VIDEO & SOUND PRODUCTION / EXERCISES

23/04/2025 - 14/05/2025 (Week 01 - Week 04)

Aveline Kristie / 0372310 

Video and Sound Production / Bachelor of Design (Honours) in Creative Media / School of Design

Exercises

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TABLE OF CONTENTS

1. Lectures

2. Instructions

3. Tasks

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1. LECTURES

Week 1

Shot size, camera angle, and composition all work together as essential tools that filmmakers and visual storytellers use to express meaning and communicate ideas to their viewers.

SHOT SIZE

The amount of the scene shown in the frame. A wide shot is used to show more of the setting, while a close-up is used to show detail or emotion.

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

• Make the subject appear small against their location.
• Make the subject feel distant, unfamiliar, or overwhelmed by their surroundings.
• Emphasizes location or isolation.

Fig 1.1 ELS / EWS Example

2. Long Shot (LS) or Wide Shot (WS)

• A little more closer than ELS/EWS.
• If the subject is a person, then the whole body will be in view, but not filling the shot.
• Used to place the subject clearly within larger surroundings.
• Highlights background details and other characters, enhancing cinematic moments.
• Helps show scene setting and how the character fits into the space.

Fig 1.2 LS / WS Example

3. Full Shot (FS)

• Full shot shows the entire body of the subject, often used to capture multiple characters in one frame.
• The shot begins as a wide shot, moves into a full shot, and ends as a cowboy shot.

Fig 1.3 Full Shot Example

4. Medium Wide Shot (MWS)

• Frames the subject from roughly the knees up.
• Splits the difference between a full shot and a medium shot.

Fig 1.4 Medium Wide Shot Example

5. Cowboy Shot (CS)

• Frames the subject from roughly mid-thighs up. 
• Called a “cowboy shot” because it is used in Westerns to frame a gunslinger’s gun or holster on his hip.

Fig 1.5 Cowboy Shot Example

6. Medium Shot (MS)

• One of the most common camera shots.
• Frames from roughly the waist up and through the torso.
• Emphasizes more of the subject while keeping their surroundings visible.
• Often acts as a setup shot in dialogue scenes, leading to a close-up for a dramatic moment.

Fig 1.6 Medium Shot Example

7. Medium Close Up Shot (MCU)

• Fames the subject from roughly the chest up.
• Typically favors the face, but keeps the subject somewhat distant.

Fig 1.7 Medium Close Up Shot Example

8. Close Up (CU)

• Reveal a subject’s emotions and reactions.
• If the subject is a person, it is often their face.
• A close-up is perfect for important moments.

Fig 1.8 Close Up Example

9. Extreme Close Up (ECU)

• The subject takes up the most of the frame space.
• Often shows eyes, mouths and gun triggers.
• Smaller objects get great detail and are the focal point.

 

Fig 1.9 Extreme Close Up 

FRAMING

The way people or objects are placed in the frame. Framing is used to show what is important in the shot.

1. Single Shot

• Captures one subject.
• Can be set and framed in any shot as long as there is only one character featured within the frame.

Fig 1.10 Single Shot Example

2. Two Shot or 2-Shot

• Camera shot with two characters featured in the frame.
• Useful for performances in a single take, like for comedy.

Fig 1.11 Two Shot Example

3. Three Shot or 3-Shot

• Features three characters in the frame.
• Important in any film that has a group characters.

Fig 1.12 Three Shot Example

4. Over-The-Shoulder Shot (OTS)

• Shows the subject from behind the shoulder of another character.
• It emulates perspective, common in conversation scenes.
• Help to provide orientation, and connect the characters on an emotional level. 

Fig 1.13 OTS Shot Example

5. Over-The-Hip Shot (OTH)

• Camera is placed with a character's hip in the foreground, and the focus subject in the plane of acceptable focus. 
• If one character is standing, and the other sitting or kneeling (uneven terrain), it will suggest a power imbalance. 

Fig 1.14 OTH Shot Example

6. Point of View Shot (POV)

• Shows the viewer exactly what that character sees.
• POV shot is generally sandwiched between two other shots, called shot-reverse shot; A camera shot of a character looking at something, POV camera shot, and the character's reaction shot.

Fig 1.15 POV Shot Example

CAMERA ANGLE

The angle of the camera in relation to the subject. A high angle is used to make a subject look weaker, and a low angle is used to make a subject look stronger.

1. Eye Level Shot

• Most common height.
• When the subject is at eye-level, they're in a neutral perspective.
• Mimics how we see people in real life. 

Fig 1.16 Eye Level Shot Example

2. Low Angle Shot

• Frames the subject from a low camera height looking up at them.
• Emphasize power dynamics between characters.
• Superior character with upper hand is framed from down low, so an inferior feel like they are looking at them.

Fig 1.17 Low Angle Shot Example

3. High Angle Shot

• The camera points down at your subject.
• Creates a feeling of inferiority on the subject.

Fig 1.18 High Angle Shot Example

4. Hip Level Shot

• When the camera is roughly waist-high.

Fig 1.19 Hip Level Shot Example

5. Knee Level Shot

• When the camera height is as low as the subject's knees.
• Emphasize a character’s superiority, if paired with a low angle.

Fig 1.20 Knee Level Shot Example

6. Ground Level Shot

• When the camera's height is on ground level with the subject.
• It captures what's going on the ground the subject stands on.

Fig 1.21 Ground Level Shot Example

7. Shoulder Level Shot

• When the camera is roughly as high as the subject's shoulders. 
• Makes the actor seem shorter than reality.
• Maximize the feeling of superiority when paired with low angle. 

Fig 1.22 Shoulder Level Shot Example

8. Dutch Angle or Dutch Tilt Shot

• The camera is slanted to one side.
• It creates a sense of disorientation.

Fig 1.23 Dutch Angle Shot Example

9. Bird’s Eye View Shot or Overhead Shot

• A shot from way up high, looking down on the subject.
• Create a great sense of scale and movement.

Fig 1.24 Overhead Shot Example

10. Aerial Shot

• Taken from a helicopter or drone, a shot from way up high.
• It establishes a large expanse of scenery.

Fig 1.25 Aerial Shot Example

COMPOSITION

The arrangement of visual elements in the shot. Composition is used to guide the viewer’s eye and add meaning to the scene.

1. The Rule of Thirds

• One of the most common camera framing techniques used in film or photography. 
• Keep the image on the intersecting lines as the camera frames your shot, pleasing to the eye.

Fig 1.26 The Rule of Thirds Example

2. Balance and Symmetry

• This technique helps to direct the viewer’s eye to a specific place.
• Leading the eye to the center of the screen, serving better story, and garner more emotion.

Fig 1.27 Balance and Symmetry Example

3. Leading Lines

• Actual or sometimes imagery lines in a shot, lead the eye to key elements in the scene.
• Help to connect the character to essential objects, situations, or secondary subjects.
• It conveys essential context to the audience.

Fig 1.28 Leading Lines Example

4. Eye-Level Framing

• Positions the audience at eye-level with the characters.
• 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.

Fig 1.29 Eye-Level Framing Example

5. Depth of Field

• The zone of sharpness.
• If the zone longer, it brings more objects into focus. If the zone shorter, it will show less focus and shallow depth of field.
• Help to convey different feelings, tones, and relationships between objects. 

Fig 1.30 Depth of Field Example

6. Deep Space Composition

• Places subjects at different depths within the frame, adding visual meaning.
• Used to show relationships, emotions, and narrative significance.
• A large depth of field keeps foreground, middle, and background in focus to highlight details, like character priorities.

Fig 1.31 Deep Space Composition Example

Quiz 1

Fig 1.32 Quiz 1 Score

Week 2

Story Telling

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:

1. Act One introduces the protagonist, their world, and the initial situation. It ends with an inciting incident, a key event that disrupts the protagonist’s life and sets the story in motion, forcing them to take action.

2. Act Two is where the protagonist faces challenges and setbacks while working toward their goal. It ends with a major turning point that forces them to reassess their approach.

3. Act Three is the climax and resolution, where the protagonist faces their final challenge and overcomes it. The climax is the most intense part, followed by the resolution, where loose ends are tied up and the story concludes.

Brief History of the Three Act Structure

The three-act structure originated with Aristotle’s Poetics, emphasizing that every story needs a beginning, middle, and end. While modern screenwriters expand on it, the core idea is simple: events should flow logically, creating a cohesive narrative.

The Basics of Three Act Structure

Fig 1.33 The Basics of Three Act Structure

Act I: Setup

The setup introduces the characters, their world, and an inciting incident that starts the story, usually happening in the first 20-30 minutes of a film.

The Hook is the opening of the movie, where the goal is to grab the audience’s attention.

The inciting event is the moment that kicks the story into motion.

Act II: Confrontation or Build

The middle raises the stakes, keeping the audience hooked as the character faces tougher challenges. The plot should have twists and turns to avoid being predictable.

First plot point, or break into Act 2, is the point of no return. Once the characters pass it, there's no turning back.

First pinch point happens a quarter into Act 2. It introduces a minor obstacle, often tied to the antagonist, and sets up the midpoint.

The midpoint, usually halfway through the movie, is a moment that shifts the plot. 

Second pinch point is a smaller setback, but crucial for setting up Act 3. The protagonist is in deep trouble, making the audience question how they’ll escape.

The third plot point, or break into Act 3, transitions the story into its highest stakes, leading to the final showdown.

Climax is the moment the whole story has been leading up to. It’s the big bang, the final battle, the big kiss.

Act III: Resolution or Payoff

The end provides catharsis or resolution, giving the audience a sigh of either relief or despair, whether the ending is happy or sad.

Resolution is the story’s conclusion, where we catch our breath and see how the characters have been changed by their journey.

Exercise

We were instructed to watch Lalin and Everything Everywhere All at Once, then we must answer the questions below. 

A. Lalin

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

Act 1: Lalin moves to Japan to escape bullying over her appearance. There, she creates a new online identity as a "net idol," hiding her real self behind a mask of perfection.

Act 2: Lalin finds joy in her chats with Astronut Nut, feeling seen for the first time. But when he says he’s coming to Japan and wants to meet, her old fears return.

Act 3: In the final act, Lalin reaches a breaking point. Tired of hiding, she chooses honesty and self-acceptance. She takes off her mask and decides to face the world as she really is, imperfections and all.

2. What is the inciting incident in the movie?

Lalin moves to Japan to escape the pressures and bullying she faced in Thailand. There, she dreams of starting over and becoming someone new.

3. What is the midpoint scene in the movie?

As Lalin becomes more popular online, she starts to feel more pressure. She’s scared people will find out who she really is, and it makes her feel even more unsure about herself.

4. What is the Climax scene in the movie?

Lalin must decide whether to keep hiding behind her mask or embrace her true self, highlighting the film's themes of identity and self-worth.

5.What is the theme of the movie?

Identity, self-esteem, and societal beauty standards. Emphasizing the importance of authenticity and self-acceptance.

B. Everything Everywhere All at Once

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

Act 1: Evelyn is overwhelmed by her family and business. The inciting incident occurs when Waymond, from an alternate universe, pulls her into the multiverse and reveals she must save it from collapsing.

Act 2: Evelyn travels through the multiverse, meeting different versions of herself and her family. She faces Jobu Tupaki, a version of her daughter consumed by nihilism, and wrestles with the strain in their relationship.

Act 3: Evelyn accepts the situation, confronts Jobu Tupaki with compassion, and realizes that love, not conflict, is the solution. She reconnects with Joy, restoring their bond.

2. What is the inciting incident in the movie?

Waymond from another universe shows Evelyn the multiverse, letting her know she's the key to saving it.

3. What is the midpoint scene in the movie?

When told she’s the only one who can stop the evil, Evelyn faces the chaos of the multiverse, causing her to question her purpose.

4. What is the Climax scene in the movie?

She was able to embrace the existence of the multiverse, confront Jobu Tupaki with empathy, and heal her relationship with her daughter.

5.What is the theme of the movie?

The importance of love, family, and connection.

Quiz 2

Fig 1.34 Quiz 2 Score

Week 3

Storyboard

A storyboard is a sequence of visual panels that represent scenes in a film, animation, or video game, similar to a comic strip. It is used in pre-production to plan shots, organize the narrative flow, and communicate ideas to the production team. By including camera angles, character movements, dialogue, and notes on effects or sound, storyboards help visualize scenes and identify issues early. This process saves time and resources by ensuring smoother production and clearer direction.

Traditional vs Thumbnail

Traditional Storyboard: Detailed drawings with notes that show camera angles, movement, and scene elements.

Thumbnail Storyboard: Quick, rough sketches without text, used to plan visual ideas fast.

How to Create a Film Storyboard

1. Identify key scenes in the script

Identify Key Scenes Break down the script to highlight major moments, actions, and plot points to guide your storyboard.

2. Map out the key scenes

Number and title each key scene to keep them organized and connected to the script.

3. Add images or sketches

Start brainstorming the look of each scene using sketches, photos, or digital references to shape the visual flow of the story.

4. Describe what happens in each frame

Show how each scene will feel in motion by planning composition, transitions, character movement, expressions, and key actions, with notes to clarify visuals.

5. Share it with your team

Share your storyboard with the team for feedback, then adjust scenes or frame order as needed before production begins.

6. Reference it on the day

Instead of printing, use online storyboards that can be easily accessed on phones or laptops for quick reference during preparation.

Quiz 3

Fig 1.35 Quiz 3 Score

Week 4

Production

• Pre-production: The planning phase, which includes writing the script, casting, scouting locations, designing sets, and hiring the crew.

• Production: The filming phase, where all footage is captured based on pre-production plans. It involves managing a large team and complex schedules.

• Post-production: The editing phase, where scenes are cut and arranged, with music, effects, and colour grading added to finalize the film.

Stages of Film Production

1. Development

• The initial phase where the concept is created and refined.

• Involves writing the script, securing rights, and assembling key creative personnel.

• Producers work on packaging the project to attract financing and talent.

2. Pre-production

• Detailed planning stage before filming begins.

• Tasks include finalizing the script, casting, hiring crew, scouting locations, and creating storyboards.

• Scheduling and budgeting are solidified to prepare for production.

3. Production

• The actual filming phase where principal photography takes place.

• Directors, actors, and crew work on set to capture the required footage.

• This stage demands coordination and problem-solving to stay on schedule and budget.

4. Post-production

• Editing and assembling the captured footage into a coherent film.

• Includes adding visual effects, sound design, music scoring, and colour correction.

• Test screenings may be conducted to refine the final product.

5. Distribution

• The completed film is marketed and distributed to audiences.

• Strategies include theatrical releases, streaming platforms, and home video.

• Marketing campaigns and promotional materials are developed to attract viewers.

Key Film Production Roles

1. Producer

Oversees the entire film project from start to finish, handling development, budgeting, scheduling, and coordination.

2. Director

Leads the creative process, guiding the cast and crew to bring the script to life through storytelling and visual decisions.

3. Editor

Cuts and assembles footage into a complete film, working closely with the director to ensure narrative flow and coherence.

4. Actors

Perform characters in the script, expressing the story’s emotions and collaborating with the director for accurate portrayal.

5. Music Supervisor

Chooses and integrates music to support the film’s mood and tone, whether by selecting existing tracks or overseeing original scores.

Film Crew Positions Overview

1. Director of Photography (DP) / Cinematographer

Leads visual aspects of the film, managing camera and lighting to achieve the director’s vision.

2. Camera Operator

Handles the camera during filming, capturing shots planned by the DP.

3. 1st Assistant Camera (1st AC) / Focus Puller

Keeps the camera in focus and maintains camera equipment.

4. 2nd Assistant Camera (2nd AC)

Handles camera gear, uses the clapboard, and tracks technical details of each take.

5. Gaffer

Leads lighting setup and execution, working closely with the DP.

6. Best Boy

Assists the Gaffer or Key Grip in managing the crew and daily equipment needs.

7. Key Grip

Leads the grip team, managing rigging and equipment for camera movement and support.

8. Dolly Grip

Operates the dolly for smooth camera movements during tracking shots.

9. Script Supervisor

Tracks continuity and shot details to ensure consistency in editing.

10. Production Assistant (PA)

Supports various departments with basic tasks like setup, errands, and paperwork.

Quiz 4

Fig 1.35 Quiz 4 Score

Week 5 

Mise en scène (French: “placing on stage”) refers to the overall visual design of a scene in theater, film, and other visual storytelling. It involves everything within the frame and how it's arranged to express meaning, emotion, and narrative.

Key Elements:

1. Set Design: The physical environment where the scene takes place. It establishes the time period, location, and mood. 

2. Props: Objects used within the scene that can hold symbolic meaning or contribute to the story. 

3. Lighting: Illumination that affects the scene's mood and can highlight particular aspects or characters. 

4. Costumes and Makeup: Wardrobe and makeup choices that reflect a character's personality, status, and development. 

5. Actor Blocking: The positioning and movement of actors within the frame, which can indicate relationships and emotional states. 

6. Shot Composition: The arrangement of visual elements within the frame, including camera angles and framing, to guide the audience's focus. 

7. Color Palette: The selection of colors used in sets, costumes, and lighting to evoke specific emotions or themes. 

8. Sound Design: The use of audio elements, including dialogue, sound effects, and music, to enhance the storytelling. 

9. Depth of Field: The focus range within the shot, which can draw attention to specific elements or create a sense of space. 

10. Framing: How the camera frames the shot, influencing the audience's perception of the scene. 

Purpose:

Each element of mise en scène works together to create a cohesive visual narrative, conveying the director's vision and enhancing the audience's understanding and emotional response to the film.

Quiz 5

Fig 1.36 Quiz 5 Score

Week 6

Colour Correction vs. Colour Grading

Both colour correction and colour grading are post-production techniques used to adjust and stylize the look of footage. They serve different purposes but are often used together in a workflow.

Colour Correction

Colour Correction ensures professional quality and consistency. Make footage look natural and consistent. Used in the first step in post-production. 

1. Colour Correction Fixes:

• Incorrect white balance.

• Over/underexposure.

• Mismatched colour between shots.

2. Tools Used:

• Scopes (waveform, histogram).

• Lift, gamma, gain adjustments.

Colour Grading

Colour Grading adds depth and emotion, distinguishing amateur vs. cinematic work. Stylize footage to match a mood, tone, or theme. Used after correction, in final stages. 

1. Colour Grading Adds:

• Cinematic looks.

• Specific colour palettes (teal-orange, vintage, noir).

• Emotional or narrative enhancement.

2. Tools Used:

• LUTs (Look-Up Tables).

• Curves, masks, vignettes.

• Creative filters and tints.

Colour Theory

Colour theory is the science and art of using colour. It explains how humans perceive colour and how colours mix, match, and contrast with each other. It's essential in visual storytelling, design, and filmmaking.

Colour Wheel

• Developed by Isaac Newton, the colour wheel organizes colours in a circular format.

• Primary Colours: Red, Blue, and Yellow cannot be made by mixing other colours.

• Secondary Colours: Orange, Green, and Purple made by mixing two primary colours.

• Tertiary Colours: Made by mixing a primary and a secondary colour (red-orange).

Colour Harmony

• Harmony involves combining colours in a way that is visually pleasing.

• Common schemes:

• Complementary: Opposite on the wheel (red & green) - high contrast.

• Analogous: Next to each other (blue, blue-green, green) - soothing.

• Triadic: Evenly spaced (red, yellow, blue) - vibrant balance.

• Monochromatic: Variations of a single hue - minimal and unified.

Colour in Storytelling (Film/Design)

• Warm Colours (red, orange, yellow): Energy, passion, aggression.

• Cool Colours (blue, green, purple): Calm, sadness, detachment.

• Filmmakers use colour to reflect mood, tone, character emotions, and themes.

Practical Use

• Colour theory guides lighting, costume, set design, and post-production colour grading.

• Helps in visual hierarchy, audience focus, and emotional impact.

Psychological Impact

• Colours evoke emotions (red = urgency/love, blue = trust/calm).

• Cultural context can influence colour interpretation.

Quiz 6

Fig 1.37 Quiz 6 Score

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2. INSTRUCTIONS

Module Information Booklet

Module Briefing

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3. TASKS

Week 1

We were instructed to complete two exercises this week using Premiere Pro. Mr. Martin showed us how to insert footage, drag and drop footage into one sequency, zoom in and out, and export the video.

For the first exercise, we need to download all the footage and import it into Premiere Pro. Set up the window; workspace; assembly. After that, we drag and drop each clip into the timeline in order. To place the next clip, we can click on the previous clip and press the down arrow on the keyboard. This helps ensure that the next clip starts right after the previous one.

Fig 3.1 Mints Video Editing Process

Lastly, we click File > Export > Media, then name the file and save it to export the final video.

Fig 3.2 Mints Video Editing Process

Fig 3.3 Mints Final Outcome

For the second exercise, the process is the same as in the first one. However, in this exercise, Mr. Martin asked us to rearrange the footage into the correct order.

Fig 3.4 Doritos Video Editing Process

Fig 3.5 Doritos Final Outcome

Week 2

We were instructed to film a video exercise around the campus area. All eight videos had to be shot in landscape orientation, with each clip is in 5 seconds. Below are the required shot types:

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

After filming, I edited the videos using Adobe Premiere Pro. I adjusted the colours, highlights, and saturation to enhance the visual quality. I also added captions indicating each shot type.

Fig 3.6 Video Editing Process 

Fig 3.7 Video Editing Process 

Fig 3.8 Video Editing Process 

Fig 3.9 Video Shooting Final Outcome

For the second exercise, we were tasked with cropping each of Lalin's video clips. Then, we rearranged them, and I added chat notification sound effect too. Through this task, we also learned on how to apply video transitions.

Fig 3.10 Lalin Video Editing Process 

Fig 3.11 Lalin Video Editing Final Outcome

Week 3

Our group was assigned Shooting Exercise 2, where we had to follow specific shot angles, and each shot needed to be around 5-7 seconds long. Once we finished filming, I put all the videos together, added captions for each shot, and picked a non-copyrighted song to go with it. Below are the required shot types:

1. Deep focus-FG: MCU, BG:full body
2. O.S on M.S
3. O.S on M.w.S
4. Tight M.S
5. Tight M.S side angle

Fig 3.12 Exercise 2 Video Shooting Final Outcome

Week 9

For this exercise, we were taught how to create a visual effect. First, we had to download all the footage provided in the Google Drive by Mr. Martin. Then, we imported all the footage into Adobe After Effects.

Fig 3.13 VFX Exercise Editing Process

For the first step, we trimmed the clips as needed and rearranged the cut clips. Next, we had to overlay the jumping scene with the other clips. After that, we removed the blue background from the hand clip by going to Effect > Keying > Keylight (1.2), using the eyedropper tool, and select the blue board.

Fig 3.14 VFX Exercise Editing Process

Then, we carefully masked the girl in the jumping clip using the Roto Brush Tool (press Alt to erase). After successfully masking the girl, we adjusted her position using the Position and Scale settings in the keyframe. We then selected all keyframes and applied Easy Ease (shortcut: Fn + F9). We also added motion blur to the clip to make the movement look smoother.

Fig 3.15 VFX Exercise Editing Process

Finally, we added an adjustment layer for colour correction. I did the colour correction using Curves, Hue, and Saturation. Once we were satisfied with the result, we exported the video.

Fig 3.16 VFX Exercise Final Outcome

Final Outcome YouTube Link: https://youtu.be/D8bkNpQcKgI