Video & Sound Production - Exercises
04.26.2024 - 05.17.2024 / week 1 - week 4
Velicia Raquel Dewi Setiawan | 0369188 | Bachelor of Design (Honours) in Creative Media
Video & Sound Production
JUMPLINK:
1. LECTURE
Week 1 - F2F (April 26, 2024)
1. MODULE BRIEFING
- Idea development
- Story
- Storyboard
- Visual References
- Location/ Props
- Lighting
- Costume
- Principal Shooting
- Offline Editing
- Online Editing
- Audio Editing
2 Audio Editing Exercises
- Exercise 2: Sound Shaping
- Software requires: Adobe Audition
- Additional Equipment: Headphone
PROJECT 2
Video shooting & Editing
FINAL PROJECT
Headphone Recommendation
Tripod Recommendation
Smartphone/ DSLR Tripod:
Camera Recommendation
DSLR:
Mirrorless:
Week 1 - Recorded (Apr 26, 2024)
2. Week 1 Asynchronous Class Materials
The reading materials and video provided for students to understand the basics of cinematography, including shot size, camera angle, and composition, to practice shooting elements of visual storytelling used in film, television, and other visual media.
Shot size refers to the amount of space that is visible within a single shot or frame. Different shot sizes can be used to convey different types of information or create different emotional effects. For example, a close-up shot shows a small area of the scene in great detail and is often used to emphasize a character's emotions or reactions, while a wide shot shows a larger area of the scene and is often used to establish the setting or context.
1. Shot Size
1. Extreme Long Shot or Extreme Wide Shot
- Make your subject appear small against their location.
- Make your subject feel distant or unfamiliar.
- Make your subject feel overwhelmed by its location.
- When you need to emphasize the location or isolation.
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| Fig 1.1 Extreme Long Shot or Extreme Wide Shot, Week 1 (26/04/2024) |
2. Long Shot or Wide Shot
- The subject (person/etc.) will be in view, but not filling the shot.
- There should be space above and below your subject.
- Gives a better idea of the scene setting, and how the character fits into the area.
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| Fig 2.1 Long Shot or Wide Shot, Week 1 (26/04/2024) |
3. Full Shot
- The subject fills the frame while keeping an emphasis on the scenery.
- Can be used to feature multiple characters in a single shot.
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| Fig 3.1 Full Shot, Week 1 (26/04/2024) |
4. Medium Wide Shot
- Frames the subject from roughly the knees up.
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| Fig 4.1 Medium Wide Shot, Week 1 (26/04/2024) |
5. Cowboy Shot
- Frames the subject from roughly mid-thighs up.
- It is called a “cowboy shot” because it is used in Westerns to frame a gunslinger’s gun or holster on his hip.
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| Fig 5.1 Cowboy Shot, Week 1 (26/04/2024) |
6. Medium Shot
- Frames from roughly the waist up and through the torso.
- Used as a buffer shot for dialogue scenes.
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| Fig 6.1 Medium Shot, Week 1 (26/04/2024) |
7. Medium Close-Up Shot
- Frames your subject from roughly the chest up.
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| Fig 7.1 Medium Close-Up Shot, Week 1 (26/04/2024) |
8. Close Up
- To reveal a subject’s emotions and reactions.
- If your subject is a person, it is often their face.
- Is perfect for important moments.
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| Fig 8.1 Close Up, Week 1 (26/04/2024) |
9. Extreme Close Up
- Smaller objects get great detail and are the focal point.
- It often shows eyes, mouth, and gun triggers.
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| Fig 9.1 Extreme Close-Up, Week 1 (26/04/2024) |
10. Establishing Shot
- A shot that shows us the location of the action.
2. Framing
1. Single Shot
- Any shot size as long as only one character is featured within the frame.
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| Fig 1.1 Single Shot, Week 1 (26/04/2024) |
- Over-the-shoulder single / "dirty single" that technically has more than one person in the frame, but the character in the foreground isn't featured.
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| Fig 1.2 Dirty Single Shot, Week 1 (26/04/2024) |
2. Two Shot
- Camera shot with two characters featured in the frame.
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| Fig 2.1 Two Shot, Week 1 (26/04/2024) |
3. Three Shot
- Usually adventure films or films that have a group of characters.
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| Fig 3.1 Three Shot, Week 1 (26/04/2024) |
4. Over-the-shoulder Shot
- Shows your subject from behind the shoulder of another character.
- It’s common in conversation scenes.
- Breakdown of the Westworld scene.
5. Over-The-Hip Shot
- The camera is placed with a character's hip in the foreground, and the focus subject in the plane of acceptable focus.
- Suggest a power imbalance.
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| Fig 5.1 Over-The-Hip Shot, Week 1 (26/04/2024) |
- This is the benefit of blocking and staging your actors and camera.
- Camera shot that shows the viewer what that character sees.
- Being John Malkovich
- A point-of-view shot (POV) is generally sandwiched between two other shots, a technique called a shot-reverse-shot.
3. Shot Focus
1. Rack Focus vs. Focus Pull
- A rack focus is an emphasized focus pull, where the acceptable focus range is intentionally shifted from one subject to another.
2. Shallow Focus Shot
- The subject is in crisp focus while the foreground and background scenery are out of focus.
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| Fig 2.1 Shallow Focus Shot, Week 1 (26/04/2024) |
3. Deep Focus Shot
- Everything in your frame is in focus, your audience needs to feel the scenery or particular scene elements.
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| Fig 3.1 Deep Focus Shot, Week 1 (26/04/2024) |
- Soft focus shots keep nothing in 100% sharp focus.
- Caused by a flaw in the lens or special filters.
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| Fig 4.1 Soft focus, Week 1 (26/04/2024) |
4. Camera Angle
Camera angle refers to the position of the camera with the subject being filmed. Different camera angles can be used to create different perspectives and convey different types of information. For example, a high-angle shot looks down on the subject from above and can create a sense of vulnerability or powerlessness, while a low-angle shot looks up at the subject from below and can create a sense of power or dominance.
- When your subject is at eye level.
- This mimics how we see people in real life -- our eye line connecting with theirs.
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| Fig 1.1 Eye Level Shot, Week 1 (26/04/2024) |
2. Low Angle Shot
- Frames the subject from a low camera height looking up at them.
- Often emphasize power dynamics between characters.
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| Fig 2.1 Low Angle Shot, Week 1 (26/04/2024) |
3. High Angle Shot
- The camera points down at your subject.
- It usually creates a feeling of inferiority, or “looking down” on your subject.
- Video
- Narrative High Angle
- Establish the scale of a crowd.
- Give contact to a scene.
- Ussualy shot at a shallow angle.
- Visceral High Angle
- Create emotional reactions (jolt, thrill).
- Add tension to a scene.
- Shot at an extreme angle.
- Character Driven Hight Angle
- Emphasize danger in a scene
- Helps convey a character vulnerability
- Frame the character at a high angle.
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| Fig 3.1 High Angle Shot, Week 1 (26/04/2024) |
4. Hip Level Shot
- The camera is roughly waist-high.
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| Fig 4.1 Hip Level Shot, Week 1 (26/04/2024) |
5. Knee Level Shot
- The camera height is about as low as your subject’s knees.
- Can emphasize a character’s superiority, if paired with a low angle.
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| Fig 5.1 Knee Level Shot, Week 1 (26/04/2024) |
6. Ground Level Shot
- The camera’s height is on ground level with your subject.
- This shot captures what’s going on on the ground your subject stands on.
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| Fig 6.1 Ground Level Shot, Week 1 (26/04/2024) |
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| Fig 6.2 Ground Level Shot, Week 1 (26/04/2024) |
7. Shoulder-Level Shot
- The camera is roughly as high as your subject’s shoulders.
- A shoulder-level shot can maximize the feeling of superiority when paired with a low angle.
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| Fig 7.1 Shoulder-Level Shot, Week 1 (26/04/2024) |
8. Dutch Angle Shot
- The camera is slanted to one side.
- Can create a sense of disorientation.
9. Birds-Eye-View Shot / Overhead Shot
- Way up high, looking down on your subject and a good amount of the scenery surrounding him or her.
- Create a great sense of scale and movement.
10. Aerial Shot / Helicopter Shot
- taken from a helicopter or drone, a shot from way up high.
- It establishes a large expanse of scenery.
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| Fig 10.1 Aerial Shot, Week 1 (26/04/2024) |
5. Camera Movement
- Video
- You don't want the audience to notice the cinematography you want them to notice something in the story.
- Start thinking where the audience's eye is pointed, and then you move the camera with purpose.
- When you move the camera, the real object you should be moving is your aud attention.
- Think about what you want the audience to focus on in each shot and why it serves the story? Then think about what devices and movements can help you achieve that
1. Static / Fixed Shot
- There’s no movement.
- Emphasize the appearance and movement of your subject against its environment.
- Placed on a tripod or a dolly that remains static during the shot.
2. Dolly Shot
- The camera is affixed to a mechanism called a dolly, a specialized push-cart built to handle heavy cinema cameras.
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| Fig 2.1 Dolly Shot, Week 1 (26/04/2024) |
3. Zoom Shot
- The camera shots that change the focal length of the lens during the shot.
4. Dolly Zoom Shot
- The camera position and focal length of the lens are simultaneously altered to create a warping effect.
5. Pan Shot
- Rotates the camera side to side on a horizontal axis
6. Tilt Shot
- Move your camera up and down on a vertical axis.
7. Whip Pan Shot
- When you pan the camera from one shot to another, creating a motion blur.
8. Whip Tilt Shot
- The swish tilt is the same idea as a swish pan, only vertical.
9. Tracking Shot
- Moves with your subject. Sometimes it follows behind or beside them on a dolly, Steadicam, or a gimbal.
10. Crab Shot
- A dolly shot that moves horizontally like a crab.
11. Arc Shot
- The camera moves around the subject in an arc pattern to show more of the surroundings.
6. Composition
Composition refers to the arrangement of visual elements within a shot or frame. This can include the placement of characters or objects within the frame, the use of color and lighting, and the balance and symmetry of the overall image. Composition can be used to create visual interest, guide the viewer's eye, and convey meaning or emotion.
1. The Rule of Thirds
- As the camera frames your shot, keep the image on the intersecting lines. It’s more pleasing to the eye.
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| Fig 1.1 The Rule of Thirds, Week 1 (26/04/2024) |
- The frame composition in Nightcrawler is, well, crawling with this rule. Lou appears on the side of the frame, away from the world he exists in.
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| Fig 1.2 The Rule of Thirds, Week 1 (26/04/2024) |
2. Balance and Symmetry
- Artists use this technique to direct the viewer’s eye to a specific place. And leading the eye to the center of the screen might end up serving your story better, and garner more emotion.
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| Fig 2.1 Balance and Symmetry, Week 1 (26/04/2024) |
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| Fig 2.1 Balance and Symmetry, Week 1 (26/04/2024) |
3. Leading Lines
- Leading lines are actual lines (or sometimes imaginary ones) in a shot, that lead the eye to key elements in the scene. Artists use this technique to direct the viewer’s eye but they also use it to connect the character to essential objects, situations, or secondary subjects.
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| Fig 3.1 Leading Lines, Week 1 (26/04/2024) |
4. Eye-Level Framing
- Positions the audience at eye-level with the characters, which plants the idea that we are equal with the character.
- Nightcrawler uses this technique to elicit empathy for its anti-hero. No matter how Lou's character read on the page, what we saw on screen, was somebody just like us.
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| Fig 4.1 Eye-Level Framing, Week 1 (26/04/2024) |
5. Depth of Field
- Depth of field describes the size of the area in your image where objects appear acceptably sharp.
- One of my favorite ways to use depth of field is with rack focus. It changes focus right in the middle of a shot.
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| Fig 5.1 Depth of Field, Week 1 (26/04/2024) |
Together, shot size, camera angle, and composition are all important tools that filmmakers and other visual storytellers use to create meaning and convey ideas to their audience.
Additional Composition:
Week 2 - Recorded (May 3, 2024)
3. Week 2 Asynchronous Class Materials
Framing & Storyboard
Cinematography
- Motion picture/Film/Video is made up of many shots.
- Each shot requires placing the camera in the best position for that particular moment in the narrative.
- Shot is a continuous view shot by one camera without interruption.
- Sequence is a series of scenes, or shots, complete in itself.
- Scene defines the place or setting where the action is laid.
- A scene may consist of a series of shots or sequences depicting a continuous event.
Shot Size
The shot size determines how large the area that’s visible within the frame.
- Extreme wide shot
- Wide shot
- Medium wide shot
- Medium shot
- Medium close-up shot
- Close-up shot
- Extreme close-up shot
Understand storytelling
The three-act story structure is a popular narrative framework used in storytelling, particularly in film and literature. It divides a story into three distinct parts: the setup, the confrontation, and the resolution.
Act One:
- The Setup The first act establishes the protagonist, their world, and the situation they find themselves in.
- This act typically ends with an inciting incident, which sets the story in motion and creates a problem that the protagonist must solve.
- The inciting incident can be a positive or negative event, but it must be significant enough to disrupt the protagonist's world and force them to take action.
Act Two:
- The Confrontation The second act is the longest and most complex of the three acts. It's where the protagonist faces a series of obstacles and challenges as they work towards their goal.
- This act is often divided into two parts: the first half, where the protagonist makes progress towards their goal, and the second half, where they encounter setbacks and complications.
- The second act typically ends with a major turning point, where the protagonist faces a significant setback or crisis that forces them to reevaluate their approach.
Act Three:
- The Resolution The third act is where the story reaches its climax and resolution. The protagonist must confront their final challenge or conflict and overcome it to achieve their goal.
- The climax is the most intense and dramatic part of the story, where the stakes are highest and the tension is at its peak.
- The resolution, on the other hand, is the denouement, where loose ends are tied up, and the protagonist's journey comes to a satisfying conclusion.
Overall, the three-act story structure provides a clear and effective framework for storytelling, allowing writers to create engaging and well-structured narratives that resonate with audiences.
Writer and story expert K.M. Weiland has synthesized these recurring story beats into a three-act structure that is subdivided into eight sections. Of course, following this structure doesn’t necessarily mean a movie is unoriginal.
One example of a great movie that closely follows this three-act structure is Jurassic Park. Let’s go through its beats, one by one.
1. The Hook
- This is the opening of the movie and, in turn, the first act. The main goal here is to captivate the audience. Why should they care? Why should they keep watching?
- You want them to ask what is that? what's that about? or simply what's going to happen next?
- Hooks should also serve as a taste of what's to come.
- By the end of your film's hook the audience may still have questions but they know enough that they are invested.
- Jurassic Park piques our interest expertly. the scene begins with the army of workers anticipating something and once we see the container we wonder what's inside it.
- And particularly because they don't show us what's in the cage there's this hook.
2. The Inciting Event
- Why is this the inciting event? It gets the plot moving. Our interest has been piqued, and now our protagonists are going right into the belly of the beast.
- The beginning of Doctor Strange establishes Stephen as a brilliant surgeon. So in the inciting event irrevocably injures his hands we understand that this has changed his life. The profession that gives him purpose has been ripped away
3. First Plot Point
- The first plot point is also commonly referred to as the break into Act 2. It’s the point of no return– after the characters cross this barrier, they can’t go back. That’s how this is different from the inciting incident.
- In Jurassic Park the first plot point is when the characters enter the park but they see the dinosaurs for the first time and they're just completely awed, there’s no going back. As scientists, they simply have to know more.
- Their lives are completely changed their perspectives are completely changed so even if they turn and walk away from this moment nothing's ever going to be the same for them.
4. The First Pinch Point
- This is often the first obstacle, albeit minor, and typically involves the antagonist. Perhaps most importantly, this pinch point sets up the midpoint.
- Showing what is at stake for these characters what are they at this point what are they possibly going to lose if they continue on this course of action.
- In Aladdin the first pinch point is when Aladdin obtains the lamp which allows for the midpoint of the reveal of the genie.
- In Jurassic Park, the first pinch point is when Hammond and his team notice that the storm is getting much worse. They recall the Jeeps and Ellie sticks behind, an important moment that affects the structure of the rest of the film.
5. The Midpoint
- The midpoint is, unsurprising, the halfway mark of the movie. Typically, it is a moment that redirects the plot; a hero thinks they have things figured out when the rug is pulled from under their feet.
- Jurassic Park has a very famous midpoint. The reveal of the T. Rex is indelibly imprinted on the mind of anyone who has seen it.
- Up until this point in the story the characters have been relatively reactive, the scientists have all been opposed to what's going on in the park but they haven't been in an active resistance mode, but after this point, they don't have a choice and they have to full on proactive survival mode and oppose this antagonistic force of the dinosaurs.
6. Second Pinch Point
- Like with the first pinch point, this moment is not as big as the break into Act 2 or the midpoint. But it’s important in setting up the third act. Usually, the pinch point is a setback. The protagonist is really in trouble and the audience is starting to wonder how on earth they’ll get out of this.
- In Jurassic Park, this is when Nedry dies. Not only is this wonderful foreshadowing of what is at stake for everybody else in the story but it's also important in that without Dennis Nedry, Mr Arnold and John Hammond have no hopes of getting the park back online.
7. Third Plot Point
- Otherwise known as the break into Act 3. As such, this plot point segues us into the highest stakes of the story yet.
- False victory followed by the low moment. This is a moment where the character takes everything they've learned in the second act and throw all their resources at the antagonistic force.
- False victory doesn't necessarily mean that it isn't effective or that the character doesn't experience some sort of a win here what it does mean is that the cost is higher than they thought and that the victory isn't the final push that's needed.
- In Jurrasic Park, this is when Ellie turns on the power. It’s a win, but it’s simultaneously a low point for Alan and the kids– Timmy’s almost killed. Then Ellie herself is immediately faced by the true antagonists in this story which are the very intelligent raptors.
- This moment also reintroduces the final act’s primary antagonists: the raptors. They kill Arnold and Muldoon, and they’re hungry for more.
8. Climax
- The climax is going to funnel into this climactic moment which is the deciding moment in the entire story which decides whether or not the protagonist will gain or lose the plot goal as such the moment should fulfill your character's arc. Commonly there is a resolution that allows for the events of the climax to sink in.
- In Jurassic Park, the climax is the battle with the Raptors. Then the Predators are eaten by an even larger Predator. the sequence also completes Allen's character Arc as he and Ellie save the children from the raptor's grasp.
Week 3 - Recorded (May 10, 2024)
4. Week 3 Asynchronous Class Materials
Storyboard
What is a storyboard?
A 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 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 visualize the scenes and prepare for the shooting process.
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| Fig 1.1 Storyboard, Week 3 (10/05/2024) |
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.
How to make a storyboard?
1. Identify key scenes
Mark up the 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
Next, map out the scenes you identified in the script. Give each one a number and a relevant title so it's easy to link them back to the broader story in the script.
3. Add images or sketches
Some storyboard artists might begin sketching with a pen and paper first, but with modern storyboards, you can collect reference photography, illustrations, screenshots, location shoots, and even motion from anywhere.
4. Describe each frame
- Composition and Framing
- Transitions
- Character Blocking
- Emotion and Expression
- Annotations
- Dynamic Action
5. Share it with your team
6. Reference it on the day
Week 4 - Recorded (May 17, 2024)
5. Week 4 Asynchronous Class Materials
Production
Production Stages
The production stages in filmmaking can be broken down into three main phases:
1. Pre-production: This is the planning stage of filmmaking, where all the necessary preparations are made before filming begins. This includes tasks such as writing the script, creating storyboards, casting actors, scouting locations, designing sets and costumes, and hiring crew members.
2. Production: This is the stage where the actual filming takes place. The production team will work together to capture all the footage needed for the film, using the plans and preparations made during pre-production as a guide. This stage can be physically and logistically challenging, as it involves coordinating a large team of people and managing a complex schedule.
3. Post-production: This is the stage where the footage is edited and assembled into a final product. This includes tasks such as cutting and arranging scenes, adding music and sound effects, color grading, and visual effects. Post-production can be a time-consuming process, as it requires careful attention to detail and a keen eye for storytelling.
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.
1. Director: The director is responsible for overseeing the entire production and ensuring that the creative vision for the project is realized. They work closely with the cast and crew to block out scenes, direct the actors' performances, and make creative decisions about the look and feel of the film.
2. Producer: The producer is responsible for the logistical and financial aspects of the production. They secure funding, hire the crew, coordinate the schedule and locations, and ensure that the project is completed on time and within budget.
3. Cinematographer: The cinematographer, also known as the director of photography (DP), is responsible for the visual aesthetic of the film. They work closely with the director to choose the right camera, lenses, and lighting to achieve the desired look and mood for each scene.
4. Production Designer: The production designer is responsible for the overall visual design of the film, including the sets, costumes, and props. They work closely with the director and cinematographer to create a cohesive and immersive visual world for the story.
5. Sound Designer: The sound designer is responsible for the audio aspects of the film, including recording and editing dialogue, sound effects, and music. They work closely with the director and editor to ensure that the sound and picture are seamlessly integrated.
6. Editor: The editor is responsible for assembling the footage into a coherent and compelling story. They work closely with the director and sound designer to shape the pacing, tone, and structure of the film.
There are many other roles on a production crew, including grips, gaffers, makeup artists, and stunt coordinators, but these are some of the key positions and tasks involved in the filmmaking process.
2. INSTRUCTION
Requirements
- Adobe Premiere Pro
Submission
- Eportfolio
3. Exercises - Editing Exercise
Week 1
Week 1 Reflection (Asynchronous Class Materials)
Learning the fundamentals of cinematography, such as shot size, camera angle, and composition, has been a fascinating experience for me. I've always enjoyed watching movies, but learning about these things has increased my appreciation for the art of visual storytelling. Shot size has taught me how different shots may cause different emotions. A close-up shot, which captures a character's subtle expressions, allows viewers to connect with them on a personal level, but a wide shot sets the setting and provides a broader view of the context.
Exploring camera angles has been really fun. I know now that a high-angle picture can make a character appear fragile, whilst a low-angle shot can give them power, these things that capable of changing our view of their role in a story. These angles are more than just different options to shoot to not make the viewers bored, they are useful tools to influence the viewer's emotions. Understanding this has changed the way I look at my own projects, making me more intentional about which viewpoints I choose to show my story.
I've started to notice how directors use tools like the rule of thirds, balance, and leading lines to focus the viewer's attention and create visual interest. A well-composed shot can turn something mundane into something intriguing and draw in people's emotions. This new knowledge inspired me to try more with the visual storytelling in my artwork, whether through photos or shooting.
Week 1 Tasks
- Document Editing exercises 1 & 2 (Mints & Doritos) in your blog under the Exercises section
- Watch a stop motion short, share 3 of your favorites, and explain the reasons for being chosen (style, art direction, character design, etc) in your blog under the Final Project section.
- Purchase a Tripod for the Phone (with Bluetooth remote control)
- Watch Everything, everywhere, all at once (before week 3)
Week 1 Editing Exercise
- Download footage
- Create a NEW Premiere Pro Project
- Import footage into Premiere Pro
- Arrange shots on a timeline with the proper order
- Export video
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| Fig 1.1 Progress, Week 1 (26/04/2024) |
Week 1 Editing Exercise (Independent Learning)
- Download footage
- Create a NEW Premiere Pro Project
- Import footage into Premiere Pro
- Arrange shots on a timeline with the proper order
- Export video
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| Fig 1.3 Progress, Week 1 (26/04/2024) |
Week 2
Week 2 Reflection (Asynchronous Class Materials)
I've always enjoyed good storytelling, but breaking down the story into setup, conflict, and resolution gave me a whole new perspective on how to view and produce movies. The first acts establish the protagonist in their world before disturbing their peace with a catalyst event. I now see how important this section is to catch the audience's attention and to establish what is at stake. Ensuring a strong impression and keeping the viewer interested in the story.
Act Two's confrontation phase, where the protagonist meets a major crisis. This act usually breaks down into two parts—progress toward the goal and setbacks. For example, the midpoint twist forces the protagonist to reconsider their plans. How in "Jurassic Park" that moment is the reveal of the T. Rex as the midpoint. The climax is when the protagonist faces their biggest obstacle and the stakes are at their highest. I've realized that an effective climax not only resolves the main problem but also brings the protagonist's character development to a satisfying end. Along with the resolution, in which all loose ends are tied, concluding the story. This structure helps the story feel complete.
I would often struggle to put together my thoughts and keep momentum in my writing. Learning about the setup, confrontation, and resolution gives me a guaranteed structure to make compelling stories. This structure gives me a direction and purpose, for each section of my story, making sure that each arc builds on the previous one and brings it to a satisfying finish.
Week 2 Quiz (from 1 asynchronous lecture)
Week 2 PPT (Framing & Storyboard)
- Study the Slides with in instructions:
- Watch the video John Lewis Christmas Advert, and name the shot size of each shot.
- Watch the video Unsung Hero, and name the shot size of each shot.
- Understand O.S.'s shot to answer questions.
- Research “Depth of field”, and answer the questions.
- Research on “180 Degree rule (Static Screen Direction)”, and answer the questions.
- Research “Dynamic Screen Direction”, and answer the questions.
Week 2 Shotting Exercise (Framing)
- Use your phone to shoot 8 videos according to the requested shot size.
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| Fig 1.5 8 Shot to Take, Week 2 (03/05/2024) |
- Shoot landscape format video, 5 seconds per shot.
- Shoot a wide shot with a wide angle.
- The rest ZOOM IN to get the soft background.
- Refer to the examples provided or Google references for GOOD composition.
- Avoid overexposed or underexposed (too bright or too dark).
- Do the shooting during day time.
- Edit with CAPTION (Mention the shot size), and export the video for submission.
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| Fig 1.6 Progress, Week 2 (03/05/2024) |
I thought that would remember what each shot was like during this exercise but boy was I wrong. It still took so many takes and rushing while the sun was quickly going down. While I was editing this together it felt so incredibly bland, maybe I should have added camera movements and not just stood there like a statue.
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| Fig 1.7 Progress, Week 2 (03/05/2024) |
Week 2 Editing (Lalin)
- Download the footage
- View the Original video
- Watch the Editing tutorial video
- Lalin final cut: Edit to 35 seconds sharp. Document the process under under Exercises section.
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| Fig 1.9 Progress, Week 2 (03/05/2024) |
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| Fig 1.10 Progress, Week 2 (03/05/2024) |
| Fig 1.11 Final Result, Week 2 (03/05/2024) |
Week 3
Week 3 Reflection (Asynchronous Class Materials)
Storyboarding is a process in filmmaking that acts as a visual blueprint, turning ideas into actual designs. Recognizing it as a comic strip in organizing thoughts and coordinating everyone involved in the production. It's cool to consider how films are carefully planned out frame by frame before production ever begins.
A storyboard is created through a series of phases, beginning with identifying important scenes and continuing to map them alongside the script. Sketching or gathering reference photos brings the story to life, with notes on composition and character to give a sense of direction. Sharing the storyboard with the team and referring to it during filming optimizes the production process, to save time and resources.
A storyboard is created through a series of phases, beginning with identifying important scenes and continuing to map them alongside the script. Sketching or gathering reference photos brings the story to life, with notes on composition and character to give a sense of direction. Sharing the storyboard with the team and referring to it during filming optimizes the production process, to save time and resources.
Week 3 Quiz (from week 2 asynchronous lecture)
Week 3 Questions (from week 2 asynchronous lecture)
Lalin
1. Which part is act 1, act 2, and act 3 respectively? Describe each act in one paragraph only.
Act 1: Lalin, a net idol from Thailand in Japan, is introduced as a character who has faced bullying and was nicknamed "Miss Meteorite" due to her appearance. She moved to Japan in grade 12 and found comfort in wearing her mask, which she later used to create an Instagram account to share her pictures and activities.
Act 2: As summer approaches, Lalin gains more followers and fans on her social media but also faces new challenges, such as feeling lonely and judged in society. She craves relationships with a partner and receives a message from a Thai graphic novelist named Nut, who wants her help translating his work into Japanese. The man mentioned the meaning of Lalin's name which means "the moon" and how similar it is to his drawings, this makes Lalin intrigued by Nut.
Act 3: Finally, Nut visits Lalin so they can finally see each other face to face. Lalin reaches a critical point where she must confront her insecurities. After Nut leaves, Lalin realizes that Nut is the same guy she met in her flashback who dressed up as Santa Claus due to his size. Realizing that they both have similar struggles and are touched that Nut came to see her, Lalin runs after him. The climax scene reveals the culmination of Lalin's internal and external struggles, and she realizes that true beauty comes from self-acceptance and confidence.
2. What is the inciting incident of the movie?
It begins when Lalin is bullied for her appearance, leading her to move to another country to start fresh where no one knows who she is.
3. What is the midpoint scene in the movie?
The midpoint scene marks Lalin's peak as a net idol, where despite receiving external validation and success she still struggles with her self-worth.
4. What is the climax scene in the movie?
The midpoint occurs when Nut, a person she's been talking to reveals that he is in Japan and that he wants to meet up with Lalin. Lalin struggles with her insecurities before deciding it's not worth it. Then realizing that they both have similar struggles and are touched that Nut came to see her, Lalin runs after him.
5. What is the theme of the movie?
Self-acceptance and society's beauty standards.
Everything Everywhere All at Once
1. Which part is act 1, act 2, and act 3 respectively? Describe each act in one paragraph only.
Act 1: Evelyn Wang, a Chinese-American immigrant, struggles with her family's laundromat business, marriage nearing divorce, and tension with her daughter Joy. Then she meets an alternate universe counterpart of her husband, Waymond, who explains the multiverse's existence and Evelyn's role in protecting it from Jobu Tupaki, a destructive entity.
Act 2: In the second act, Evelyn travels through the multiverse, gaining skills and experiences from other versions of herself. She struggles with the chaos brought by Jobu Tupaki, who turns out to be an alternate version of her daughter Joy. Evelyn faces several obstacles, discovers the possibilities of all her alternative lives, and tries to deal with the emotional and real-world consequences of her multiverse trip.
Act 3: In the final act, She confronts Jobu Tupaki after getting her newly acquired multiversal knowledge and powers. The climax occurs when Evelyn recognizes that she needs to confront her issue with understanding, compassion, and love (courtesy of Waymond). She finally reconciles with her daughter Joy and arrives after the importance of appreciating every moment and her relationship with her family.
2. What is the inciting incident of the movie?
This act occurs when Evelyn is approached by an alternate-universe version of her husband, Waymond, who informs her of the multiverse's existence and her role in preventing an immense doom set up by Jobu Tupaki. It also sends Evelyn to the beginning of her adventure and puts the plot into motion.
3. What is the midpoint scene in the movie?
The halfway is when Evelyn faces Jobu Tupaki for the first time. Evelyn realizes Jobu's suffering and the grave danger she brings. This scene gives Evelyn an understanding of the danger and raises the stakes of what would happen should she fail. Evelyn also begins to effectively use her multiple powers and draw on the skills and experiences of her various selves.
4. What is the climax scene in the movie?
The climax of the movie happens during a confrontation between Evelyn and Jobu Tupaki in the multiverse. Evelyn, having understood the concept of empathy and love, instead of continuing to fight, chooses to show Jobu Tupaki with compassion and empathy. This act of intentional love and acceptance helps mend her relationship with her family and brings peace to the multiverse.
5. What is the theme of the movie?
- Concept of love empathy and acceptance
- Family and generational struggles
- Identity and self-acceptance
I already know the rough idea of the 3 act structure I can see it everywhere in most movies. But I didn't know about the terms or the moment when the inciting event or the midpoint happened specifically. In a broad understanding yeah, The inciting event is in Act 1 and the midpoint is in Act 2, so that's new information.
Week 4
Week 4 Reflection (Asynchronous Class Materials)
The filmmaking process is difficult and collaborative, with various stages and crew roles. The pre-production process is essential for a successful shot and includes thorough planning, script writing, location hunting, and team building. Production stage, where the team works together to capture all the footage needed, using the plans and preparations made as a guide. Then finally the post-production where the footage is edited and assembled with music, sound effects, color grading, and visual effects. Each stage builds on the previous one, resulting in a process that is efficient and creative.
The production crew's many skills include the director's visionary leadership, the producer's organizational abilities, the cinematographer's artistic eye, and the editor's storytelling finesse. Each person adds a unique set and perspective, which contributes to the collaboration that defines filmmaking.
Week 4 Quiz (from week 3 asynchronous lecture)
Fig 1.1 Quiz Storyboard in Film making, Week 4 (17/05/2024)
Fig 1.1 Quiz Storyboard in Film making, Week 4 (17/05/2024)
Week 4 Quiz (from week 4 asynchronous lecture)
4. Reflection
1. Experience
Shooting the eight required landscape videos turned out to be trickier than I expected. I struggled to remember each shot size, and with the sun setting quickly, I had to rush through takes. This led to some bland results; I realized I should have used more camera movements rather than staying static. However, I did pick up some new skills, like adding basic transitions, fades, and captions using Premiere Pro presets.
In the second part of the task, I edited a video to match the original "Lalin" clip within 35 seconds. Adding text graphics and phone notifications was a new challenge. Although the pacing felt fast while editing, the final product actually flowed better than I anticipated.
2. Observation
I noticed that planning shots and getting the right composition is crucial. Rushing due to time constraints can lead to poor lighting and missed opportunities. During editing, I found that simple transitions and captions can make a big difference. The challenge of fitting everything into a 35-second video taught me a lot about pacing and how important it is for keeping viewers engaged.
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