Video and Sound Production | Exercises
25.9.25 - | Week 1 -
Haley Alexandra Gray | 0369029 | Bachelors of Design in Creative Media
Video and Sound Production VSP60104
Exercises
Table of Content :
Instructions
MIB for Video and Sound Production VSP60104 | Taylors University, Bachelor of Design (Honours) in Creative Media
Lecture Material
Video and Sound Production VSP60104
Week 1
- The materials provided are to prepare students for the week 2 activities, where students need to understand the basics of cinematography, including shot size, camera angle, and composition, in order to practise shooting.
- Shot size, camera angle, and composition are all elements of visual storytelling used in film, television, and other visual media.
Shot size : - Refers to the amount of space visible within a single shot or frame - Different shot sizes can be used to convey different types of information, or different emotional effects. ○ E.g. Close-up shot shows a small area with a lot of detail, whereas a wide shot shows a larger area of the scene, often used to establish setting / context.
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 / convey different types of information. ○ E.g. A high-angle shot looking down on a subject can create a sense of vulnerability, whereas a low-angle shot loos up to the subject, creating dominance.
Composition : - Refers to the arrangement of visual elements within a shot or frame. - Can include the placement of characters or objects within frame / the use of colour and lighting / balance/symmetry of the overall image. - Is used to create visual interest, guide the viewers eye, and convey meaning / emotion.
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.
NOTES OF PROVIDED MATERIAL
Shot size :https://www.studiobinder.com/blog/ultimate-guide-to-camera-shots/#shot-size
Ultimate Guide to Camera Shots: Every Shot Size Explained [The Shot List, Ep 1]
- Films are made up of sequences, sequences made up of scenes, scenes made up of shots - A camera shot is composed of the series of frames that are shot uninterrupted from the moment the camera starts rolling till stops.
- Camera shot size Overview :
Fig. 1 Shot Size Cheatsheet, StudioBinder
Shot size :
https://www.studiobinder.com/blog/ultimate-guide-to-camera-shots/#shot-size
Ultimate Guide to Camera Shots: Every Shot Size Explained [The Shot List, Ep 1]
Ultimate Guide to Camera Shots: Every Shot Size Explained [The Shot List, Ep 1]
- Films are made up of sequences, sequences made up of scenes, scenes made up of shots
- A camera shot is composed of the series of frames that are shot uninterrupted from the moment the camera starts rolling till stops.
- Camera shot size Overview :
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| Fig. 1 Shot Size Cheatsheet, StudioBinder |
- Types of Camera Shot Sizes 1. Extreme Wide Shot (ELS) ○ Makes your subject appear small against their location
○ E.g. make your subject feel distant / unfamiliar / overwhelmed 2. Long Shot (LS) / Wide Shot (WS)
○ Same idea as ELS but a bit closer
○ Cinematic effect relating to subject and scene 3. Full Shot (FS)
○ Lets subject fill the frame while keeping emphasis on scenery 4. Medium Long Shot (MLS) / Medium Wide Shot (MWS)
○ Frames the subject from roughly the knees up 5. Cowboy Shot ○ Frames the subject from mid-thigh up
○ Called cowboy because it is used in Westerns to frame a gunslingers gun on his hi 6. Medium Shot (MS)
○ One of the most common camera shots; frames from roughly the waist up
○ Emphasises more of your subject while keeping background visible 7. Medium Close Up (MCU)
○ Frames your subject from roughly the chest up;
○ typically favours the face but keeps the subject somewhat distant 8. Close Up (CU)
○ When wanting to reveal a subjects emotions / reactions (often with face) ○ Perfect for important moments 9. Extreme Close Up (ECU)
○ The most you can fill a frame with your subject.
○ Often shows eyes, mouths, and gun triggers 10. Establishing Shot
○ Is a shot at the head of a scene that clearly shows us the location of the action
○ Shot often follows an aerial shot and is used to show where everything happens
Framing :
https://www.studiobinder.com/blog/ultimate-guide-to-camera-shots/#camera-framing
Camera Framing: Shot Composition & Cinematography Techniques Explained [The Shot List, Ep 2]
- The art and science of placing subjects in your shot. Camera shots are all about composition. Rather than pointing the camera at the subject, you need to compose an image.
- Types of Camera Shot Framing
Working with subjects in the frame
1. Single Shot
○ When your shot captures one subject
○ Can be set/framed in any shot size, just as long as there is only one character featured.
○ Can have an OTS single, aka dirty single; technically has more than one person in the frame, but the character in the foreground isn't featured. 2. Two Shot
○ Camera shot with 2 characters featured 3. Three Shot
○ Features 3 characters in the frame
○ Important in any film with a group of characters
- Crowd shot - for an innumerable amount of people 4. Over the Shoulder Shot (OTS)
○ Shows your subject from behind the shoulder of another character
○ Emulates perspective; common in conversation scenes. 5. Over the Hip Shot (OTH)
○ Similar to OTS, camera is placed with a characters hip in the foreground, focus subject in the plane of acceptable focus
○ Often suggests power imbalance due to imbalance of subject placement 6. Point of View Shot (POV)
○ Camera shot that shows the viewer exactly what the character sees
○ Transports the audience into that character
Camera Angle:
https://www.studiobinder.com/blog/ultimate-guide-to-camera-shots/#camera-angles
Ultimate Guide to Camera Angles: Every Camera Shot Explained [Shot List, Ep. 3]
- Camera shot angle 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
1. Eye level shot
○ When your subject is at eye-level, they're in a natural perspective (not superior/inferior)
○ Mimics how we see people in real life - our eye line connecting with theirs 2. Low angle shot
○ Frames the subject from a low camera height looking up at them
○ Emphasises power dynamics between characters 3. High angle shot
○ Camera points down at your subjects
○ Creates a feeling of inferiority / looking down at your subject 4. Hip level shot
○ When your camera is roughly waist-high 5. Knee level shot
○ When your camera is about as low as your subjects knees 6. Ground level shot
○ When your cameras' height is on ground level with your subject 7. Shoulder level shot
○ Camera is roughly as high as subjects shoulders.
○ Much more standard than eye level shots, making actors seem shorter
○ Shoulder level shot can maximise the feeling of superiority when paired with a low angle. 8. Dutch Angle / Dutch Tilt Shot
○ Camera is slanted to one side
○ Create a sense of disorientation 9. Birds eye view / Overhead shot
○ From way up high, looking down on your subject and a good amount of the scenery surrounding him/her.
○ Can create a good sense of scale and movement 10. Aerial Shot
○ Shot from way up high
○ Establishes a large expanse of scenery
Composition :
https://www.studiobinder.com/blog/rules-of-shot-composition-in-film/#:~:text=What%20is%20composition%3F,to%20convey%20an%20intended%20message.
Ultimate Guide to Film Composition & Framing — Key Elements Explained [Shot List Ep. 11]
- Composition refers to 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
1. The Rule of Thirds
○ Positioning a character to show their relation to other elements in the scene
○ Points of interest lie on the intersecting lines
○ As the camera frames your shot, keep the image on the intersecting lines; more pleasing to the eye
- Rules of Composition 1. Balance and symmetry
○ Often reveal character traits and power dynamics
○ Create a place so perfectly symmetrical, audience feels overwhelmed. 2. Blocking
○ The way the director moves actors in a scene
○ Uses leading lines to control what the audience sees / how they see it 3. Leading Lines
○ Actual lines / imaginary ones in a shot that lead the eye to key elements in the scene
○ Use this technique to direct the viewer's eyes but also connect the subject to essential objects/situations ○ Essential to convey context
○ Another leading line can be established by characters movement 4. Eye level framing
○ Positions the audience at eye-level with the characters, which plants the idea that we are equal with the character. 5. Deep space composition
○ Filmmakers use deep space when significant elements in a scene are positioned both near and far from the camera.
Depth of Field (DOF) - The term used to describe the size of the area in your image where objects appear acceptably sharp - Area in question is known as the field, size of the area is the depth of the field.
- Centre most point of the field is known as point of focus
○ The imaginary 2D plane that extends from the center point is known as plane of focus
○ Anything that falls on the plane of focus is officially in focus.
- Types of Camera Focus
The Viewer's Point of Attention
1. Rack Focus / Focus Pull
○ First assistant cameraman will pull focus to make sure the subject stays within the acceptable focus range
○ Rack focus is an emphasised focus pull; acceptable focus range is intentionally shifted from one subject to another. 2. Shallow Focus
○ Subject is in crisp focus while the foreground / background is out of focus
○ Limits depth of field to create emphasis on subject 3. Deep Focus
○ Everything in the frame is in focus 4. Tilt Shift
○ Rotates perspective within the lens and emulates selective focus
○ Make parts of your image appear in sharp focus, while others are out of focus 5. Soft Focus
○ In contrast to deep focus, this keeps nothing in 100% sharp focus.
○ Caused by flaw in lens or special filters
○ Perfect for filming dream/memory 6. Split Diopter
○ An additional lens element that allows for two simultaneously focal lengths
○ Can achieve shallow focus in the foreground and background, while middle remains out of focus
- Types of Camera Shot Sizes
1. Extreme Wide Shot (ELS)
○ Makes your subject appear small against their location
○ E.g. make your subject feel distant / unfamiliar / overwhelmed
○ E.g. make your subject feel distant / unfamiliar / overwhelmed
2. Long Shot (LS) / Wide Shot (WS)
○ Same idea as ELS but a bit closer
○ Cinematic effect relating to subject and scene
○ Same idea as ELS but a bit closer
○ Cinematic effect relating to subject and scene
3. Full Shot (FS)
○ Lets subject fill the frame while keeping emphasis on scenery
○ Lets subject fill the frame while keeping emphasis on scenery
4. Medium Long Shot (MLS) / Medium Wide Shot (MWS)
○ Frames the subject from roughly the knees up
○ Frames the subject from roughly the knees up
5. Cowboy Shot
○ Frames the subject from mid-thigh up
○ Called cowboy because it is used in Westerns to frame a gunslingers gun on his hi
○ Called cowboy because it is used in Westerns to frame a gunslingers gun on his hi
6. Medium Shot (MS)
○ One of the most common camera shots; frames from roughly the waist up
○ Emphasises more of your subject while keeping background visible
○ One of the most common camera shots; frames from roughly the waist up
○ Emphasises more of your subject while keeping background visible
7. Medium Close Up (MCU)
○ Frames your subject from roughly the chest up;
○ typically favours the face but keeps the subject somewhat distant
○ Frames your subject from roughly the chest up;
○ typically favours the face but keeps the subject somewhat distant
8. Close Up (CU)
○ When wanting to reveal a subjects emotions / reactions (often with face)
○ When wanting to reveal a subjects emotions / reactions (often with face)
○ Perfect for important moments
9. Extreme Close Up (ECU)
○ The most you can fill a frame with your subject.
○ Often shows eyes, mouths, and gun triggers
○ The most you can fill a frame with your subject.
○ Often shows eyes, mouths, and gun triggers
10. Establishing Shot
○ Is a shot at the head of a scene that clearly shows us the location of the action
○ Shot often follows an aerial shot and is used to show where everything happens
○ Is a shot at the head of a scene that clearly shows us the location of the action
○ Shot often follows an aerial shot and is used to show where everything happens
https://www.studiobinder.com/blog/ultimate-guide-to-camera-shots/#camera-framing
Camera Framing: Shot Composition & Cinematography Techniques Explained [The Shot List, Ep 2]
Working with subjects in the frame
1. Single Shot
○ When your shot captures one subject
○ Can be set/framed in any shot size, just as long as there is only one character featured.
○ Can have an OTS single, aka dirty single; technically has more than one person in the frame, but the character in the foreground isn't featured.
○ Camera shot with 2 characters featured
○ Features 3 characters in the frame
○ Important in any film with a group of characters
- Crowd shot - for an innumerable amount of people
○ Shows your subject from behind the shoulder of another character
○ Emulates perspective; common in conversation scenes.
○ Similar to OTS, camera is placed with a characters hip in the foreground, focus subject in the plane of acceptable focus
○ Often suggests power imbalance due to imbalance of subject placement
○ Camera shot that shows the viewer exactly what the character sees
○ Transports the audience into that character
Camera Angle:
https://www.studiobinder.com/blog/ultimate-guide-to-camera-shots/#camera-angles
Ultimate Guide to Camera Angles: Every Camera Shot Explained [Shot List, Ep. 3]
- Camera shot angle 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
1. Eye level shot
○ When your subject is at eye-level, they're in a natural perspective (not superior/inferior)
○ Mimics how we see people in real life - our eye line connecting with theirs
○ Frames the subject from a low camera height looking up at them
○ Emphasises power dynamics between characters
○ Camera points down at your subjects
○ Creates a feeling of inferiority / looking down at your subject
○ When your camera is roughly waist-high
○ When your camera is about as low as your subjects knees
○ When your cameras' height is on ground level with your subject
○ Camera is roughly as high as subjects shoulders.
○ Much more standard than eye level shots, making actors seem shorter
○ Shoulder level shot can maximise the feeling of superiority when paired with a low angle.
○ Camera is slanted to one side
○ Create a sense of disorientation
○ From way up high, looking down on your subject and a good amount of the scenery surrounding him/her.
○ Can create a good sense of scale and movement
○ Shot from way up high
○ Establishes a large expanse of scenery
Composition :
https://www.studiobinder.com/blog/rules-of-shot-composition-in-film/#:~:text=What%20is%20composition%3F,to%20convey%20an%20intended%20message.
Ultimate Guide to Film Composition & Framing — Key Elements Explained [Shot List Ep. 11]
- Composition refers to 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
1. The Rule of Thirds
○ Positioning a character to show their relation to other elements in the scene
○ Points of interest lie on the intersecting lines
○ As the camera frames your shot, keep the image on the intersecting lines; more pleasing to the eye
- Rules of Composition
○ Often reveal character traits and power dynamics
○ Create a place so perfectly symmetrical, audience feels overwhelmed.
○ The way the director moves actors in a scene
○ Uses leading lines to control what the audience sees / how they see it
○ Actual lines / imaginary ones in a shot that lead the eye to key elements in the scene
○ Use this technique to direct the viewer's eyes but also connect the subject to essential objects/situations
○ Another leading line can be established by characters movement
○ Positions the audience at eye-level with the characters, which plants the idea that we are equal with the character.
○ Filmmakers use deep space when significant elements in a scene are positioned both near and far from the camera.
Depth of Field (DOF) - The term used to describe the size of the area in your image where objects appear acceptably sharp
- Centre most point of the field is known as point of focus
○ The imaginary 2D plane that extends from the center point is known as plane of focus
○ Anything that falls on the plane of focus is officially in focus.
- Types of Camera Focus
The Viewer's Point of Attention
1. Rack Focus / Focus Pull
○ First assistant cameraman will pull focus to make sure the subject stays within the acceptable focus range
○ Rack focus is an emphasised focus pull; acceptable focus range is intentionally shifted from one subject to another.
○ Subject is in crisp focus while the foreground / background is out of focus
○ Limits depth of field to create emphasis on subject
○ Everything in the frame is in focus
○ Rotates perspective within the lens and emulates selective focus
○ Make parts of your image appear in sharp focus, while others are out of focus
○ In contrast to deep focus, this keeps nothing in 100% sharp focus.
○ Caused by flaw in lens or special filters
○ Perfect for filming dream/memory
○ An additional lens element that allows for two simultaneously focal lengths
○ Can achieve shallow focus in the foreground and background, while middle remains out of focus
Week 2
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Exercises
Week 1
Editing Exercise
Exercise #1: Mint ad
For this exercise we had to import scenes from a video provided by our teacher into Premier Pro, arrange them in sequence and then export.
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| Fig.2 Imported media |
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| Fig.3 Arrange the footage in sequence |
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| Fig.4 Marking In the start of the footage |
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| Fig.5 Marking Out the end of the footage |
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| Fig.6 Exporting with relevant settings |
Final Outcome
Fig.7 Final outcome
Exercise #2 : Doritos ad
Essentially the same exercise as the first one, except we had to do this ourselves, as well as organise the sequence of the clips to get it accurate.
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| Fig.8 Importing media |
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| Fig.9 Align footage with real video |
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| Fig.10 Marked and completed footage and ready to be exported |
Final Outcome
Week 2
This week our teacher gave us a few exercises to work on, including answering questions based on Acts and themes of 2 films.
EXERCISE -
Now, give your knowledge on 3-act structure a run for the money. By now you should have already watched:1. Lalin, 2. Everything, everywhere, all at once.
Based on each of the movies,
1. Which part is act 1, act 2, act 3 respectively? Describe each act with ONE paragraph only.
2. What is the inciting incident in the movie?
3. What is the midpoint scene in the movie?
4. What is the Climax scene in the movie?
5.What is the theme of the movie?
Answer the questions twice, separately for 1. Lalin, 2. Everything, everywhere, all at once. Post it in your blog under exercises.
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Answer set 1 : Everything Everywhere All At Once
1. Which part is act 1, act 2, act 3 respectively? Describe each act with ONE paragraph only.
a. Act 1 :
i. The first act opens with describing Evelyn's life at home and setting the scene for their family life and business where they run a laundromat. There is a lot of tension and stress within their family, specifically revolving around the mother. The introduction of the turn of events starts in the elevator where Evelyn is introduced to the multi-verse and how she has to save it.
b. Act 2 :
i. The second act is when Evelyn faces switching through multi-verses and learning skills through that, and where she is also confronted by the thing she has to save the world from - Jobu Tupaki, which is actually her daughter. She faces many other obstacles in the process, while also switching through the multi-verse many times and becoming acclimated to it, as well as overwhelmed where she almost succumbs to Jobu Tupaki.
c. Act 3 :
i. The last act is where Evelyn has a final confrontation with Jobu Tupaki, where initially fighting with violence, she learned to fight with kindness, and eventually defeats the obstacles in her way to get to Jobu Tupaki and to stop her daughter from going into the everything bagel. After the climax the resolution comes where she stops Jobu Tupaki and saves her daughter, as well as the world, andthey go back to normal as a stronger family with newfound acceptance for one another.
2. The inciting incident in the movie is where Evelyn, Waymond and her dad go to the IRS office, and in the elevator alpha Waymond takes over Waymond's body and tells Evelyn about the multiverse and what she must do in that current moment of time.
3. The midpoint scene would be where Evelyn's father makes her kill Joy (Jobu Tupaki), and where she realises she can't and shifts her perspective on the situation where instead of defeating Jobu Tupaki she wants to save her daughter instead.
4. The climax scene is when Evelyn is face to face with Jobu Tupaki and the Everything Bagel, where instead of resorting to violence with her daughter and the rest of the obstacles in her way she chooses to fight and confront the situation with kindness, raising the stakes even higher for her.
5. The theme of the movie is ambiguous, of course it fits the title of everything being everywhere all at once, it is a chaotic storytelling of the multiverses and switching between them, however I believe the overall theme to be towards love and kindness, and the trials of family and support, where resolution came when Evelyn started fighting with kindness, and accepting things for what / who they were; making peace with her father's mindset, and accepting all of her daughter.
Answer set 2 : Lalin
1. Which part is act 1, act 2, act 3 respectively? Describe each act with ONE paragraph only.
a. Act 1 :
i. Act one is where we meet Lalin who is a Thai girl that now lives in Japan, whose face is also mystery to us. This act introduces us to the backstory of who she is and how she got bullied for her appearance, and her current life where she runs a social media page that gained a lot of attraction for her 'beauty'.
b. Act 2 :
i. The second act is where she is introduced to this writer who wants her to translate his book, which she then falls for him and they continue to grow their relationship, while she still hides behind her mask. They eventually end up planning to meet, where he travels to Japan to see her, but then Lalin panics, contradicted between her representation on social media and what she really sees in herself, and does not meet him in the end, and he leaves.
c. Act 3 :
i. In the final act, Nut leaves the book for her to read which reveals their relationship and connection in the past, leading her to confront and reveal herself from the mask and to chase after Nut who has already left. In the end she doesn't catch him, but she gains self-acceptance.
2. The inciting incident of the film would be when the guy goes to Japan to see her, where she is confronted with facing him and showing him her true self which she is conflicted by.
3. The midpoint is where their relationship is growing stronger and the guy wants to see her face, but she manages to avoid and dismiss it.
4. The climax is when she reads the book and realises the background of their relationship and the message of the book, for her to be herself and face reality. When she finally realises and takes her mask off, she tries to find the guy who had already left.
5. The theme of this film is about the harsh realities of this world, and self-acceptance. It depicts how the environment can change who you think you are, and that it is okay to mask yourself up to get social validation, when in reality the only validation you need is from yourself, and having real connections through honesty and vulnerability can help find it.
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