to make a storyboard?

1. Identify key scenes in the script
It is important knowing what you will tell. Mark up key parts of the story by highlighting major beats such as actions, locations, wardrobe, staging, narrative arches, and major plot points. 

2. Map out the key scenes
Map out scenes you identified in the script, put it in a sequence and give title so it's easy to link them back to the broader story in the script. 

3. Add images or sketches
Begin visualizing each scene. This part is idea landscaping, you could brainstorm the visual features of each beat within the landscape of a story. 

4. Describe what happens in each frame
As it is a static image, try to communicate how it will look and feel as a moving sequence with the style, mood, and behavior of characters. Beow are some things to be considered :
1. Composition and Framing: How characters and objects will be framed within each shot.
2. Transitions:Shot transitions to the next.
3. Character Blocking: Determine character positions and movements within each shot. Show how they interact with each other and the environment.
4. Emotion and Expression: Define a character's facial expressions and body language
5. Annotations: Use additional notes or captions for things that can't be easily conveyed in the visuals.
6. Dynamic Action: For action scenes, break down fast-paced movements into a sequence of panels to ensure clarity.

5. Share it with your team
Let team review your storyboard and share their feedback. It is also to see how others interpret your vision for the story.

6. Finally, reference it on the day
Traditionally, you'd print out your storyboards, however now online storyboards can be accessed on phones or laptops. It ease you to prepare things.  


Fig 1.36 Quiz Week 3


Fig 1.38 Week 5 quiz
 
Week 6 (26/05/25)
 
Color theory 
  • A principle that explains how color hues and saturations are created. 
  • A discipline that examines how color is used to achieve emotional effect in visual art.
 
Types of Color Theory: 
  • Color Wheel
  • Color Context 
  • Color Harmony 
Color Wheel has been used since long time ago to express ranges of color. Newton argued that colors were divided into two categories: original and compounded
  • Original Colors (red, orange, yellow, green, blue, indigo, and violet or so called ROYGBIV).
  • Compounded Colors (compounding original colors). e.g. blue & green compounded in equal measure make teal.
Color schemes or called pattens of color include :
  • Monochrome (varying tones of one color ;usually gray)
  • Analogous (colors next to each other on a color wheel)
  • Complementary (colors that are opposite to one another on a color wheel)
  • Triadic (colors that connect together to form equilateral triangle on a color wheel)
  • Tetradic (colors that connect together to form a rectangle on a color wheel)
 Fig 1.39 Color wheel
 
Color Correction VS Color Grading
 
Color correcting 
  • Is the process of fixing colors in a video or a film to get them back to what they should look like.
  • Colour correction is usually done first because raw footage tends to be oversaturated and the colors need to be balanced out. 
  • 5 steps to do color correction:
    • Normalize your footage as much as possible. 
    • Fix your saturation first. 
    • Then fix your brightness and contrast. 
    • Set your new white balance.
    • Double check your skin tones. 
  • Color saturation vs. color brightness
    • Ideal video shoting setting is flat and undersaturated as possible. If oversaturated or too bright or dark, valuable information can lost and make footage unusable. 
 
Color grading is the process of editing colors in a video or film to give them a stylistic look.
 
 Fig 1.40 Color grading
  • Color grading is the next step, and here is to begin to create the aesthetic of videos. 
  • This process is optional.
  • The right color grading will always help convey a visual tone or mood to heighten the narrative.
  • Example, use higher contrast and darker tones for a horror film 
  • What are LUTs in color grading?  Many color grading looks are achieved by using "look-up table” or usually known as LUTs. It is a quick cheat-sheet which filmmakers can use in camera  and editors can use in their edit to give their footage specific grade and look.
  • 5 steps to do color grading:  
    • Normalize your folate as much as possible. 
    • Follow the steps to correct your colors. 
    • Choose your desired look and style. 
    • Make your color adjustments in your editing program of choice.
    • Double check skin tones and vectorscope. 
  • Video editing programs great for both color correction and color grading:
    •  Adobe Premiere Pro 
    • Final Cut Pro 
    • Blackmagic DaVinci Resolve 
    • Magic Bullet Colorista 
    • Fylm.ai 

 

 Fig 1.41 Week 6 quiz

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INSTRUCTION

Module Information Booklet

Module Brief 

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TASK

Week 1 (21/05/25)

We were briefed about our exercises and projects. Mr.Martin showed us basic tutorial on Premier pro about importing footage, zoom in & out, shortcut to drag and drop footage into timeline (insert button) and to export video.  

Editing Exercise - Mints and Doritos 

We were assigned to arrange the footage given into a video in Premier pro.

  • Set up in window - workspace - assembly.

  • Sequency 01 act as the base for us to edit. 

  • Double click on footage, click insert (to drag down).

  • To export, click sequence 01 - file - export - media.

For Mints video editing, we did it during class, with the guide from Mr.Martin.

Below are the process :

1. Download all the clips


Fig 2.1 Process

 2. Import the files to Premier Pro


Fig 2.2 Process

 3. Set up Window - Workspace - Assembly to get the layout below


Fig 2.3 Process

 4. Double click on the first clip, click insert and it will appear in the timeline.



Fig 2.4 Process

 
5. Do the same to the second clip and others.

6. Afterward, click on sequence 01, click File - Export - Media. 

7. Set up to H.264 format and export.


Fig 2.5 Process

 


Fig 2.6 Mints Final Edit 

For Doritos video, it was assigned as homework for us to practice what we have learned in class. In addition, the footage for homework is shuffled so we need to arrange on our own. Repeat the step above.


Fig 2.7 Doritos Editing Process


 
Fig 2.8 Doritos Final Edit
 
 
Week 2 (28/05/25)
 
Exercise : Shooting practing
 
During class session we were given 30 minutes to do shooting exercise around school. Shooting should be in landscape and each shot must be 5 seconds. After shooting, edit in Premier pro and add caption, music is optional.  Below are the 8 shooting size details that we need to follow: 

1. Close-Up Shot
2. Frontal Medium Close-Up Shot
3. Frontal Medium Shot
4. Extreme Close-Up Shot
5. Side Angle Medium Shot
6. 3/4 Angling Medium Close-Up Shot
7. Low Angle Wide Shot
8. Eye-Level Medium-Wide Shot 

Process in Premier Pro
 
1. Import footage
 

Fig 3.1 Process
 
2. Arrange footage in sequence.
 

Fig 3.2 Process
 
3. I did some light adjustment for some footage because some of the clip was too bright/dark.

 

Fig 3.3 Process

 4. Then I add caption based on the shot.
 

Fig 3.4 Process

 5. Then I add Video transition for the captions. (Effect - video transition - dissolve - cross dissolve). Lastly I add music.
 

Fig 3.5 Process

RESULT
 

Fig 3.6 Shooting Exercise 1
 
 
Exercise : Editing Practice 

We watched Lalin advertisement video during class. Mr.Martin assigned us to do editing exercise based on Lalin story. The footage was the work of our seniors. 

1. I download all the footage and label them in sequence for easy editing.
 

Fig 4.1 Process

 2. Import in Premier Pro


Fig 4.2 Process


3. Start triming and put in sequence in timeline. Left monitor is for seeing particular footage, right monitor is the whole timeline footage. To cut begining click 'i' , cut ending click 'o' .


Fig 4.3 Process

 4. Because we need to make a dissapear effect, first stack in both clips, then cut a bit of the second clip, then add cross dissolve in between for the effect. 

|
Fig 4.4 Process


5. Lastly, I add text and add cross disslove effect in every end of the text so it will slowly dissapear. 
 

Fig 4.5 Process


RESULT
Fig 4.6 Lalin Editing Exercise
 
 
Week 3 (05/05/25)
 
Exercise : Shooting practing 
 
We did shooting exercise during class session, we were given 30 minutes to shot 5 videos based on below shot size.
 

Fig 5.1 Shooting Exercise 2

To begin, I import our videos into Premier Pro.
 

Fig 5.2 Process
 
Trim clips and arrange in timeline.
 

Fig 5.3 Process

I did some color correction for this clip because it was took using different phone from the other clips so the colour is tone is not the same.

Fig 5.4 Process
 
Lastly, I add text with cross dissolve effect and music with exponential fade.
 

Fig 5.5 Process

RESULT
 

Week 7 (02/06/25)
 
The Lalin video we editted previously, we need to do colour correction and color grading. Firstly, I open the lumetri scope panel and adjust see the lumetri (luna) of one clip. Then I use the first clip as a reference to the rest. I tried to balance out all the clips to have the similar waveform ranging from 1-100.
 

Fig 6.1 Lalin color correction

Moving on, still in the lumetri scope, I open the parade (RGB) mode and use the white balance ink tool to parallel the color. Then I use the first clip for reference to adjust the rest. 
 

Fig 6.2 Lalin color correction

Lastly, after adjusting colour correction (the exposure, contrast, shadow and highlight and RGB),  I began to add color grading of blue (cold). I adjust a bit in contrast to make it balance.
 
 

Fig 6.3 Lalin color grading


 
RESULT

Fig 6.1 Lalin color correction & grading result
 
Week 9 (16/06/25)
 
 We did vfx editing exercise on class with guidance from Mr.Martin. I started off by downloading the footage and import to After Effect. 
 
Fig 7.1 Download footage

 During the process , we also used masking tool to ensure the same position before flicked.
 
Fig 7.2 Edit process
 
I also add adjustment layer for color correction.

Fig 7.3 Adjustment Layer

 
RESULT
Fig 7.3 Result



REFLECTION
 
Experience
It was my first time editing video using Premiere Pro and it was a fun and interesting experience. Although I was ot familiar with the software at first, I am able to cope well with the exercises and complete it on time. 
 
Observations
One thing i've observe, during editing I maynot rush, as triming the clip and makesure to allign them clip after clip needs a good focus. 
 
Findings
Lectures note provided by Mr.Martin has provided valuable insight along the process of completing these exercises. The video tutorial provided has also guided me to do the exercise better. Lastly, now I am able to better understand about shooting and colors.  
 

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