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Video and Sound Production: EXERCISES

 22/9/2024 - 31/9/2024 (Week1-Week5)

Amber Tan Jing Jing (0372746)

Video and Sound Production / BDCM / Taylors University

Exercises 

Table of Contents



Asynchronous class materials

Week1

Camera Shots

Types of Camera Shot Sizes
  • Extreme Wide Shot (ELS)
  • Long Shot (LS) / Wide Shot (WS)
  • Full Shot (FS)
  • Medium Long Shot (MLS) / Medium Wide Shot (MWS
  • Cowboy Shot
  • Medium Shot (MS)
  • Medium Close Up (MCU)
  • Close Up (CU)
  • Extreme Close Up (ECU)
  • Establishing Shot 
Figure 1.1 Shot Size

Over the shoulder shot - O. S

The over-shoulder shot shows the subject from behind the shoulder of another person.

Figure 1.2 Over the shoulder shot(1)
The over-shoulder shot may not always feature the 'shoulder' in the foreground. Instead, the aim is to present the point of view from the foreground character's perspective.

Figure 1.3 Over the shoulder shot(2)

Figure 1.4 Week 1 Asynchronous class quiz result


Week2

Understand Storytelling

What is the 3 Act Structure?

The three act structure is a narrative model that divides stories into three parts — Act One, Act Two, and Act Three, or rather, a beginning, middle, and end.

Some writers label these three acts the setup, build, and payoff. Both are correct. But the basic point of each of these acts is that they have their own set of guidelines to develop, build, and resolve a story.

On a basic level, Act One sets up the world, characters, the character’s goal, as well as the conflicts or obstacles that are preventing them from achieving their goal. Act Two raises the stakes for the character to achieve the goal, escalating the conflict. Act Three resolves the story with either an achievement of that goal or a failure.

3 Act Structure Breakdown
1. The Hook
2. The Inciting Event
3. First Plot Point
4. The First Pinch Point
5. The Midpoint
6. Second Pinch Point
7. Third Plot Point
8. Climax
9. Resolution
Figure 1.5 Three Act Structure Breakdown

We were to watch Lalin, and Everything, everywhere, all at once. After watching, we were to answer the questions.

1. LALIN (https://www.youtube.com/watch?v=ehc52wBiUqE&t=483s)

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

Act 1: At the beginning, Lalin told how she was bullied online by the people around her in high school because she did not have good skin. Then she decided to move to Japan, because no one in Japan knew her, no one bullied her, she was more comfortable, and Japanese people didn't care about others. Lalin started posting photos of her pussy on social media, which became very popular among Japanese people.

Act 2: A cartoonist named Nut contacted Lalin and asked her to translate his upcoming book into Japanese. After that, they started messaging each other every day to build a relationship. One day, Nut suddenly came to Japan and wanted to meet Lalin face to face. But Lalin didn't have confidence in herself without a mask, so she refused to meet Nut.

Act 3: Nut was disappointed because Lalin didn't see him, so he left. Later, Lalin read the book he left behind and discovered that he was actually her old classmate. Nut used to have very low self-esteem, but he lost weight and changed himself. She wanted to chase him, but the end result was that she couldn't see Nut in person.

2. What is the inciting incident in the movie?

Lalin was bullied by the people around her in high school because she did not have good skin so she move to Japan.

3. What is the midpoint scene in the movie?
Nut suddenly came to Japan and wanted to meet Lalin face to face. But Lalin didn't have confidence in herself without a mask, so she refused to meet Nut.

4. What is the Climax scene in the movie?
Lalin read the book that Nut left behind and discovered that he was actually her old classmate. Nut lose weight and change himself for her. This made Larin chase him.

5. What is the theme of the movie?

Appearance is not everything about you, there will still be people who love you for who you are. So don't feel inferior.

2. Everything, everywhere, all at once (https://www.youtube.com/watch?v=wxN1T1uxQ2g)

1. Which part is Act 1, act 2, act 3 respectively? Describe each act with ONE paragraph only. 
 
Act 1: Evelyn's family business faces a tax audit, adding pressure to her already strained relationships with her family. So she wants to change.

Act 2: Evelyn learns about the multiverse and her unique ability to connect with different versions of herself. Evelyn meets Waymond in the multiverse and found that Jobu Tupaki, the one who threatens to destroy the multiverse, is a version of Evelyn’s own daughter, Joy.

Act 3: Evelyn finally accepts her identity and reconciles with her family.

2. What is the inciting incident in the movie?

Evelyn meets Alpha Waymond, who tells Evelyn that the multiverse is in serious danger and needs Evelyn's help.

3. What is the midpoint scene in the movie?

Alpha Gong Gong(Evelyn’s dad) directs Evelyn to kill Joy so that Jobu has one less universe to access. Evelyn refuses. Now Evelyn doesn’t want to just defeat Jobu, she wants to save Joy.

4. What is the Climax scene in the movie?

Evelyn and Joy face off in the real world as Joy asks Evelyn to just let her go. Evelyn refuses, telling Joy that no matter what else is possible, and regardless of any pain involved, Evelyn chooses to be here with Joy. Then they hug.

5. What is the theme of the movie?

The transformative power of love and acceptance. 

Figure 1.8 Week 2 Asynchronous class quiz result

Week3

Storyboard

What's a storyboard
  • Drawings, sketches, reference images or photographs to represent each frame.
  • A description of the shot — any relevant information on the action, dialogue, or composition.
  • Shot specs — shot size, lens length, two-shot, etc.
  • Arrows to indicate camera and/or character movement or how each shot connects to the next.
Traditional vs. thumbnail

Traditional storyboards are what we see above — basic pencil sketches that include detailed information like arrows for camera movement, characters, props, etc.

There are also thumbnail style storyboards that don’t have any writing. Keep in mind I use the term thumbnail in this article and was referring to the image, not this style board. Again, the more detail you put into it, the easier it will be to execute later.

How to create a film storyboard in 6 easy steps
  • Identify key scenes in the script
  • Map out the key scenes
  • Add images or sketches
  • Describe what happens in each frame
  • Share it with your team
  • Finally, reference it on the day
Figure 1.9 Week 3 Asynchronous class quiz result

Week4

Production

Production stages：

The most widely agreed-upon, and the method we’ll be going by, contains five distinct stages:

1. Development 

This is where it all begins. Development is the spark. A producer or a screenwriter has an idea, and they begin to make that idea into a movie.

Development is usually overseen by a producer, as they are the person who is responsible for getting the initial pieces together – the creatives, the financing, the general schedule, and so on. Here's a more thorough breakdown.

2. Pre-production

Pre-production is where the rubber hits the road. A producer has put blood, sweat, and tears into getting their project picked up, and finally their wishes have been granted. Time for the hard part: making the movie.

Pre-production refers to all the preparation necessary before filming begins. In other words, it’s everything that happens between financing being secured and production. There’s three major things that have to happen during this stage.

3. Production

 This is when the cameras roll and the footage is captured.The entire process of making a movie is a marathon, but the production phase is a sprint. Usually, a production schedule is as crammed as possible (the longer a shoot, the more expensive it gets).

There are a ton of moving elements within the production stage, but let’s do a quick overview.

4. Post-production

This stage refers to all the work that is done after footage is captured to finish the film. Most people associate post-production with film editing, and while that is a crucial part of the process, there are many other elements at play in the stage.

5. Distribution

Many beginning filmmakers tend to be caught off-guard by this process, which is under-discussed and can be costly and time-consuming. Like most of these stages, distribution is a huge umbrella term that encompasses dozens of different tasks and steps.

Figure 1.10 Week 4 Asynchronous class quiz result (Production stages)

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:

1. 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.

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.


Figure 1.11 Week 4 Asynchronous class quiz result (Production crew)

Week5

Color Theory, Color Correction V. S. Color Grading

1. Color Correction V. S. Color Grading

Color correcting is the process of correcting (or fixing) colors in a video or a film as a way to get them back to what they should look like for your project. Color grading is the process of grading (or editing) colors in a video or film as a way to give them a stylistic look.

What is color correction?

Color correction is usually done first. This is because raw footage tends to be oversaturated and the colors need to be balanced out. 

The real end goal of color correction is simply to make sure footage looks exactly the way the human eye sees things. For example, if the white and black levels match what the human eye sees as white and black, then the rest of the colors should be balanced as a result as well.

Five basic steps to color correcting footage:

  • Normalize your footage as much as possible.

  • Fix your saturation first.

  • Then fix your brightness and contrast.
  • Set your new white balance.
  • Double check your skin tones

Color saturation vs. color brightness 

In an ideal video setting, footage will be shot as flat and undersaturated as possible. If footage is oversaturated or too bright or dark, valuable information could be lost which can make your footage unusable.

What is color grading?

Color grading is the next step, and this is where you can actually begin to create the aesthetic of your videos. But it’s important to note that this is an entirely optional process, especially if the film is meant to be as realistic as possible. 

The right color grading will always help convey a visual tone or mood to heighten the narrative. 

LUTs in color grading

  • A LUT stands for “look-up table,” and is basically a quick cheat-sheet which filmmakers can use in camera, or more importantly, which editors can use in their edit to give their footage specific grade and look.
  • Wouldn’t recommend just using LUTs for projects without understanding a bit more about how grading works, or how to tinker with your LUTs applied to your footage. 
  • These tools can be huge timesavers and — with the right use — quite powerful for your projects.

Five basic steps to color grading footage: 

  • Normalize your folate as much as possible.

  • Follow the steps to correct your colors.

  • Choose your desired look and style.
  • Make your color adjustments in your editing program of choice.
  • Double check skin tones and vectorscope.

Figure 1.12 Before and After Color Grading
2. Color Theory

Color theory is two things:

  1. A scientific principle that explains how color hues and saturations are created.
  2. A creative discipline that examines how color is used to achieve emotional effect in visual art.

Types of Color Theory:

  • Color Wheel
  • Color Context
  • Color Harmony
What is color wheel?

Color wheels have been used for hundreds of years to express ranges of color. In fact, we can trace the use of color wheels back to the early 18th-century with Isaac Newton’s natural philosophical text Opticks.

Newton crucially argued that colors were divided into two categories: original and compounded.

Original colors are red, orange, yellow, green, blue, indigo, and violet, perhaps better known by the acronym ROYGBIV.

Compounded colors are colors that are created by, you guessed it, compounding original colors. For example: blue and green compounded in equal measure make teal.

In the following years, scientists and philosophers built upon Newton’s proposal with a myriad of color wheel ranges. Color wheels progressively offered wider ranges of spectral hues.

Figure 1.13 Warm vs Cool Colors in Claude Boutet Color Wheel

 Color schemes or pattens of color

  • Monochrome utilizes varying tones of just one color (usually gray).
  • Analogous utilizes colors that are next to each other on the color wheel.
  • Complementary utilizes colors that are colors that are opposite to one another on a color wheel.
  • Triadic color utilizes colors that connect together on a color wheel to form an equilateral triangle.
  • Tetradic color utilizes colors that connect together on a color wheel to form a rectangle.

Figure 1.14 Color Wheel Examples

Figure 1.15 Week 5 Asynchronous class quiz result

Week6

Mise en scène

Mise en scène is a French term that translates literally to "placing on stage." In the realms of theater, 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 organized to convey meaning, emotion, and narrative to the audience.

Key Components of Mise en Scène
  1. 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.
  2. Props and Objects:
    • Items used by characters or present in the scene that can symbolize themes, indicate character traits, or advance the plot.
  3. Costume and Makeup:
    • Clothing and makeup that reflect a character’s personality, social status, occupation, or psychological state.
  4. 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.
  5. Composition and Framing:
    • How elements are arranged within the frame or on stage, including camera angles in film or the positioning of actors in theater. This affects how the audience perceives relationships and power dynamics.
  6. Performance and Acting:
    • The actors’ physical movements, facial expressions, and interactions contribute significantly to the mise en scène, conveying emotions and subtext.
  7. Color Palette:
    • The selection of colors used in costumes, sets, and lighting can evoke specific emotions or symbolize thematic elements.
  8. Spatial Relationships:
    • The distance and arrangement between characters and objects, which can indicate intimacy, conflict, or hierarchy.
Figure 1.16 Week 6 Asynchronous class quiz result

Week7

Film Sound

Step-by-step guide to sound effect techniques

Step 1: Create ambient sound 

Ambient sound is the most common way filmmakers use sound effects. Think about movies like Master and Commander, Avatar, or The Lord of the Rings. These stories take place in settings that we can’t experience, and yet it’s the filmmaker’s job to make those settings and characters feel as real as anything else. 

Ambient sound does a lot of the heavy lifting in this scene. Viewers would expect the sounds of ocean spray and constant waves, but it’s the little pieces — boots on wood, rigging in the wind, distant conversation — that really sell the idea of a large crew on a ship at sea.

Step 2: Establish some realism

By adding appropriate sound effects (or, in some cases, creating new ones with Foley artists), you can establish realism right off the bat. This how filmmakers use diegetic sound to transport us to new worlds.

The human brain cross-references things we experience. And by adding familiar sound effects to a scene, you are providing context that supports what is on screen. The viewer’s brain connects what it sees with what it hears, which allows the audience to immerse themselves in a particular scene or location.

Step 3: Use nonverbal storytelling

All living creatures use nonverbal communication. In the case of humans, our brains process more than just physical gestures. We can also hear a sound or see an image and understand a variety of meanings or suggestions.

Step 4: Add sound effects for tension

Sound effects can tell the story of a location or character. And you can do that within a scene that is already pushing other plot points forward. Master storytellers know how to weave these things together because that is how they capture a viewer’s attention from start to finish.

Distant voices and car sounds can create the illusion of a busy street, even if there’s no one around. A heartbeat or rush of wind can add tension and dread to a scene where a character has to make an important decision.

Step 5: Shift audience emotions

Filmmakers understand how music can steer an audience’s emotions. There is a lot of research on how music affects the human brain, and that is going to continue for the foreseeable future.

But the same facts also apply to sound effects, even if it isn’t as obvious.

Ambient sound effects help us make sense of what’s on screen, and nonverbal storytelling clues us in on the context. But the one thing those things have in common is they affect how viewers feel.

Step 6: Find sound effects

A common struggle is finding sound effects that don’t suck. Freesound is an amazing (and popular) resource...but actually sorting through thousands of effects can be a huge pain. And that can be true for the vast majority of free sound effects libraries, like Free Sounds Library or SoundBible.com.

Figure 1.17 Week 7 Asynchronous class quiz result

For weekly asynchronous class materials reflection, jump to Reflection-class materials section.

Instructions



Exercises

Week1

Arrange video clips 
This week, we need to arrange the shots on the timeline in the proper order using Adobe Premiere Pro.

Figure 2.1 Mints video clips

Figure 2.2 Doritos video clips

The first set of video clips, the Mints advertisement, was demonstrated to us by sir in class. They are numbered, so we just need to arrange them in order. The second set of video clips is the Doritos advertisement, which is not numbered in order, so we have to watch all the clips to find out the sequence.

Figure 2.3 Arrange the Doritos video clips


Mints final edited video: https://youtu.be/444UiiZESeA

Figure 2.4 Final edited video

Doritos final edited video: https://youtu.be/tdzS6G5qz88

Figure 2.5 Final edited video

REFLECTION: This was my first time using Adobe Premiere Pro. So I don’t know how to start. Fortunately, there are classroom explanations and videos to watch. When I was working on the Doritos advertisement, which was not numbered in order, I watched all the videos many times to figure out the sequence. Since I didn’t have a complete sequence in my head, it was particularly difficult for me to string together each shot. I feel like I watched every clip dozens of times before I could piece everything together. I almost felt like my eyes were going blind, haha! Overall this exercise thought me how to arrange the clips.

Week2

Shooting & Editing Practice


Figure 2.6 Shoot and editing practice

We shoot this video (Figure 1.7) in class. Mr Martin gave us 20 minutes to film it. My friend Jia Xin help me to shoot the video. Then, I edit the video at home.

Figure 2.7 Editing practice (Lalin)

Final Shoot & Editing: https://youtu.be/9N99v4dXADY

Figure 2.8 Final Shoot & Editing

Final Editing (Lalin): https://youtu.be/OhJFJdcFXLA

Figure 2.9 Final Editing (Lalin)

REFLECTION: This week, we learn different shot size. Mr Martin gave us 20 minutes to film ourselves in class, so I have fun in this exercise. Through these exercises, I learned how to edit videos and add subtitles. This helped me gradually understand the operations in Adobe Premiere Pro.While working on the editing practice (Lalin), I had a complete reference video along with Mr Martin's tutorial, which allowed me to complete it smoothly.


Week4

Storyboard Practice 

Figure 2.15 Story beat

Figure 2.16 Storyboard Practice

REFLECTION: This exercise is done in class. I felt that my drawing was very bad. I didn’t bring anything with me at the time and had to borrow a pen from my friend. Despite the messiness, I believe my storyboard managed to convey the intended meaning, haha!

Week10

This week we learned about visual effects. We practiced this in class. Mr. Martin guided us step by step. Besides, he provided a video tutorial for us to watch and follow.

Figure 2.27 Visual Effect Process Screenshot

Figure 2.28 Visual Effect Exercise


Reflection-class materials

Week1 - Shot sizes
This week we learn different shot sizes,  camera angle and composition. In the class, Mr Martin also explain and provide us some example of shot sizes. This makes me more understand the different of shot sizes.

Week2 - 3 Act Structure
This week we learn 3 Act Structure. In the class, Mr Martin provide video and ask us to answer the inciting incident, midpoint, and the climax of the story. By answering these questions, I understood the meaning and themes behind the story. Besides, we were to watch Lalin, and Everything, everywhere, all at once. After watching, we were to answer the questions and post it in the eportfolio. This allowed me to once again understand the meaning and theme behind the story.

Week3 - Storyboard
This week we learn about the storyboard. Before this, I had no idea that needed to prepare a storyboard before shooting a video. But now I knew it. I learned that a storyboard plays a crucial role in filmmaking by helping the director avoid mistakes and ensuring a smoother production process.

Week4 - Production
This week we learn about the production stages and production crew. This gave me an insight into the filmmaking process. I discovered how films are produced step by step. I also discovered the detailed responsibilities of various crew members who contribute to the creation of a film. I didn’t know there was a sound designer before. I always thought only editors were editing, but now I understand deeply.

Week5 - Color Theory, Color Correction V. S. Color Grading
This week we learn about color correction and color grading. Now I know the difference between color grading and color correction in digital video. Color grading is done after color correction.

Week6 - Mise en scène
This week we learn about placing on stage. I learned how elements like setting, props, lighting, and costumes shape the story and characters. 

Week7 - Film Sound
This week we learn about film sound and its role in storytelling. I learn how both diegetic and non-diegetic sounds shape the audience's experience. Silence can also create tension and focus. Let me understand the great influence of sound on movies.


















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