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 (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)
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Makes subject looks small compared to the location.
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Make subject feel distant/unfamiliar.
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Used when need to emphasize location/isolation.
2. Long Shot (LS) or Wide Shot (WS)
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A bit closer than ELS/EWS.
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If the subject is a person, the whole body will be in view, there is enough space above and below the subject.
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Gives us better idea of the scene setting and how the character fits into the area

Fig 1.2 Wide Shot
3. Full Shot
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Subject fill the frame however keeping emphasis on scenery.
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Also can feature multiple character in one shot.
4. Medium Wide Shot (MWS)
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Frame object from roughly knees up.
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Splits the difference between full and medium shot

Fig 1.4 Medium Wide Shot
5. Cowboy Shot (CS)
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Frames the subject from roughly mid thights up.
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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)
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The most common camera shot.
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Reveal subject in more detail.
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Frames from roughly waist up and through the torso.
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Emphasize subject while keeping surrounding visible.
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Often used for dialogue scene.
7. Medium Close Up (MCU)
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Frame subject roughly from chest up.
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Emphasize the face but still has distant.

Fig 1.6 Medium Close Up
8. Close Up (CU)
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To reveal subject's emotion and reactions.
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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)
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The most you can fill a frame with the subject.
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Often show eyes, mouth and gun triggers.
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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.
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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
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Fig 1.14 Point of View Shot
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.
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.
Fig 1.22 Shoulder Level Shot
8. Dutch Angle / Dutch Tilt Shot
- Camera is slanted to one side.
- Create sense of disorientation.
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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.
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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
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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
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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.
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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.
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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
Fig 1.33 Quiz week 2
Description of the shot - action, dialogue, or composition.
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
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
- Development (financing)
- Pre-production
- Production
- Post-production
- Distribution (marketing)
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Studio
Get money from pre-sales, which refers to selling a film before it’s made to local distributors, rely on slate financing and take out loans through things like negative pickups, gap financing, and bridge financing.
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Indipendent
Finance is from networking at festivals, crowdfunding, grants, tax incentives, private equity investments, or even the filmmaker’s own pocket.
2. Pre-Prduction
Preparations needed before filming begins.
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Budgeting
Producer will look at where money will go during and after the shoot. Need of creating a detailed shooting schedule to predict location, cast, film crew, and equipment costs. Some that need to be considered, rentals, props, costumes, set decorations.
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Getting the Team Together
A movie isn’t made by one person but hundreds of people. During pro-production producer hires these people. For the crew there will be heads of departments - professionals like the cinematographer, production designer, costume designer, then these heads will then help fill out their respective departments with people they trust and feel they will need. Some lead actors may already be attached to the project in development stage, now the rest of the cast has to be filled out. Casting director will arrange auditions.
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Pre-visualizing
Director start planning out how they want their film to look.
- Making a storyboard/writing shot list.
- Consult with the production designer about sets look.
- Meeting with the costume designer about costumes look.
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Location scouting
Once the planning is complete , it’s time to film.
3. Production
This is when the cameras roll and the footage
is captured.
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The Call Sheet
Question about when and where found call sheet, a document sent out by an assistant director each day before a shoot to inform each member of each department their call time and what they should be planning to do for the day.
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The Set Up
Set up the lighting for the shot, set up the camera. Makeup and costumes department will get an actor into the right look for the given scene.
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Shooting
- Development, pre-production, preparation on the dayis all led up to this. Here's a quick run through of the steps when filming:
- The Assistant Director announces “Picture is up”
- AD calls for quiet, then says “roll sound,” prompting the sound mixer press record. Once recording, the mixer will respond, “Sound speeds.”
- AD says “roll camera,” and the camera operator will start rolling. They’ll then say, “Speed.”
- The clapper loader (2nd assistant camera) slates, reading the scene information off the clapperboard and marking.
- The director says action.
- When the scene is over, the director says cut.
This is just one and hundreds more to come. Once the whole
project is in the can, it’s time for the next stage.
4. Post-Production
This stage refers to all the work that
is done after footage is captured to finish the film.
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Picture Editing
Cutting together the footage to create a coherent film.
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Sound Editing
Getting the right sounds in the right place at the right levels is an entire artform (and science).
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Additional Visual
Captured on set is often by no means the final image. There’s a lot of additional treatment that goes into many shots, including various types of VFX like compositing, computer generated images (or CGI) and coloring by a colorist.
Once all this work is done, it’s time to get the movie seen.
5. Distribution
All the work done is distributed for people to see.
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Marketing
To get people to see your movie, you need to tell them it exists.
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Securing Distribution
Who you know and being able to sell your vision. The major studios usually have an in-house distribution company, indie studios will shop their project around to multiple firms.
Fig 1.36 Week 4 quiz production stages
Production Crew
Producer
- Group leader, responsible for managing the production from start to finish.
- Develops the project from the initial idea, makes sure the script is finalized, arranges the financing and manages the production team that makes the film.
- Coordinates the filmmaking process to ensure that everyone involved in the project is working on schedule and on budget.
Director
- Supervise the shooting and assembly of a film.
- Director need the help of numerous other artists and technicians.
Screenwriter
- When we see a dialogue in a film seem natural, writer actually carefully crafts it.
- Shapes sequence of events in a film to ensure one scene transitions to the next to have a logical story will flow in interesting way.
Production Designer
- Translate the script into visual form.
- Creates a series of storyboards as film's first draft.
- Storyboards serve as the director's visual guide throughout the production and template to follow during the editing process.
Art Director
- Responsible for the film's settings: the buildings, landscapes and interiors that provide the physical context for the characters.
- Responsible for acquiring props, decorating sets and making the setting believable.
Costume Designer
- Costumes convey economic status, occupation and attitude of the characters who wear them.
Cinematographer
- Director of photography (DP), responsible for capturing the script on film or video.
- Pay attention to lighting and the camera's technical capabilities.
- This is referred to as cinematography.
Editor
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After shooting, editor begins to organize footage and arranges individual shots into one continuous sequence.
Editor's choices about which shots to use, order in which to place, have significant effect on the appearance of the final film.
Actors
- Responsible to portray characters in a film, a
- Actors work closely with the director and cinematographer.
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Considering an actor's role within this larger context also suggests
that his or her job is much more difficult than just appearing on the
set and reciting lines.
Music Supervisor
- Music has been a funddamental part of movies since cinema's earliest days in the 1890s.
- A piano or organ player accompanied even the simplest silent films.
- The silent movie palaces of the 1920s were equipped with elaborate organs and orchestra pits to accommodate large groups of live musicians.
- Today selecting just the right music for the film will intensify the story for the audience.
Fig 1.37 Week 4 quiz production crew
- Sets
- Props
- Lighting
- Costumes
- Actor blocking
- Shot composition
Placement and movement of talent is important. Where actor is positioned, and if, when, and how an actor moves in the scene, all highlight the reason for the scene itself and organizes the action.
Fig 1.38 Week 5 quiz
- 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.
- Color Wheel
- Color Context
- Color Harmony
- 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.
- 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)
- 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.
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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 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
INSTRUCTION
Module Information Booklet
Module Brief
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.
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Set up in window - workspace - assembly.
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Sequency 01 act as the base for us to edit.
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Double click on footage, click insert (to drag down).
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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
2. Import the files to Premier Pro
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Fig 2.2 Process
3. Set up Window - Workspace - Assembly to get the layout below
4. Double click on the first clip, click insert and it will appear
in the timeline.
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Fig 2.4 Process
6. Afterward, click on sequence 01, click File - Export - Media.
7. Set up to H.264 format and export.
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.
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Fig 2.7 Doritos Editing Process
Fig 2.8 Doritos Final Edit
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Fig 3.1 Process
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Fig 3.2 Process
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Fig 3.3 Process
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Fig 3.4 Process
5. Then I add Video transition for the captions. (Effect - video transition - dissolve - cross dissolve). Lastly I add music.
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Fig 3.5 Process
Fig 3.6 Shooting Exercise 1
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Fig 4.1 Process
2. Import in Premier Pro
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Fig 4.2 Process
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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.
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Fig 4.4 Process
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Fig 4.5 Process
We did shooting exercise during class session, we were given 30 minutes to shot 5 videos based on below shot size.
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Fig 5.1 Shooting Exercise 2
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Fig 5.2 Process

Fig 5.3 Process
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Fig 5.4 Process

Fig 5.5 Process
Fig 5.6 Shooting Exercise 2

Fig 6.1 Lalin color correction

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
Fig 6.1 Lalin color correction & grading result
During the process , we also used masking tool to ensure the same position before flicked.
REFLECTION
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