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Video & Sound Production | Exercises

21 Apr 2025 - 5 May 2025 (Week 1-3)
Justin Cleon (0375523)
Video & Sound Production | Exercises
2. Lectures

Lecture 1 (Week 1) : The Basics of Cinematography

Shot Size
Shot size describes the portion of the scene captured in a single frame or camera shot. Different shot sizes serve to express various kinds of information, ideas, or evoke specific emotions. 

Type of Camera Shot Sizes:
1. Extreme Long Shot (ELS) or Extreme Wide Shot (EWS)
• Make the subject appear small against the location.
• Make the subject feel distant/unfamiliar.
• Whenever needed to emphasize the location/isolation.

Figure 2.1 Extreme Long/Extreme Wide Shot

2. Long Shot (LS) or Wide Shot (WS)
• Slightly closer than extreme long shot (ELS) or extreme wide shot (EWS).
• If the subject is a person, the whole body will be in view. There should be a good deal to make space above and below.
• Gives a better idea of the scene setting and how the character fits into the area.

Figure 2.2 Long/Wide Shot

3. Full Shot (FS)
• The subject fills the frame while keeping emphasis on scenery.
• Useful for featuring multiple characters in a single shot.

Figure 2.3 Full Shot

4. Medium Wide Shot (MWS)
• Frames the subject from roughly the knees up.
• Split the difference between a full shot and a medium shot.

Figure 2.4 Medium Wide Shot

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.

Figure 2.5 Cowboy Shot

6. Medium Shot (MS)
• Reveals the subject in more detail.
• One of the most common camera shots.
• Frame from roughly the waist up and through the torso.
• Emphasizes the subject while maintaining visibility of the surroundings.

Figure 2.6 Medium Shot

7. Medium Close Up Shot (MCU)
• Frame the subject from roughly the chest up.
• Tends to focus on the face, while maintaining a slight distance from the subject.

Figure 2.7 Medium Close-Up Shot

8. Close Up (CU)
• Reveals the subject's emotions and reactions.
• Fills the frame with the subject, if the person it will show the face.

Figure 2.8 Close-Up

9. Extreme Close Up (ECU)
• Fill the frame with the subject.
• Often shows eyes, mouths and gun triggers.
• Smaller objects have a great ideal and are the focal point.

Figure 2.9 Extreme Close-Up

Framing
Framing is the art and science of placing subject and composition in your shots.

Type of Camera Framing:
1. Single Shot
• Captures one subject
• Set and framed in any shot size as long as only one (1) character featured within the frame.

Figure 2.10 Single Shot

2. Two (2) Shot
• Two (2) characters featured in the frame.
• Allows performances in a single take, especially for comedy. 

Figure 2.11 Two (2) Shot

3. There (3) Shot
• Three (3) characters featured in the frame.
• The important shot in adventure films or any film that has a group of characters.

Figure 2.12 Three (3) Shot

4. Over-the-Shoulder Shot (OTS)
• Shows the subject from behind the shoulder of another character, because it emulates perspective, it's common in conversation scenes.
• Help to provide orientation, and connect the characters on an emotional level.

Figure 2.13 Over-the-Shoulder Shot

5. Over The Hip Shot (OTH)
• Similar to Over The Shoulder (OTS), the camera is placed with a character's hip in the foreground.
• If only one (1) character standing, and the other sitting, kneeling, or any other configuration suggest a power imbalance.

Figure 2.14 Over the Hip Shot

6. Point of View Shot (POV)
• Shows the viewer exactly what that character sees.
• Point of view shot (POV) is commonly wedged between two (2) other shots. This technique is called shot reserve shot (camera shot character looking at something > cut to point of view shot (POV) > camera shot showing the character's reaction). 

Figure 2.15 Point of View Shot

Camera Angle
Camera angle refers to the position of the camera in relation to the subject being filmed. Different camera angles can be used to create different perspectives and convey different types of information.

Type of Camera Angle:
1. Eye Level Shot
• The most common height and neutral perspective. 

Figure 2.16 Eye Level Shot

2. Low Angle Shot
• Frames the subject from a low camera height looking up.
• Emphasizes power dynamics between characters.
• Make superior characters often framed from down low and an inferior feel of looking up to them.

Figure 2.17 Low Angle Shot

3. High Angle Shot
• The camera points down at the subject.
• Creates a feeling of inferiority or looking down on the subject.

Figure 2.18 High Angle Shot

4. Hip Level Shot
• The camera is roughly waist high.

Figure 2.19 Hip Level Shot

5. Knee Level Shot
• The camera height is roughly on the subject's knee.
• Emphasizes a character's superiority, if paired with a low angle.

Figure 2.20 Knee Level Shot

6. Ground Level Shot
• The camera height is on ground level with the subject.

Figure 2.21 Ground Level Shot

7. Shoulder Level Shot
• The camera is roughly as high as the subject's shoulder.
• Make the actor appear shorter than reality.
• Show the feeling of superiority when paired with a low angle.

Figure 2.22 Shoulder Level Shot

8. Dutch Angle or Dutch Tilt Shot
• The camera is slanted to one side.
• Create a sense if disorientation.

Figure 2.23 Dutch Angle Shot

9. Bird's Eye View Shot or Overhead Shot
• Shot from way up high looking down on the subject.
• Indicate plenty of the scenery surrounding the subject.
• Create a great sense of scale and movement.

Figure 2.24 Bird's Eye View Shot

10. Aerial Shot
• The shot from way up (helicopter or drone).
• Creates a large expanse of scenery.

Figure 2.25 Aerial Shot

Composition
Composition refers to the arrangement of visual elements within a shot or frame. Composition can be used to create visual interest, guide the viewer's eye, and convey meaning or emotion.

Type of Composition:
1. The Rule of Thirds
• The most common camera framing techniques used in film or photography.
• Positioning the character to show relation to other elements in the scene.
• Keep the image on the intersecting lines.

Figure 2.26 The Rule of Thirds

2. Balance & Symmetry
• Shooting a perfectly symmetrical shot.
• Artists use this technique to direct the viewer's eye to a specific place and lead the eye to the center of the screen to serve a better story and garner more emotion.

Figure 2.27 Balance & Symmetry

3. Leading Line
• Leading lines are visible or perceived lines in a shot that guide the viewer's eyes to key elements in the scene.
• Use it to connect the character to essential objects, situations, or secondary subjects.

Figure 2.28 Leading Line

4. Eye Level Framing
• Positions the audience at eye-level with the characters, which creates the idea that we are equal with the character or considers what we would feel if we were there.

Figure 2.29 Eye Level Framing

5. Depth of Field
• The sizes of the area in your image where the objects appear acceptably sharp. That area is called the field, and the size of that area is the depth of that field.
• If you make that zone longer, bringing more objects into focus, it will have a deeper depth of field.

Figure 2.30 Depth of Field

6. Deep Space Composition
• When significant elements in a scene are positioned both near and far from the camera.

Figure 2.31 Deep Space Composition


Lecture 2 (Week 2) : Understanding Storytelling

Figure 2.32 Three (3) Act Structure

Three (3) Act Story Structure
This act's story structure is a popular narrative framework used in storytelling, particularly in film and literature. It divides a story into three (3) distinct parts: act 1 (setup), act 2 (confrontation), act 3 (resolution), or a beginning, middle, and end.

Act One (1): Setup
• Introduction of the main characters, the story world, and some kind of "inciting incident"
• Creates problems/issues that the protagonist must solve
• Set up a dispute that disrupts the protagonists and forces them to take action

Act One (2): Confrontation/Build
• This act is the longest and most complex of the three (3) acts where the protagonist makes progress towards their goal
• The protagonist faces significant setbacks and complications that force them to modify and review their strategy
• This is the main part of the story (the worst possible thing that can happen to the character)
• The plot to avoid moving in one (1) direction (there are ups, downs, turnarounds)

Act Three (3): Resolution/Payoff
• The story reaches climax and resolution
• The ending is happy or sad
• Either relief or despair

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 is the denouement, where loose ends are tied up, and the protagonist's journey comes to a satisfying conclusion.

Overall, the three (3) act story structure provides a clear and effective framework for storytelling, allowing writers to create engaging and well-structured narratives that resonate with audiences.

Lalin
1. Which part is act 1, act 2, act 3 respectively?
• Act one (1):
Lalin, a shy Thai girl, has struggled and bullied her face full of acne. When she gained opportunities, she flew to Sapporo, Japan to study abroad. The new places that nobody knows and will judge her because she creates a new identity by editing her own photos to post on social media and becoming a popular idol.

• Act two (2):
While she maintains her flawless photos and kept growing more popular. However, she still feels like a lonely girl scared to show her real face. One day, Lalin meets a kind young man on social media and grows a closer relationship due to them staying in touch each day. Over time, the young man decides to visit Japan to meet Lalin in person and reveal her true self growth.

• Act three (3):
After facing the problems, Lalin should make a decision to show her up or not. Nevertheless, Lalin rejected and the man was about to give up. In the end, Lalin finally bravely removed her mask and revealed her authentic self, which resolves her emotional journey toward self acceptance.

2. What is the inciting incident in the movie?
When Lalin decides to study abroad in Japan after years of being bullied for her acne and start a new life.

3. What is the midpoint scene in the movie?
When Lalin starts to build a deep connection until the young man decides to meet Lalin personally in Japan, which makes Lalin contemplate revealing her true self.

4. What is the Climax scene in the movie?
When Lalin chooses to remove her mask, reveal her true self and meet the young man face to face.

5.What is the theme of the movie?
The theme is self-acceptance and inner qualities in today's world.

Everything, Everywhere All at Once
1. Which part is act 1, act 2, act 3 respectively? 
• Act one (1):
Evelyn Wang, a woman that is facing challenges with a lot of family problems. When visiting the tax office, she is suddenly pulled into a mysterious multiverse conflict by the reflection of her husband, who warns her about the great threat to all dimensions of existence, and the one and only that could rescue the multiverse.

• Act two (2):
Evelyn started to jump through different dimensions, gaining the powers and skill of herself to learn and understand about the treat of Jobu Tupaki, who revealed to be a mirrored version of her daughter. 

• Act three (3):
Evelyn recognized instead of violence that won't resolve her problems, the only way to confronts Jobu Tupaki is love and acceptance. They end up reconciling.

2. What is the inciting incident in the movie?
When Evelyn suddenly pulled into the multiverse and warned about the threat and only her that could rescue the multiverse.

3. What is the midpoint scene in the movie?
When Evelyn learns and discovers that Jobu Tupaki is actually an alternate version of her daughter. The core threat is not destruction, but despair.

4. What is the Climax scene in the movie?
When Evelyn recognizes that dealing with problems is not through violence, but love and acceptance, and kindness.

5.What is the theme of the movie?
The theme is a chaotic and seemingly meaningless universe, love, empathy, and acceptance are what give life purpose and meaning.


3. Exercises

'Mint' & 'Doritos' Exercises
For these exercises, we had to edit the footage from shuffled to arrange on our own on Adobe Premiere Pro.

Figure 3.1 Adobe Premiere Pro

'Mint' Exercises
Figure 3.2 'Mint' Exercise

'Doritos' Exercises
Figure 3.3 'Doritos' Exercise

Shooting Exercise 1: Framing
Shooting should be in landscape and each shot must be 5 seconds. Then, edit the video in Adobe Premiere Pro (add caption and music is optional). 

This exercise includes 8 shots:
1. Extreme Close-Up Shot
2. Close-Up Shot
3. Medium Close-Up Shot
4. Medium Shot
5. Side Angle Medium Shot
6. 3/4 (45°) Angling Medium Close-Up Shot
7. Eye Level Medium Wide Shot
8. Low Angle Wide Shot

Figure 3.4 Exercise 1: Framing (Process)

Figure 3.5 Exercise 1: Framing

Shooting Exercise 2
There's another camera shot exercise. Here are the lists of shots needed:
1. Deep Focus - Foreground: Medium Close-Up, Background: Full Body
2. Over-the-Shoulder on Medium Shot
3. Over-the-Shoulder on Medium Wide Shot
4. Tight Medium Shot
5. Tight Side Angle Medium Shot

Figure 3.6 Exercise 2 (Process)

Figure 3.7 Exercise 2
4. Feedback

Week 1
General Feedback : Introduction to Video & Sound Production and e-portfolio creation, followed by a briefing about exercises, projects, and basic tutorial on Adobe Premiere Pro.

5. Reflection

Doing the exercises was really fun! It was a warm up before doing another video editing in Adobe Premiere Pro and Adobe After Effects. So this module reinforced our fundamentals in using the applications needed for the project, giving us the necessary knowledge of how sound and video production works.
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