VIDEO & SOUND PRODUCTION: Exercises

Fig.1. Nephrite from Steven Universe

VIDEO & SOUND PRODUCTION: EXERCISES

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21/04/2025 - 25/07/2025 (Week 1 - Week 14)
Irdhina binti Mazli Sham (0366894)
Video & Sound Production - Bachelor of Design in Creative Media - Taylors University
Exercises



TABLE OF CONTENTS:
  1. Lectures
  2. Instructions
  3. Quizzes
  4. Exercises
  5. Reflection


LECTURES

[WEEK 1]
CAMERA SHOTS [THE SHOT LIST, EP1]:

ESTABLISHING SHOT
  • wide enough to establish geography, time, scale (relationship of size)
  • used to transition between scenes
  • useful for science fictions (world need to be introduced)
MASTER SHOT
  • confirms location and geography
  • clarifies characters and their relationship to each other
WIDE SHOT
  • subject far from the camera to visually represent their relationship to the environment (location)
  • used to show loneliness, overwhelmed, or lost (character alone in a wide shot)
  • spatial relationship
FULL SHOT
  • subject shown entirely from head (top) to toe (bottom)
  • (not necessary) subject in centre of shot
  • observe posture, body and clothes (present fully)
COWBOY SHOT
  • subject shown head to just below waist
  • strong and confrontational
  • also known as Medium Full Shot
MEDIUM SHOT
  • popular because neutral
  • subject shown above the waist (below chest), ends just above the head
  • prevents losing physicality/environment for storytelling
  • middle-ground
MEDIUM CLOSE-UP SHOT
  • mid-chest to above head
  • prioritise story and character detail
  • prevent losing physicality
  • captures character reaction
CLOSE-UP SHOT
  • used to show change in emotion
  • dramatic
  • subject shot at eye-level
  • 'front row seat' to characters' thoughts and feelings
  • shows empathy
EXTREME CLOSE-UP SHOT
  • isolate specific area (lips, nose, ear etc)
  • highlight something crucial to the narrative (emphasis)
  • also known as Insert Shot

CAMERA FRAMING [THE SHOT LIST, EP2]:

SINGLE SHOT
  • one character primary focus
  • clean: no other character visible (isolation)
  • dirty: limited presence of another character
TWO SHOT
  • two characters clearly visible faces - visual relationship
  • affectionate
  • contentious
  • imaginary
THREE SHOT - CROWD SHOT
  • more than two characters 
  • no limit in number for crowd
OVER THE SHOULDER
  • easiest for conversation
  • hybrid between SINGLE and TWO (focus on one character) 
  • audience feels included
POINT OF VIEW
  • perspective of character
  • paired with POV audio 
  • audience see and hear the same as character
INSERT SHOT: 
  • detail for information
  • combined with POV
COMPOSITION [THE SHOT LIST, EP11]

RULE OF THIRDS
  • commonly used in photography and film
  • position a character to show relation with other elements
    • placed on intersecting lines
  • two lines vertical, two lines horizontal (tic tac toe board)
BALANCE AND SYMMETRY
  • directs viewer to a specific place to better serve story
  • use perfect symmetry to make audience feel overwhelmed
  • works together with blocking and staging (control what the audience sees) to create dynamism
LEADING LINES
  • real/imaginary lines leading to key elements in a scene
  • connects characters to certain objects/situations or secondary subjects
  • conveys essential context to the audience
EYE-LEVEL FRAMING
  • eye-level position with the characters (sense of being equal)
  • conveys connection between audience and character, allows room for emotions
DEPTH OF FIELD
  • zone of sharpness – more objects in focus, deeper depth of field
  • manipulate depth of field to convey different emotions/tones/relationships between objects
  • changing focus in a scene (noticeable in shorter depth of field) is called rack focus
  • aesthetic quality of the blur produced in out of focus parts in photography is called bokeh (circular blurring) – used to isolate or create (metaphorical) distance
DEEP SPACE COMPOSITION
  • significant elements are positioned both near and far from camera (not necessarily in focus)

[WEEK 2]
THREE ACT STRUCTURE [STUDIOBINDER]

WHAT IS THE THREE ACT STRUCTURE? Narrative model separating the beginning (Act One), middle (Act Two) and end (Act Three) of a story. The acts are also known as the Setup, Confrontation and Resolution respectively.
  • Act One: sets up the world, characters, goals, conflict/obstacle
  • Act Two: raises stakes for the character to achieve goals (escalate conflict)
  • Act Three: resolves story with achievement or failure of goal

Fig. 2. Three act structure chart from Studio Binder

ACT ONE – SETUP
  • introduction of characters, world and inciting incident (kickstart story)
  • usually the first 20-30 minutes of a film (25% mark)
ACT TWO – CONFRONTATION/BUILD
  • raises stakes to keep audience watching
  • main part of the story – leads to the worst possible thing to happen to the character
  • can have ups and downs plot-wise (straightforward build may bore the audience due to predictability)
ACT THREE – RESOLUTION/PAYOFF
  • bring catharsis or resolution (happy or sad, relief or despair)
THREE ACT STRUCTURE BREAKDOWN

Fig. 4. Three act structure broken down by Studio Binder

  • THE HOOK: opening (first act) used to captivate audience
  • INCITING EVENT: sets character(s) on the journey that will occupy throughout the narrative (upset the balance within the MC's world)
  • FIRST PLOT POINT: break into act two (point of no return)
  • FIRST PINCH POINT: a quarter into the second act, first (minor) obstacle usually involving the antagonist – sets up midpoint.
  • MIDPOINT: halfway mark, usually redirecting the plot (think the goal is achieved only for the character to be held back)
  • SECOND PINCH POINT: minor obstacle similar to first pinch, serves as a setback where the character is really in trouble
  • THIRD PLOT POINT: break in act three, takes plot to the highest stakes of the story
  • CLIMAX: anticipated moment the story was built on (ie. final battle)
  • RESOLUTION: see how the journey permanently affected the characters

[WEEK 3]
STORYBOARD

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.
Storyboards are used to plan shots, understand the narrative flow, and to communicate ideas to the production team. They can include details such as camera angles, character movements, dialogue, and even notes about special effects or sound. This helps the director, cinematographer, and other crew members visualise the scenes and prepare for the shooting process.

Storyboarding is a crucial part of the pre-production process because it allows filmmakers to experiment with different visual approaches, identify potential problems, and make necessary adjustments before the actual filming begins, saving time and resources.

What is a storyboard?


How to make storyboard



[WEEK 4]
PRODUCTION

PRODUCTION STAGE
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:

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.

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.

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, colour 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.

After post-production, the film may go through additional stages such as distribution and marketing, but these are not considered part of the production process.


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, which are essential to the overall success of the production. Here are some of the key production crew members and their tasks:

Director: The director is responsible for overseeing the entire production and ensuring that the creative vision for the project is realised. 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.

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.

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.

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.

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.

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.

Reading:



[WEEK 5]
MISE EN SCÈNE

Mise en scène is a French term that translates literally to "placing on stage." In the realms of theatre, film, and other visual storytelling mediums, it refers to the overall visual arrangement and presentation of a scene. This concept encompasses everything that appears within the frame or on stage and how these elements are organised to convey meaning, emotion, and narrative to the audience.

Key Components of Mise en Scène
  • Setting and Location:
    • Physical Space: The environment where the action takes place, whether it's a realistic setting like a living room or an abstract, symbolic space.
    • Time Period: The era in which the story is set, influencing costumes, props, and set design.
  • Props and Objects:
    • Items used by characters or present in the scene that can symbolise themes, indicate character traits, or advance the plot.
  • Costume and Makeup:
    • Clothing and makeup that reflect a character’s personality, social status, occupation, or psychological state.
  • Lighting:
    • The use of light and shadow to create mood, highlight specific elements, and guide the audience’s focus. For example, high-contrast lighting can create a dramatic or tense atmosphere.
  • Composition and Framing:
    • How elements are arranged within the frame or on stage, including camera angles in film or the positioning of actors in theatre. This affects how the audience perceives relationships and power dynamics.
  • Performance and Acting:
    • The actors’ physical movements, facial expressions, and interactions contribute significantly to the mise en scène, conveying emotions and subtext.
  • Color Palette:
    • The selection of colours used in costumes, sets, and lighting can evoke specific emotions or symbolise thematic elements.
  • Spatial Relationships:
    • The distance and arrangement between characters and objects, which can indicate intimacy, conflict, or hierarchy.

Reading Materials: https://www.studiobinder.com/blog/mise-en-scene-elements/ 

Video 01: What is Mise en scene?

Video 02: Tim Burton's Eccentric Set Design and Art Direction Explained

Video 03: How location affects your scene

Video 04: Color in film

Video 05: Costume & Make-up

Video 06: Lighting

Video 07: Camera Placement

Video 08: Composition

Video 09: Acting

Video 10: Blocking
INSTRUCTIONS

https://drive.google.com/file/d/1ej7UIffFkQq-yvK1MhzCshk89FxVn_bM/preview



EXERCISES

WEEK 1

REARRANGING VIDEO CLIPS

After doing the first video [mint] as per Mr. Martin's guidance, I continued on with the doritos' video. However, I did this task before knowing actual tricks when it comes to Premiere Pro. 


To make editing easier, I separated the clips into 'groups' that would be a guide to starting different scenes. Through this exercise, I got used to the shortcut V to move individual clips and A to move multiple clips.


VIDEO 1 [MINT]:


VIDEO 2 [DORITOS]:



WEEK 2

TRIMMING

For the trimming exercise, we were given several unedited clips of a reenactment of Lalin by previous students. They were scattered and we were tasked to put them together by trimming and editing on Premiere Pro.


FINAL RESULT

WITHOUT FINAL EDITING [1.5 MIN]:


OWN FOOTAGES:




WEEK 3

THREE-ACT STORY STRUCTURE

LALIN

Which part is act 1, act 2, act 3 respectively? Describe each act with ONE paragraph only.
  • ACT 1: The introduction to Lalin, consisting of who she is, where she is from, what she works as and other people's perception of her online vs. in real life when she was still in Thailand. Lalin (meaning moon in other languages) is a Thai Net Idol who is reluctant to take off her mask both in public and private due to insecurity. We also see her being scrutinised by old classmates and the public online for her face. She decided to start over by moving to Sapporo, Japan.
  • ACT 2: Act 2 starts when Nut, an illustration artist gets in contact with Lalin for a story about an astronaut and the moon. He contacted Lalin to offer her a place to be a translator for the storybook. They start to develop a close relationship as they chatted more and even video called, although Lalin refuses to take off her mask, dismissing it as allergies. The first half of Act 2, we see the relationship between Nut and Lalin flourishing as well as Lalin herself being happier once she had the company. Tension started rising when Nut told her that he was in Sapporo as a surprise, which had them planning to meet for the first time despite Lalin's reluctance.
  • ACT 3: Act 3 starts when Nut realises that Lalin will not come despite the encouragement that everything will be okay. Disappointed, he went to leave just as Lalin got the courage to face him with her mask off only to find him gone. He still left her a copy of the story he was writing, which made her realise Nut was an old classmate who was one of the only people kind to her. Unfortunately, Lalin could not find Nut despite her efforts and unknowingly being just out of reach.
What is the inciting incident in the movie?
  • The inciting incident is when Nut first messages Lalin, starting with a stylised picture of the Moon.
What is the midpoint scene in the movie?
  • The midpoint of the story is when Nut texted Lalin "Sapporo really is freezing!", telling her that he came for a surprise visit.
What is the Climax scene in the movie?
  • Lalin realising Nut was an old friend/classmate upon reading his storybook then proceeding to try and find him.
What is the theme of the movie?
  • Self esteem and acceptance

EVERYTHING EVERYWHERE ALL AT ONCE

Which part is act 1, act 2, act 3 respectively? Describe each act with ONE paragraph only.
  • ACT 1: We are introduced to Evelyn and her family as well as her family business and their work situation.
  • ACT 2: Act 2 starts when Evelyn, her dad Gong Gong and her husband, Waymond were on their way to meeting Ms. Deidre, a tax auditor working for the IRS. This is where Evelyn first encounters Alpha Waymond along with her first fight with people working for Jobu Topaki. This is also the act where it is revealed to the audience (and Evelyn later on) that Jobu Topaki is actually Joy, Evelyn's daughter.
  • ACT 3: Jobu Topaki shows Evelyn her perspective through multiple universes and why she became how she is. This act is also the moment when Evelyn truly appreciates how kind Waymond really is and uses that strength to solve the problems without additional violence.
What is the inciting incident in the movie?
  • Evelyn meeting Alpha Waymond and later on experiencing "verse-jumping" for the first time.
What is the midpoint scene in the movie?
  • Evelyn realising her capabilities and knowing her purpose, allowing Alpha Waymond to come back again.
What is the Climax scene in the movie?
  • The scene shot from multiple universes of Evelyn throughout her other lives, experienced by Evelyn herself all at once.
What is the theme of the movie?
  • Surrealism, acceptance and generational trauma

TRIMMING [LALIN]

This exercise is where we learned to trim video clips in Premiere Pro. The video used as a sample was the Lalin video from previous exercises.


GROUP SHOOTING



WEEK 5
STORYBOARD

For Week 5, we were introduced to storyboard-making with a specific storyline given by Mr. Martin. A note from him is that storyboards can be made digitally or traditionally using pen and paper.




GROUP SHOOTING

This exercise was an opportunity for the Project 2 group to try working together for the first time by filming a short scene. I had trouble communicating due to the language barrier but all went well in the end.

WEEK 9

VISUAL EFFECTS TRIAL

For Week 9, Mr. Martin taught us how to do a visual effects video on After Effects based on an online tutorial.





WEEK 10

STOP MOTION TRIAL

Week 10 gave us an opportunity to actually test out stop motion using a mobile app and a DSLR camera provided by the university. Since there was few students in my class doing stop motion, we could split into groups of two or three to create one short animation based on a given storyline.

Since we needed to make two versions of the video, Kai Xuan, Yeng San and I took turns taking different tasks. 


There was an issue with lighting the first time but we managed to film everything on time. Afterwards, I put together the DSLR version using Photoshop as it was most efficient.


stop motion app

DSLR



REFLECTION

The exercises given in this module really helped me get used to the various softwares used in this module, particularly Premiere Pro. Overall its a fun module that goes beyond just recording a video. The things taught in this module can definitely be used in future subjects, especially the things I've learned while using After Effects, Premiere Pro and Audition.


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