Labels

Video & Sound Production - Exercises

23/04/2025 - 23/07/2025 / Week 1 - Week 14

Aquela Zefanya Soares / 0374377

Video & Sound Production / Bachelor of Design (Honours) in Creative Media / Taylor's University

TABLE OF CONTENTS

LECTURES

Camera Shot Size

  • Definition: Is composed of the series of frames that are shot uninterrupted from the moment the camera starts rolling until it stops.
  • By combining different types of shots, angles and camera movements, the filmmakers are able to emphasize specific emotions, ideas and movement for each scene.

Types of Camera Shots:

  • Extreme Long Shot (ELS) or Extreme Wide Shot (EWS)
    • Make your subject appear small against their location.
    • ELS can be use to emphasize location or isolation.
  • Long Shot (LS) or Wide Shot (WS)
    • Is the same idea as ELS but a bit closer. 
    • LS can be used to keep subject in plain view amidst grander surroundings.
    • Gives a better idea of the scene setting and how the character fits into the area.
  • Full Shot (FS)
    • Let subject fill the frame while keeping emphasis on scenery.
    • Can be used to feature multiple characters in a single shot.
  • Medium Wide Shot (MWS) or Medium Long Shot (MLS)
    • Frames the subject from roughly the knees up.
    • Split the difference between a full shot and a medium shot.
  • Cowboy Shot (CS)
    • Frames the subject from roughly mid-thighs up.
    • It’s called a “cowboy shot” because it is used in Westerns to frame a gunslinger’s gun or holster on his hip. 
  • Medium Shot (MS)
    • One of the most common camera shots.
    • Similar to the cowboy shot, but frames roughly the waist up and through the torso.
    • Emphasizes more of your subject while keeping their surroundings visible.
    • Can often be used as a buffer shot for dialogue scenes that have an important moment later that will be shown in a close-up shot.
  • Medium Close Up Shot (MCU)
    • Frames subject from roughly the chest up.
    • Typically favors the face, but still keeps the subject somewhat distant.
    • Keeps the characters eerily distant even during face-to-face conversation.
  • Close Up (CU)
    • Can be used to reveal a subject's emotions and reactions.
    • Fills the frame with a part of the subject.
    • Perfect for important moments because it's near enough to register tiny emotions, but not so close that people lose visibility.
  • Extreme Close Up (ECU)
    • The most you can feel a frame with your subject. It often shows eyes mouths and gun triggers
    • Smaller objects get great detail and are the focal point.

Establishing Shots

  • Definition: A shot at the head of a scene that clearly shows us the location of the action. Often follows an aerial shot and is used to show where everything will happen.
Framing

  • Definition: The art and science of placing subjects in the shots.
  • Camera shots are all about composition. Rather than pointing the camera at the subject, we need to compose an image.
Types of Framing:
  • Single Shot
    • When the shot captures one subject.
    • Can be set and framed in any shot size we like, as long as there is only one character featured within the frame.
  • Two Shot
    • Camera shot with two characters featured in the frame.
    • Allowing performances to play out in a single take, which can be especially useful for comedy.
  • Three Shot
    • Really important in adventure films, or any film that has a group of characters.
  • Over the Shoulder Shot (OTS)
    • The perspective of the shot (shows the subject from behind the shoulder of another character, common in conversation scenes.)
    • Can help to provide orientation, and connect characters on an emotional level.
  • Over the Hip Shot (OTH)
    • Similar to OTS but the camera is placed behind another character's hip.
    • Usually used when one character is standing and the other is sitting, kneeling, or any other configuration that places the subjects on "uneven terrain."
  • Point of View Shot (POV)
    • A camera shot that shows the viewer exactly what that character sees.
    • Can also invoke horror.
    • A point of view shot (POV) is generally sandwiched between two other shots, a technique called shot-reverse shot:
      • A camera shot of a character looking at something,
      • Cut to your (POV) point of view camera shot,
      • A camera shot showing the character's reaction.

Focus 

  • Definition: Depth of Field (DOF) is the term used to describe the size of the area in your image where objects appear acceptably sharp. 
  • The area in question is known as the field, and the size (in z-space) of that area is the depth of that field.
  • The center most point of the field is known as the point of focus. 
  • The imaginary two dimensional plane that extends from that point is known as the plane of focus. 
  • And any part of your image that falls directly on this plane is officially in focus.

Types of Focus:

  • Rack Focus / Focus Pull
    • Rack focus is an emphasized focus pull, while the focus range is intentionally shifted from one subject to another. 
    • Focus Pull = Passive vs. Rack Focus = Aggressive
  • Shallow Focus (Shallow DOF)
    • The subject is in crisp focus while the foreground and background scenery is out of focus.
    • This limits the DOF to create emphasis on the subject.
  • Deep Focus
    • Everything in the frame is in focus
    • Can be used when we need the audience to feel the scenery of particular scene elements.
  • Tilt-Shift
    • Rotates perspective within the lens and emulates selective focus.
    • It can make parts of the image appear in sharp focus while others are out of focus (blurry.)
  • Soft Focus
    • Keep nothing in 100% sharp focus.
    • Perfect when filming a dream or memory (the glow around everything is both wistful and slightly unreal.)
  • Split Diopter
    • Additional lens element that allows for two simultaneous focal lengths.
    • Highly stylized shot and tends to draw attention to itself because it is "unnatural."
Camera Angles
  • Definition: Is used to specify the location where the camera is placed to take a shot. 
  • The position of the camera in relation to the subjects can affect the way the viewer perceives the scene.

Types of Camera Angles:

  • Eye Level Shot
    • When the subject is at eye level, means they're in a neutral perspective (not superior or interior). 
  • Low Angle Shot
    • Frames the subject from a low camera height looking up at them.
    • Most often emphasize power dynamics between characters.
    • A superior character with the upper hand is often framed from down low. This makes an inferior feel like they are looking up to them.
  • High Angle Shot
    • The camera points down at your subject. It usually creates a feeling of inferiority, or “looking down” on your subject.
  • Hip Level Shot
    • The camera is roughly waist-high.
  • Knee Level Shot
    • The camera height is about as low as the subject's knees.
    • Can be used to emphasize a character's superiority, if paired with a low angle.
  • Ground Level Shot
    • The camera's height is on ground level with the subject.
    • This shot captures what's going on the ground the subject stands on.
  • Shoulder Level Shot
    • The camera is roughly as high as the subject's shoulders. 
    • Can maximize the feeling of superiority when paired with a low angle.
  • Dutch Angle or Dutch Tilt Shot
    • The camera is slanted to one side. With the horizon lines tilted in this way, you can create a sense of disorientation.
  • Bird's Eye View Shot or Overhead Shot
    • The shot is from way up high, looking down on the subject and a good amount of scenery surrounding them.
    • Can create a great sense of scale and movement.
  • Aerial Shot
    • Whether taken from a helicopter or drone, this is a shot from way up high. It establishes a large expanse of scenery. 
Composition
  • Definition: The way elements of a scene are arranged in a camera frame.  Shot composition refers to the arrangement of visual elements to convey an intended message.

Elements of Composition:

  • The Rule of Thirds
    • It's about positioning a character to show their relation to other elements in the scene.
    • Different camera framing will tell a different story.
  • Balance and Symmetry
    • Different camera framing will tell a different story.
  • Leading Lines
    • Leading lines are actual lines (or sometimes imaginary ones) in a shot, that lead the eye to key elements in the scene.
    • To direct the viewer’s eye but they also use it to connect the character to essential objects, situations, or secondary subjects.
  • Eye-level framing
    • Eye-level framing positions the audience at eye-level with the characters, which plants the idea that we are equal with the character
  • Depth of Field
    • Zone of sharpness. If you make that zone longer, bringing more objects into focus, you will have a deep depth of field.
  • Deep space composition
    • The different depths are indicative of what is going on with each character.

Quiz Result 

Fig 1.1 Quiz 1 Result (25/04/2025)

What is the Three-Act Structure?

  • A storytelling model dividing a narrative into three parts: Beginning (Act I), Middle (Act II), and End (Act III).
  • Each act serves a specific purpose in advancing the story.

Act I: Setup

  • Introduces:
    • Main characters,
    • Setting,
    • The world of the story.
  • Establishes:
    • The protagonist's normal life,
    • The central conflict or goal.
  • Key Element: 
    • Inciting Incident: an event that disrupts the protagonist's normal life and sets the story in motion.

Act II: Confrontation

  • Develops:
    • The protagonist's journey to achieve their goal,
    • Obstacles and challenges faced.
  • Features:
    • Rising action leading to increased stakes,
    • A Midpoint: a significant event that changes the direction of the story,
    • A Crisis or Darkest Moment: where the protagonist faces a major setback.

Act III: Resolution

  • Climax:
    • The protagonist confronts the main conflict head-on,
    • The story reaches its most intense point.
  • Denouement:
    • Loose ends are tied up,
    • The story concludes, showing the aftermath and how characters have changed.

Quiz Result 

Fig 1.2 Quiz 2 Result (07/05/2025)

Storyboard

Storyboard is a visual representation of a film sequence, breaking down the action into individual panels. Each panel illustrates a specific shot, often accompanied by notes on camera angles, dialogue, and other pertinent details. Essentially, it's a roadmap that guides the journey from script to screen, allowing filmmakers to visualize the narrative flow and make creative decisions before actual production begins.

Key Elements of a Storyboard

  • Visual Panels: These can be drawings, sketches, reference images, or photographs representing each frame.
  • Shot Descriptions: Brief notes detailing the action, dialogue, or composition within each shot.
  • Shot Specifications: Information on shot size, lens length, camera angles, and other technical details.
  • Directional Arrows: Indicators showing camera movements, character motions, or transitions between shots.

Purpose and Benefits

  • Pre-Visualization: Storyboards serve as a trial run for the finished product, helping to identify potential issues and refine the narrative flow.
  • Efficient Communication: They provide a clear visual guide for directors, cinematographers, and other crew members, ensuring everyone is aligned on the creative vision.
  • Resource Planning: By outlining each shot, storyboards assist in determining the necessary equipment, locations, and scheduling needs.

Flexibility in Design

Storyboards can range from simple stick figures to detailed illustrations. The level of detail depends on the project's requirements and the creator's preferences. The primary goal is to effectively convey the intended visual narrative, regardless of artistic complexity.

Steps to Create a Film Storyboard

  • Identify key scenes in the script
    • When creating a storyboard, it’s crucial to know what story you’re telling. The best starting point is to break up the script or narrative you’ll be working from.
    • Mark up the key parts of the story by highlighting major beats such as actions, locations, wardrobe, staging, narrative arches, and major plot points. This will help you form the frames for the storyboard and figure out how you’ll move from one scene to the next.
  • 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.
  • Add images or sketches
    • Now it’s time to begin visualizing each scene. This part of the process has been referred to as “idea landscaping”—a place to brainstorm the visual features of each beat within the landscape of a story.
    • 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.
  • Describe what happens in each frame
    • While each frame is a static image, try to communicate how it will look and feel as a moving sequence. Describes the style, mood, and behavior of characters. As you write out the details of each scene, consider some of the following:
    • Composition and Framing: Decide how characters and objects will be framed within each shot. Use the rule of thirds and other compositional techniques to create visually appealing and balanced frames.
    • Transitions: Plan how each shot transitions to the next. Smooth transitions create a cohesive flow, while abrupt changes can be used for dramatic effect.
    • Character Blocking: Determine character positions and movements within each shot. Show how they interact with each other and the environment.
    • Emotion and Expression: Define a character's facial expressions and body language to capture their emotions and reactions.
    • Annotations: Use additional notes or captions for things that can't be easily conveyed in the visuals.
    • Dynamic Action: For action scenes, break down fast-paced movements into a sequence of panels to ensure clarity.
  • Share it with your team
    • When you're ready, invite your team to review your storyboard and share their feedback. This is the perfect moment to see how others interpret your vision for the story. It's also a great opportunity to make any final tweaks while in pre-production. Adjust the order of your frames or edit the content based on everyone's feedback.
  • Reference it on the day
    • Traditionally, you'd print out your storyboards to refer to on the day, but online storyboards can be accessed on phones or laptops. This way, you can reference it with ease as you prepare for each scene.

Quiz Result

Fig 1.3 Quiz 3 Result (07/05/2025)

Stages of Film Production

Development

  • Concept & Script: The process begins with an idea, which is developed into a screenplay. The script is the foundation for all subsequent stages.
  • Packaging: Producers assemble a "package" (script, director, actors, IP rights) to attract financing. Example: Margot Robbie attached to Barbie boosted its sell ability.
  • Financing: Securing funds through studios (pre-sales, slate financing) or independent avenues (crowdfunding, grants). Films like Mad Max: Fury Road survived "Development Hell" before greenlighting.

Pre-Production

  • Budgeting & Scheduling: A line producer creates a detailed budget and shooting schedule. Example: Whiplash’s drumming scenes required precise planning.
  • Hiring Crew: Key roles (director, cinematographer, production designer) are hired. Departments (art, camera, costumes) are built out.
  • Creative Planning:
    • Storyboarding and shot lists (Austin Powers 3 used detailed storyboards).
    • Location scouting and tech scouts (assessing power, sound, sunlight).

Production

  • Principal Photography: The phase where footage is captured. Tight schedules are critical to avoid budget overruns.
  • On-Set Workflow:
  • Call Sheets: Outline daily schedules, call times, and logistics.
  • Shooting Protocol:
    • AD calls "Roll sound" → Sound mixer confirms "Sound speeds" → Camera rolls ("Speed") → Slating → "Action".
    • Departments: Camera (DP, operator), grip/lighting, sound, special effects (practical stunts/explosions).

Post-Production

  • Editing: Assembly → Rough cut → Fine cut → Picture lock. Editors collaborate with directors (The Irishman’s edit took years).
  • Sound & VFX: Sound design, score composition, and visual effects are added. Example: Titanic’s CGI and sound mixing.
  • Color Grading: Adjusts visual tone for consistency (Mad Max: Fury Road’s stark color palette).

Distribution

  • Marketing: Trailers, social media, and press tours generate buzz (Barbie’s viral campaigns).
  • Release Platforms: Theatrical, streaming (Netflix), or physical media. Indies may prioritize film festivals.

Quiz Result
Fig 1.4 Quiz 4A Result (21/05/2025)

Film Production Team Roles & Crew Positions

Core Creative Roles (Above the Line)

  • Producer: Leads the project from conception to completion, securing financing, managing budgets, and coordinating teams. The "group leader" ensuring the film stays on schedule.
  • Director: The primary visionary, responsible for guiding the artistic and dramatic aspects of the film. Collaborates with all departments to realize their vision.
  • Screenwriter: Crafts the script, shaping narrative structure, dialogue, and scene transitions. Essential for pre-production planning.

Key Department Heads

  • Production Designer: Translates the script into visual storyboards and oversees sets, props, and overall aesthetics.
  • Director of Photography (DP/Cinematographer): Heads the camera and lighting departments, determining the film’s visual style (e.g., lighting, lenses, composition).
  • Editor: Assembles footage post-shoot, ensuring continuity and pacing. Works closely with the director.

Camera Department

  • Camera Operator: Physically handles the camera, executing shots as directed by the DP.
  • 1st Assistant Camera (1st AC/Focus Puller): Maintains focus during shots and manages camera equipment.
  • 2nd Assistant Camera (2nd AC): Logs footage, operates the clapperboard, and assists with gear.
  • Digital Imaging Technician (DIT): Manages on-set color correction and media storage.

Lighting & Grip (G&E Department)

  • Gaffer: Chief electrician; designs lighting setups under the DP’s direction.
  • Key Grip: Oversees rigging and non-electrical equipment (e.g., dollies, cranes).
  • Best Boy: Assists the Gaffer (Best Boy Electric) or Key Grip (Best Boy Grip), managing crew and inventory.

Assistant Directors (ADs) & Production Support

  • 1st AD: Maintains shooting schedules, manages on-set logistics, and ensures deadlines are met.
  • 2nd AD: Handles call sheets, talent coordination, and extras.

Art & Costume Departments

  • Art Director: Manages physical sets and props, ensuring visual consistency.
  • Costume Designer: Designs attire to reflect characters’ personalities, era, and socioeconomic status.

Additional Key Roles

  • Casting Director: Organizes auditions and selects actors.
  • Music Supervisor: Curates or composes music to enhance emotional impact.
  • Intimacy Coordinator: Ensures safe and respectful filming of intimate scenes.

Quiz Result
Fig 1.5 Quiz 4B Result (21/05/2025)

Mise en Scène in Film

Definition & Importance

Mise en scène (pronounced meez-on-senn) translates to "placing on stage" and refers to everything visible in a film frame: sets, props, lighting, costumes, actor blocking, and composition.

It’s the visual language of film, shaping mood, themes, and character psychology (e.g., Tim Burton’s gothic sets or Wes Anderson’s symmetrical compositions).

Key Elements of Mise en Scène

  • Location:
    • Choices reflect character dynamics and themes (e.g., a tense conversation in a church vs. a fast-food restaurant).
  • Color:
    • Kubrick’s red for danger (The Shining), Anderson’s pastels for whimsy (The Grand Budapest Hotel).
  • Set Design:
    • Constructs the film’s world (e.g., Harry Potter’s Hogwarts vs. Titanic’s ship).
  • Props:
    • Objects with narrative weight (e.g., the Heart of the Ocean in Titanic, Dorothy’s ruby slippers).
  • Costumes:
    • Reveal character traits (e.g., The Breakfast Club’s archetypal outfits).
  • Hair & Makeup:
    • Externalizes character psychology (e.g., Joker’s clown makeup in The Dark Knight).
  • Lighting:
    • High-key for comedy, low-key for noir. Kubrick used green lighting for unease (The Shining).
  • Actor Blocking:
    • Movement/placement conveys power dynamics (e.g., The Godfather’s seating arrangements).
  • Composition:
    • Framing and symmetry (e.g., Wes Anderson’s centered shots).
  • Depth of Field:
    • Focus guides audience attention (e.g., shallow focus in Citizen Kane).

Practical Applications

  • Directors: Use mise en scène to "show, don’t tell" (e.g., Amélie’s cluttered bedroom reflects her whimsy.
  • Production Designers: Collaborate with departments (set decorators, costume designers) to unify visuals.
  • Cinematographers: Align lighting and shot composition with the director’s vision.

Iconic Examples

  • Wes Anderson: Symmetry, vibrant colors, and meticulous props (The Royal Tenenbaums).
  • Stanley Kubrick: Monochromatic schemes (e.g., the monolith in 2001: A Space Odyssey).
  • Tim Burton: Gothic sets and exaggerated makeup (Edward Scissorhands).

Quiz Result

Fig 1.6 Quiz 5 Result (21/05/2025)

back to top

INSTRUCTION

<iframe src="https://drive.google.com/file/d/1QGbNIrID3Cohm6WJfrPtKNqucnPJnf9d/preview" width="640" height="480" allow="autoplay"></iframe>

EXERCISES

Mints Exercise

In this exercise, we were told to compile ad clips into one video in Adobe Premiere Pro.


Fig 2.1 Mints Exercise (25/04/2025)

Doritos Exercise

In this exercise, we were told to do the same as the Mints exercise but the clips were not in order. 

Fig 2.2 Doritos Exercise (25/04/2025) 

8 angle shot Exercise

In this exercise, we were told to do 8 angle shot with the help of team members. 

Fig 2.3 8 angle shot Exercise (05/05/2025) 

Shooting Exercise 2

In this exercise, we were told to do 5 shots with the help of team members. 

Fig 2.4 Shooting Exercise 2 (14/05/2025) 

VFX Exercise

In this exercise, we were told to compile and add video effects from videos on google drive that Mr. Martin provided.

Fig 2.5 VFX Exercise (18/06/2025) 
Labels:

Comments

Post a Comment

Popular Posts