Video & Sound Production

Shot size : the amount of space visible within a single shot or frame. Different shot sizes convey various types of information or evoke different emotional effects. For instance, a close-up shot captures a small area in great detail, often highlighting a character's emotions or reactions, while a wide shot displays a larger area, typically used to establish the setting or context.
Camera angle : the camera's position relative to the subject being filmed. Various angles create different perspectives and convey different information. For example, a high-angle shot looks down on the subject, creating a sense of vulnerability or powerlessness, whereas a low-angle shot looks up at the subject, suggesting power or dominance.
Composition : involves arranging visual elements within a shot or frame, including the placement of characters or objects, use of color and lighting, and the overall balance and symmetry. Effective composition creates visual interest, directs the viewer's eye, and conveys meaning or emotion.

These three elements—shot size, camera angle, and composition—are crucial tools for filmmakers and visual storytellers to create meaning and communicate ideas to their audience.

- The Quiz for this week is under 3.2 Understanding Shot size & Framing -

Reflection: I think it's quite fun to learn about how most stories are structured. After learning about it, I started analysing the movies I recently watched (Godzilla x Kong, Kung Fu Panda 4) through the the 3-act structure! It's overall very interesting.

Week 2

We were told in Week 1 that we had no classes for Week 2 because Mr. Martin had an interview to go to so we had to go through the class materials on our own time. This week, we learnt about the three-act method of story telling.

Three-act Structure Storytelling

Fig 2.2 Three Act Structure (Source)

The three-act story structure, widely used in storytelling, especially in film and literature, divides a narrative into three main parts: the setup, the confrontation, and the resolution.

Act One, known as the Setup, introduces the protagonist, their world, and the circumstances they're in. It typically concludes with an inciting incident, a significant event that disrupts the protagonist's life and compels them to take action.

Act Two, referred to as the Confrontation, is the longest and most intricate segment. Here, the protagonist encounters a series of obstacles and challenges while striving towards their objective. This act often consists of two halves: initial progress towards the goal followed by setbacks and complications. The second act usually concludes with a major turning point, forcing the protagonist to reconsider their approach due to a significant setback or crisis.

Act Three, the Resolution, is where the story reaches its climax and eventual resolution. The protagonist faces their ultimate challenge or conflict and must overcome it to achieve their goal. The climax is the most intense part, with high stakes and peak tension. The resolution serves as the conclusion, tying up loose ends and providing a satisfying conclusion to the protagonist's journey.

In summary, the three-act story structure offers a strong structured framework for storytelling, enabling writers to craft compelling narratives that resonate with audiences.

Quiz

Fig 2.3 My quiz results (Three-Act Structure)

I managed to get 10/10 for this quiz! I'd say this was more easier to do since I'm currently more to narrative writing than the technical camera shots/angles/etc.

Week 3

Storyboard in Film Making

Fig 2.4 Storyboard example (Source)

A storyboard in filmmaking is a graphic representation of a film, animation, or video game, similar to a comic strip. It consists of a succession of pictures or images displayed in order to pre-visualize a film, animation, motion graphic, or interactive media sequence.

Storyboards are used to organize shots, understand narrative flow, and communicate ideas with the production team. They may include camera angles, character movements, dialogue, and even remarks on special effects or sound. This allows the director, cinematographer, and other crew members to picture the sequences and prepare for the shooting process.

Storyboarding is an important element of the pre-production process because it allows filmmakers to test multiple visual approaches, detect potential difficulties, and make required changes before filming begins, saving time and costs.

Quiz

Fig 2.5 My quiz results (Storyboard in Film Making)

I managed to get 10/10 for this quiz! Which was sort of a relief since I remember as a kid I would study so many storyboards of cartoons I watched at the time so it was be embarrassing for me to NOT know what storyboards were haha

Reflection: I actually had a dream to work as a storyboard artist in an animation film so it was interesting to learn what would've entailed if I'd pursue that dream. Honestly, I still think it's something I'd like to do but I still want to experiment on creating animations first before I fully want to focus on organising the shots or characters in the film I'd work on in the future.

Week 4

Production stages

Fig 2.6 Production stages in Filming (Source)

Filmmaking involves three key phases: pre-production, production, and post-production. Here’s a concise summary of each:

Pre-production: This is the planning phase where all preparations are made before filming starts. Activities include scriptwriting, storyboarding, casting, location scouting, set and costume design, and hiring the crew.
Production: During this phase, the actual filming occurs. The team collaborates to capture all necessary footage, following the plans laid out in pre-production. This stage can be demanding, requiring the coordination of a large crew and adherence to a tight schedule.
Post-production: In this phase, the filmed footage is edited and compiled into the final version of the film. This involves cutting and arranging scenes, adding music and sound effects, color grading, and incorporating visual effects. Post-production is meticulous and crucial for refining the story.

After post-production, the film may proceed to distribution and marketing, though these are not part of the production process.

Production Crew

Fig 2.6 The Production crew of Bridgerton (Source)

The production crew is a team of specialists who collaborate to create a film or video. Each crew member has a specific role and set of duties critical to the production's success. Here are some key production crew members and their responsibilities:

Director: The director oversees the entire production, ensuring the project's creative vision is achieved. They work closely with the cast and crew to plan scenes, direct actors' performances, and make creative decisions regarding the film's look and feel.
Producer: The producer handles the logistical and financial aspects of the production. They secure funding, hire the crew, manage the schedule and locations, and ensure the project is completed on time and within budget.
Cinematographer: Also known as the director of photography (DP), the cinematographer is responsible for the film's visual style. They collaborate with the director to select the right camera, lenses, and lighting to create the desired look and mood for each scene.
Production Designer: The production designer oversees the film's overall visual design, including sets, costumes, and props. They work with the director and cinematographer to create a cohesive and immersive visual environment for the story.
Sound Designer: The sound designer manages the film's audio elements, such as recording and editing dialogue, sound effects, and music. They work with the director and editor to ensure the sound and visuals are well-integrated.
Editor: The editor assembles the footage into a coherent and engaging story. They collaborate with the director and sound designer to shape the film's pacing, tone, and structure.

Many other roles, such as grips, gaffers, makeup artists, and stunt coordinators, are also essential, but these are some of the key positions in the filmmaking process.

Quiz

Fig 2.7 My quiz results (Production Stages)

Hooray!! I got correct on this whole quiz!! I sometimes do watch film analysis videos and they mention about the production stages quite a bit so I think that helped my overall understanding a lot.

Fig 2.8 My quiz results (Production Crews)

I unfortunately got the first question wrong for this quiz because I was confused of whether the Director was also in charge of visual aesthetic since they're also directing how the film would look like. But now I realise that its actually the cinematographer's job to supervise the film's visual style.

Reflection: Reading this helped me to understand what really goes through a single film and how many people are really needed to create a single working idea. It goes to show how important each production role is whether it be the major directing job or the more "minor" editing job. (minor is in "" since editing is still quite a big role in post-production)

3. EXERCISES

3.1 Editing Exercise 1 & 2

Week: 1

First editing exercise instructions:

Download footage: https://drive.google.com/drive/folders/1LI54P6zPIcdXOPpzChp637Fk3NRvVdoW?usp=sharing
Create NEW Premiere Pro Project
Import footage into Premiere Pro
Arrange shots on timeline with proper order
Export video

Process:

Slides 3.1.1 Editing Exercise 01 (Mint) Process.

Final Video:

Video 3.1.1 Editing Exercise 01 (Mint) Final.

~~~

Second editing exercise instructions:

Download footage: https://drive.google.com/drive/folders/1wwRBWvPRQonTRY3YmAbumYNxMsTQwR32?usp=sharing
Create NEW Premiere Pro Project
Import footage into Premiere Pro
Arrange shots on timeline with proper order
Export video

Process:

Slides 3.1.2 Editing Exercise 02 (Doritos) Process.

Final Video:

Video 3.1.2 Editing Exercise 02 (Doritos) Final.

3.2 Understanding Shot Size & Framing

Week: 2

Quiz

Fig 3.2.1 The question I got wrong in my first attempt.

Before getting into this exercise, Mr. Martin gave us a quiz to test our understanding of Week 1's class materials. It was all about shot sizes and their purposes. On my first attempt, I managed to get 14/15 questions right! The only question I got wrong was when I was unsure between Extreme Wide Shot or Wide Shot as the answer (Fig 3.2.1). I had to redo the quiz though, since the form refreshed on its own and I didn't get to screenshot in time (hence why the picture says I got it correct).

Part 1 - Testing Our Understanding

File 3.2.1 Framing & Storyboard (PDF)

After the quiz, we were told to study the Framing & Storyboard slides and answer the questions within them:

Slides 3.2.1 Identifying Shot Sizes.

After identifying all the different shot sizes for all the provided shots came more of the lengthy answer questions. So, the following will be direct answers to them (refer to the questions in the Framing & Storyboard PDF :]);

Depth of Field (Page 14)

Fig 3.2.2 Foreground: Reeds; Midground: Bridge; Background: Mountains. (Source)

Foreground refers to the elements or area of the image that appears closest to the viewer. It frequently includes objects or features that are larger in scale and more detailed than those in the midground and background. The foreground is often located at the bottom of the composition and contributes to the sense of depth.

Midground refers to the area between the foreground and background (hence, "mid"ground). It contains elements that are neither closer nor farther away than those in the foreground and background. Objects in the midground may be smaller or less detailed than those in the foreground, but they are more visible in the background.

Background refers to the elements or area of the image that appears the farthest to the viewer. It frequently features elements that are smaller and less detailed than those in the foreground and midground. Backgrounds are essential for creating context, location, and atmosphere inside a composition or shot.

What is Depth of Field? It refers to the amount of distance within a scene that seems sharp enough in a shot. Simply put, it's about what's in focus and what isn't. It is mostly controlled by the aperture of the camera lens as well as the focal length of the camera to the subject. There are two types of depth of field: shallow and deep depth of field.

Fig 3.2.3 Left: Shallow depth of field; Right: Deep depth of field. (Source)

Shallow depth of field refers to only a tiny area of the image being in focus, with the rest staying blurred. This technique is commonly used in portrait photography, where the subject is clear and the surrounding is pleasantly blurry.

Deep depth of field refers to the majority or all of the shot being in focus, from foreground to background. This is mostly prevalent in landscape photography, where everything from the flowers in foreground to the mountains in the background should be sharp and clear.

Screen Direction (Page 15 & 16)

Fig 3.2.4 180-degree rule. (Source)

The 180-degree rule is a fundamental guideline in filmmaking and video production that controls the spatial relationships between characters and objects within a scene. It often uses an imaginary axis line as a guide to follow through with.

Continuity in cinematography refers to the seamless flow of visual and narrative elements within a film or video production. It includes various aspects like visual consistency, spatial and temporal coherence, and logical progression of events, all aimed at creating a cohesive and immersive viewing experience for the audience.

Video 3.2.1 JWT Vintage.

[✅] The video above adheres to the 180 degree rule as the camera clearly sits on the same axis line, despite changing sides like when the shots are of the couple. The rest of the video also applies as, again, the people are placed nicely of the axis-line whilst the camera pans around.

Dynamic Screen Direction, unlike the 180-degree rule, breaks the imaginary axis line. While the 180-degree rule maintains consistent spatial relationships between characters and objects within a scene by keeping the camera on one side of an imaginary line of action, dynamic screen direction involves intentionally crossing this line to create specific visual effects or narrative emphasis.

Part 2 - Shooting Practice

Task: Record yourself using the following shot sizes (5 seconds each)-

Close-Up shot
Frontal MCU (soft background)
Frontal MS (soft background)
Extreme Close-Up shot
Side angle MS (soft background)
¾ angling MCU shot (with blurry/soft foreground)
Low angle Wide shot
Eye-Level Medium-Wide shot

Edit your videos, add caption for each of the different shots.

~~~

It kept raining on the days I wanted to film so I had to take the videos around 4-6pm so that's why it isn't as sunny of lighting as I hoped it to be :') Most of these shots I took of were in the playground area in my neighbourhood.

Fig 3.2.5 Behind the Scenes (my cat came to check on me :D)

Final:

Video 3.2.2 Shooting Exercise (Final).

Reflection: It was really fun to actually try out the shot sizes in real life but I will admit I did feel slightly awkward in front of the camera, especially in the close-up shots. I liked doing the wide- angle one because I guess I like doing more of landscape shooting rather than have subjects in the frame. Overall, really fun exercise!

3.3 Editing Exercise 3

Week: 2

Task:

Download the footage: https://drive.google.com/drive/folders/1LGt1c2xPYia6gzLQGG_IuLnXgLvQnJvu?usp=sharing
View the Original video: https://youtu.be/dSvEKiRB8EY
Watch the Editing tutorial video: https://youtu.be/mmQHkApEREM
Lalin final cut: Edit to 35 seconds sharp. Document the process under under Exercises section.

~~~

Fig 3.3.1 Importing all the videos and graphics. (Process)

I imported all the videos and graphics into a new project in Premiere Pro. I was actually confused on the graphics part slightly but then I realise that they were mostly just text messages meant to be overlayed over the footage.

Fig 3.3.2 Adding the Ins and Outs to all the footage. (Process)

Next, I tried cutting up the clips as much as I could to fit into the 35 second by creating the Ins and Outs of each clip.

Fig 3.3.3 Adding the graphics and audio to the timeline. (Process)

I kept comparing my video to the original Lalin clip and synced up the graphics to the right clips and also synced the notification audio.

Final:

Video 3.3.1 Lalin Editing Exercise (Final)

Reflection: This task was trickier in the sense that I had to choose what to keep in the video and what not to. It was more hard because I personally thought the 35 second limit made the video look weird and too fast but I chalked it up to this just being an exercise to learn about cutting down clips rather than to fit them properly together.

3.4 Three-act Structure Exercise

Three-Act analysis

Task: Answer these questions twice, separately for Lalin and Everything, Everywhere, All at Once.

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?

~~~

Lalin

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

Act 1 :

Act one sets up the fact that Lalin had previously been bullied in her home country of Thailand because of her appearance. Because of this, she constantly wears a mask to hide her face. To escape from the bullying, she decides to move to Japan, where her social media account became popular from posting her heavily edited face online. Despite her popularity though, she still hides behind her mask whenever she goes out. The inciting incident occurs when an unknown user (later known as Astronaut Nut) messages Lalin online, asking for her help in translating his graphic novel to Japanese.

Act 2 :

As Lalin starts to get to know Nut, her life becomes more vibrant and joyful. Though she still wears masks when videocalling him, Nut's presence is enough to get a smile underneath her mask. The happiness she sought to find was finally here. Nut and Lalin's relationship began growing closer and closer to each other to the point that Nut actually flew to Japan for a surprise visit for Lalin. This surprises Lalin, in a negative way. Despite now having a close relationship with Nut, she still hasn't overcome her own her insecurities. However, she still agrees to meet with Nut.

Act 3 :

On the day they were supposed to meet, Nut excitedly waits for Lalin for quite a while in the cafe. Lalin nervously answers Nut's messages asking when she'd show up with text saying Nut should go away and leave. They have a small argument in chat but ultimately, Nut just asks her to at least read the book he gave her and then he left. Upon reading, Lalin realises that Nut was actually her classmate back in Thailand. A classmate who also went through bullying because of his appearance. Through discovering this, she decides to run after Nut. However, she wasn't able to reach him in time.

2. What is the inciting incident in the movie?

Astronaut Nut messaging Lalin asking for her help in translating his graphic novel about the moon. (which coincidentally, Lalin actually means 'moon').

3. What is the midpoint scene in the movie?

The montage scene of the Nut and Lalin having long-distance calls with each other where they'd do activities like bowling, acting like they were physically there with each other.

4. What is the Climax scene in the movie?

The scene where Lalin has to hesitantly decide to either put away her insecurities or to never see the man she loved face-to-face.

5. What is the theme of the movie?

"Lalin" revolves around the themes of self-acceptance. No matter what the world thinks of your appearance, having confidence within yourself is the most important. If Lalin can't love herself, then how would anyone else be able to properly love her?

Everything, Everywhere, All At Once

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

Act 1 :

We meet Evelyn Wang, a middle-aged woman struggling with the monotony of her existence as a laundromat owner. We see her strained relationships with her family, especially with her daughter Joy, as well as her sentiments of dissatisfaction and unfulfillment. The inciting incident occurs when Evelyn suddenly meets an interdimensional character named Alpha Waymond (a version of Evelyn's husband), who reveals the existence of other realities and her potential as a multiverse warrior.

Act 2 :

In Act Two, Evelyn's journey takes center stage as she traverses through various absurd universes, each presenting its own unique challenges and revelations. This act is characterized by Evelyn's exploration of her identity and her confrontation of her generational trauma that has shaped her life. As she encounters alternate versions of herself and her loved ones, Evelyn is forced to confront her deepest fears and insecurities. Throughout this act, Evelyn grapples with the existential questions of her existence, grappling with the nature of reality and the interconnectedness of all things.

Act 3 :

Lastly in Act Three, the film builds towards its climactic resolution as Evelyn faces her ultimate challenge, risking everything to save the multiverse from impending destruction. This act has many intense action sequences, emotional highs and lows, and profound moments of catharsis and redemption. As Evelyn confronts the Alpha jumpers, she draws upon her inner strength, resilience, and the support of her family to overcome seemingly impossible odds. The climax of the film is a tour de force of visual spectacle and emotional resonance, as Evelyn battles against the forces of darkness in a final showdown that will determine the fate of all existence. As the film reaches its resolution, Evelyn emerges victorious, bringing closure to her personal journey and the overarching conflict.

2. What is the inciting incident in the movie?

When Alpha Waymond appears in the story to warn Evelyn about the multiverse; which leads to Alpha's fighters needing Evelyn's help.

3. What is the midpoint scene in the movie?

The midpoint takes place when Alpha Waymond fights with Jobu Tupaki in another universe, Evelyn trying to explain what's happening to her family but to no avail. Then Alpha Gong Gong (Evelyn's dad) orders her to kill Joy so that Jobu has one less universe to explore; however, she refuses because she now not only wants to defeat Jobu but she also wants to save Joy. This causes animosity between her and the Alpha jumpers.

4. What is the Climax scene in the movie?

Evelyn and Joy fight in the real world, with Joy asking Evelyn to just simply let her go. Evelyn refuses, assuring Joy that no matter what is possible, and despite of the agony, she chooses stay with Joy.

5. What is the theme of the movie?

"Everything Everywhere All At Once" revolves around the themes of nihilism, self-discovery, transformation, and the interconnectedness of existence. Through Evelyn's journey across the multiverse, the film explores the idea of depression, confronting generational trauma, and the Asian-American identity. It also delves into existential questions about purpose and the infinite possibilities that exist within the vastness of the universe.

~~~

Reflection: I had a ton of fun watching both Lalin and Everything Everywhere All At Once (especially EEAAO since I watched it back when it released). Even though they aren't that similar narrative-wise, it was fun to know that both followed the same 3-act structure to the t.

4. REFLECTION

Overall, I think these exercises definitely helped in my understanding of how important each step in a film is whether it be planning of the story or the shooting itself. I managed to step out of my comfort zone with the Shooting Exercise since I had to record myself outside alone in most of the shots. There were some people who walked past me and I'd feel a little embarassed but then I'd remember that I'm recording for my class so why should I feel shy for? Besides that, I found that I actually liked editing for the most part (if Premiere Pro doesn't crash 24/7). Being able to decide what stayed and what didn't in order for everything to look nice was quite cool.

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Qistina Nuralya Maria Binti Azly (0354180)

Video & Sound Production - Exercises

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