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VIDEO & SOUND PRODUCTION | EXERCISES


Week 1 – Week 14 | 26/04/24 – 26/07/24
Emily Soh Ching-Ling | 0359478
Bachelor of Design (Honours) in Creative Media
Video & Sound Production | Section 03 | VSP60104
Exercises

TABLE OF CONTENTS

1.0 INSTRUCTIONS 


2.0 EXERCISES

2.1 WEEK 1

2.1.1 EDITING EXERCISE 1 (MINTS)

Instructions: 
  1. Arrange footage on a timeline.
  2. Software: Adobe Premiere Pro.

Figure 2.1.1-1: WIP, Week 1 (26/04/24)

Figure 2.1.1-2: Editing Exercise 1 (Final Submission), Week 1 (26/04/24)

2.1.2 EDITING EXERCISE 2 (DORITOS)

Instructions: 
  1. Arrange footage on a timeline in the correct order.
  2. Software: Adobe Premiere Pro.

Figure 2.1.2-1: WIP, Week 1 (26/04/24)

Figure 2.1.2-2: Editing Exercise 2 (Final Submission), Week 1 (26/04/24)

2.1.3 QUIZ

Figure 2.1.3-1: Quiz — Shot Size, Camera Angle, & Composition, Week 1 (26/04/24)

2.1.4 REFLECTION ON ASYNCHRONOUS CLASS MATERIALS


Shot size, camera angle, framing, and composition are fundamentals in cinematography. 

Shot size determines how much of the subject and surrounding environment are visible to the viewer. Close-up shots focus on details and emotions, while wide shots establish context and location. Shot size affects the audience's emotional engagement and understanding of the narrative. Camera angle is used to specify the camera's location in relation to the shot. Camera angle affects the viewer's perception of the scene.

Framing refers to how subjects are positioned within a shot. Composition refers to how elements in a scene are arranged within a shot. Framing and shot composition are used to convey a thematic message and experience. 

2.2 WEEK 2

2.2.1 EDITING EXERCISE 3 (LALIN)

Instructions:
  1. Review the original video and storyboard.
  2. Trim the provided footage.
  3. Arrange the footage on a timeline.
  4. Requirements: 35 seconds.
  5. Software: Adobe Premiere Pro.

Figure 2.2.1-1: Renaming Clips, Week 2 (04/05/24)

The first thing I did was rename the clips according to their scene, shot, and take. This makes the sorting and clip comparison process much faster.

Figure 2.2.1-2: Trimming Clips, Week 2 (04/05/24)

Much trimming and overwriting later, the clips and sound effects can finally be assembled.

Figure 2.2.1-3: Assembling Clips & Graphics, Week 2 (04/05/24)

Figure 2.2.1-4: Ring Tone Sound Effect, Week 2 (04/05/24)

Figure 2.2.1-5: Editing Exercise 3 (Final Submission), Week 2 (04/05/24)

2.2.2 SHOOTING & FRAMING EXERCISE

Instructions: 
  1. Using your phone, shoot eight videos according to the requested shot sizes:
    1. Close-up shot.
    2. Frontal MCU shot (soft background).
    3. Frontal MS (soft background).
    4. Extreme close-up shot.
    5. Side-angle MS (soft background).
    6. ¾ MCU shot (soft background).
    7. Low-angle wide shot.
    8. Eye-level medium wide shot.
  2. Edit and add captions to your videos. Mention the shot size.
  3. Requirements: 
    1. Work in pairs.
    2. Shoot in landscape format.
    3. 5 seconds per shot.
    4. Avoid overexposure and underexposure.
  4. Software: Adobe Premiere Pro.

Velicia was my partner for this exercise. We shot our videos in the hallway outside of the computer lab. All videos were filmed on my phone, other than the low-angle wide shot and eye-level medium wide shot because my phone doesn't have the ×0.5 zoom option.

Figure 2.2.2-1: Unedited Videos, Week 2 (02/05/24)

Figure 2.2.2-2: Adding Captions, Week 2 (03/05/24)

In Premier Pro, I cut the videos to length, muted them, and added captions.

Figure 2.2.2-3: Blurring Background, Week 2 (03/05/24)

For the videos requiring a soft background, I masked off the subject (me), applied Gaussian Blur, and inverted the mask so that the background would be blurry instead of me.

Figure 2.2.2-4: Close-up Shot (Final Submission), Week 2 (05/05/24)

Figure 2.2.2-5: Frontal MCU Shot (Final Submission), Week 2 (05/05/24)

Figure 2.2.2-6: Frontal MS (Final Submission), Week 2 (05/05/24)

Figure 2.2.2-7: Extreme Close-up Shot (Final Submission), Week 2 (05/05/24)

Figure 2.2.2-8: Side-Angle MS (Final Submission), Week 2 (05/05/24)

Figure 2.2.2-9: ¾ MCU Shot (Final Submission), Week 2 (05/05/24)

Figure 2.2.2-10: Low-Angle Wide Shot (Final Submission), Week 2 (05/05/24)

Figure 2.2.2-11: Eye-Level Medium Wide Shot (Final Submission), Week 2 (05/05/24)

2.2.3 QUIZ

Figure 2.2.3-1: Quiz — 3-Act Story Structure, Week 2 (02/05/24)

2.2.4 QUESTIONS (PART 1)

1. Watch John Lewis Christmas Advert 2014 (page 5). Name the shot sizes of the shots (page 6–7).

Figure 2.2.4-1: Shot #1, Week 2 (02/05/24)
Answer: Medium Close-up Shot

Figure 2.2.4-2: Shot #2, Week 2 (02/05/24)
Answer: Medium Shot

Figure 2.2.4-3: Shot #3, Week 2 (02/05/24)
Answer: Wide Shot

Figure 2.2.4-4: Shot #4, Week 2 (02/05/24)
Answer: Full Shot

Figure 2.2.4-5: Shot #5, Week 2 (02/05/24)
Answer: Medium Close-up Shot

Figure 2.2.4-6: Shot #6, Week 2 (02/05/24)
Answer: Medium Close-up Shot

Figure 2.2.4-7: Shot #7, Week 2 (02/05/24)
Answer: Medium Shot

Figure 2.2.4-8: Shot #8, Week 2 (02/05/24)
Answer: Medium Shot

2. The over-shoulder (OS) 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. Why is the bottom shot not an OS shot (page 9)?

Figure 2.2.4-9: ☑ OS Shot, Week 2 (02/05/24)

Figure 2.2.4-10: ☒ OS Shot, Week 2 (02/05/24)

The bottom shot is not taken from the foreground character's point of view. Therefore, it is not an OS shot.

3. Watch Unsung Hero (page 10). Name the shot sizes of the shots (page 11–14).

Figure 2.2.4-11: Shot #1, Week 2 (02/05/24)
Answer: Medium Close-up Shot

Figure 2.2.4-12: Shot #2, Week 2 (02/05/24)
Answer: Close-up Shot

Figure 2.2.4-13: Shot #3, Week 2 (02/05/24)
Answer: Close-up Shot

Figure 2.2.4-14: Shot #4, Week 2 (02/05/24)
Answer: Close-up Shot

Figure 2.2.4-15: Shot #5, Week 2 (02/05/24)
Answer: Medium Wide Shot

Figure 2.2.4-16: Shot #6, Week 2 (02/05/24)
Answer: Medium Wide Shot

Figure 2.2.4-17: Shot #7, Week 2 (02/05/24)
Answer: Extreme Wide Shot

Figure 2.2.4-18: Shot #8, Week 2 (02/05/24)
Answer: Close-up Shot

Figure 2.2.4-19: Shot #9, Week 2 (02/05/24)
Answer: Wide Shot

Figure 2.2.4-20: Shot #10, Week 2 (02/05/24)
Answer: Medium Wide Shot

Figure 2.2.4-21: Shot #11, Week 2 (02/05/24)
Answer: Medium Close-up Shot

Figure 2.2.4-22: Shot #12, Week 2 (02/05/24)
Answer: Medium Shot

Figure 2.2.4-23: Shot #13, Week 2 (02/05/24)
Answer: Medium Wide Shot

Figure 2.2.4-24: Shot #14, Week 2 (02/05/24)
Answer: Medium Close-up Shot

Figure 2.2.4-25: Shot #15, Week 2 (02/05/24)
Answer: Medium Close-up Shot

Figure 2.2.4-26: Shot #16, Week 2 (02/05/24)
Answer: Wide Shot

Depth of Field (page 15)

4. What are the foreground, midground, and background in composition? Provide an image for explanation.

Figure 2.2.4-27: Example of Foreground, Midground & Background, Week 2 (03/05/24)

Foreground refers to elements in a composition that are closest to the viewer (e.g. The bushes). Background refers to elements that are furthest from the viewer (e.g. The ocean and the sky). Midground refers to elements between the foreground and background (e.g. The people). 

5. What is depth of field?

Depth of field refers to the area of sharpness or blurriness around a subject (Maio, 2019).

6. What is deep depth of field? Provide an image for explanation.

Figure 2.2.4-28: Example of Deep Depth of Field, Week 2 (03/05/24)

A deep field of focus means a larger area of the composition is in focus, making the image sharper and clearer (Maio, 2019).

7. What is shallow depth of field? Provide an image for explanation.

Figure 2.2.4-29: Example of Shallow Depth of Field, Week 2 (03/05/24)

A shallow depth of focus means a smaller area of the composition is in focus. Usually, the background is blurred while only the subject stays in focus (Maio, 2023).

180-Degree Rule & Screen Direction (page 16–17)

8. What is the 180-degree rule (static screen direction)?

The 180-degree rule is a filmmaking guideline for spatial relations between two characters in a scene. An imaginary straight line is drawn through the characters. The camera only shoots from one side of the line (Kench, 2023).

9. What is continuity in cinematography?

Continuity is the notion that a series of shots should feel as unified and fluid as if it were a single shot (Bauer, 2022).

10. Watch this video. Does it adhere to the 180-degree rule?

The video followed the 180-degree rule up until 0:26. From that point onwards, the camera crosses over the imaginary line drawn through the main characters.

11. What is dynamic screen direction?

Screen direction refers to the direction in which characters and objects move in the scene in relation to the frame (Kench, 2023). Dynamic screen direction refers to screen direction that utilises dynamic movement to convey action, emotion, and narrative progression. Examples of dynamic screen direction include tracking shots that follow a character and complex choreography (RFM, 2024). 

2.2.4 QUESTIONS (PART 2)

Instructions: Answer all questions twice, separately for 1. Lalin, and 2. Everything Everywhere All at Once.

Lalin

1. Which part is act 1, act 2, and act 3 respectively? Describe each act in one paragraph.

Act 1: Set-up
  • The film begins with Lalin, a young Thai woman, introducing herself. When she was younger, she was frequently bullied for having bad acne. Having had enough, she decides to study abroad in Japan, where she can start anew. Lalin becomes a net idol, posting edited pictures of herself online to get validation. Despite her online fame, she isn't happy, largely due to the mismatch between her online and offline appearances.
Act 2: Confrontation
  • A graphic novelist by the name of Astronaut Nut contacts Lalin to ask for help translating his book. She agrees, and the two strike up a close relationship. Nut wants to send Lalin a copy of his book in person. He surprises Lalin by coming to Japan and asks to meet in a cafe. Nut wants to see Lalin, but she isn't ready to show him her unmasked face, fearing that he'll stop liking her. 
Act 3: Resolution
  • Nut leaves his book behind in the cafe. Lalin reads it and realises he's her old classmate who was bullied for being fat. His book is about the impact she left on him when she showed him kindness. Lalin runs after him, now unafraid to show her true self to the world, even if it means losing her online followers.

2. What is the inciting incident of the movie?

The inciting incident occurs when Lalin gets fed up with being bullied, and leaves for Japan. 

3. What is the midpoint scene in the movie?

The midpoint occurs when Nut reveals that he is in Japan, and that he wants to see Lalin in person.

4. What is the climax scene in the movie?

The climax occurs when Lalin reads the book left behind by Nut, and realises his book is about her impact on him. 

5. What is the theme of the movie?

The themes of Lalin are:
  • Self-acceptance. 
  • Social pressure and beauty standards. 

Everything Everywhere All at Once

1. Which part is act 1, act 2, and act 3 respectively? Describe each act in one paragraph.

Act 1: Set-up
  • The movie begins with Evelyn Wang, a Chinese-American woman, struggling to manage her family's laundromat and prepare for an IRS audit. Her marriage to her husband Waymond is strained, and she has a tense relationship with her daughter Joy. At the IRS office, Waymond has a sudden personality change. It turns out he is an alternate version of her husband from another universe. He explains the concept of the multiverse to Evelyn and reveals that the multiverse is being threatened by Jobu Tupaki, the alternate version of Joy. Evelyn begins to experience the memories and access the abilities of her alternate selves.
Act 2: Confrontation
  • Evelyn learns to "verse jump" and gains skills from her alternate selves to fight the minions of Jobu Tupaki. She struggles to understand Jobu Tupaki's nihilistic view of the multiverse. Evelyn's journey across the multiverse reveals various "what if" scenarios of her life, highlighting her regrets and the choices she could have made differently.
Act 3: Resolution
  • Evelyn's confrontation with Jobu Tupaki comes to a head as she gains a deeper understanding of her daughter's pain and perspective. Instead of continuing to fight with brute force, she learns to use empathy and love to resolve conflicts, healing her relationships and finding meaning across the chaos of the multiverse. Evelyn embraces the idea that even though life has infinite possibilities and is overwhelming, the love and connection with her family provide purpose. The movie ends with Evelyn reconciling with Joy and Waymond, choosing to cherish their mundane but meaningful life together.

2. What is the inciting incident of the movie?

The inciting incident occurs when Evelyn is approached by the alternate version of her husband at the IRS office. The alternate Waymond explains to Evelyn that the multiverse is in danger and that she is the key to saving it. He gives her the initial instructions on how to access the abilities and memories of her alternate selves, thus beginning her adventure.

3. What is the midpoint scene in the movie?

The midpoint occurs when Evelyn confronts Jobu Tupaki for the first time. During this confrontation, Evelyn begins to understand the depths of Jobu's despair and the existential threat she poses. This scene marks the escalation in the stakes and deepens Evelyn's understanding of the conflict. From then onwards, she begins to actively seek a solution to the crisis, as opposed to her initial confusion and reactive stance.

4. What is the climax scene in the movie?

The climax occurs when Evelyn fully embraces the concept of empathy and love to resolve the conflicts across the multiverse. She confronts Jobu Tupaki again. Instead of continuing to fight with violence, Evelyn uses her newfound emotional awareness and the skills she learned from her alternate selves to heal and connect with people. She fixes her relationship with Waymond, reconciles with her father, and reaches out to Joy. Evelyn's actions culminate in a heartfelt conversation with Joy. Her acceptance and unconditional love pull Joy back from the brink of existential collapse, effectively neutralising the threat posed by Jobu Tupaki and restoring balance to the multiverse.

5. What is the theme of the movie?

Everything Everywhere All at Once contains multiple themes, with the primary ones being: 
  • The search for meaning and purpose in a life of chaos and infinite possibilities.
  • Family dynamics and generational struggles.
  • The power of empathy, love, and human connection.
  • Identity and self-acceptance.

2.3 WEEK 3

2.3.1 QUIZ

Figure 2.3.1-1: Quiz — Storyboard in Filmmaking, Week 3 (10/05/24)

2.3.2 REFLECTION ON ASYNCHRONOUS CLASS MATERIALS

Instructions:
  1. Write a reflection on the materials below:
    1. What is a Storyboard?
    2. How to Create a Film Storyboard
  2. Requirements: Not more than three paragraphs.

A storyboard is the visual breakdown of a film sequence into individual panels. It is a series of drawings accompanied by dialogue, camera direction, and other important descriptions. Storyboards provide a visual guide for the look, feel, and movement of a film.

2.4 WEEK 4

2.4.1 QUIZZES

Figure 2.4.1-1: Quiz — Production Crew, Week 4 (17/05/24)

2.4.2 REFLECTION ON ASYNCHRONOUS CLASS MATERIALS

Instructions:
  1. Write a reflection on the materials below:
    1. Stages of Film Production
    2. The Roles of a Production Team
    3. Ultimate Guide to Film Crew Positions
  2. Requirements: Not more than three paragraphs.

Film production has five stages: Development, pre-production, production, post-production, and distribution. 

During the development stage, the idea for the film is conceived, the script is written, and initial funding is secured. Pre-production is the phase where the logistics are tackled. This includes casting, location scouting, set design, and film crew assembly. The film crew typically comprises the producer, director, screenwriter, production designer, art director, costume designer, cinematographer, editor, actors, and music supervisor. 

The actual filming takes place during the production stage. The film crew works together to capture the necessary footage. Once filming is complete, the post-production stage begins, involving editing, sound design, visual effects, and colour correction. During the distribution stage, the film is marketed and distributed to theatres, streaming platforms, and media outlets, ensuring it reaches its audience.

2.5 WEEK 7

2.5.1 COLOUR CORRECTION EXERCISE

Instructions:
  1. Colour correct the provided clips.
  2. Software: Adobe Premiere Pro.

Figure 2.5.1-1: Lumetri Scopes & Lumetri Color, Week 7 (07/06/24)

Figure 2.5.1-2: Shot #3 — Original (Left) VS Colour-Corrected (Right), Week 7 (07/06/24)

For this scene, I want it to look dark and gloomy to reflect the main character's mood.

Since the original clip for Shot #3 is similar to what I'm visualising for this scene, I only needed to do minor colour corrections (i.e. adjusting the temperature and tint to be more bluish-green and decreasing the brightness).

I'll be using Shot #3 as a reference when colour-correcting Shots #1 and #2.

Figure 2.5.1-3: Shot #2 — Reference (Left) VS Colour-Corrected (Right), Week 7 (07/06/24)

Figure 2.5.1-4: Shot #1 — Reference (Left) VS Colour-Corrected (Right), Week 7 (07/06/24)

Figure 2.5.1-5: Colour Correction Exercise (Final Submission), Week 7 (07/06/24)

2.5.2 QUIZ

Figure 2.5.2-1: Quiz — Colour Correction & Colour Grading, Week 7 (07/06/24)

2.6 WEEK 9

2.6.1 AUDIO EDITING EXERCISE

Instructions:
  1. Edit this audio file.
  2. Software: Adobe Audition.

Phone Call Sound Effect

Figure 2.6.1-1: Parametric Equaliser, Week 9 (21/06/24)
Decrease bass and treble, increase mid-range.

Figure 2.6.1-2: Phone Call Sound Effect (Final Submission), Week 9 (21/06/24)

Closet Sound Effect (Muffled)

Figure 2.6.1-3: Parametric Equaliser, Week 9 (21/06/24)
Bass remain, decrease treble, increase mid-range to top.

Figure 2.6.1-4: Closet Sound Effect (Final Submission), Week 9 (21/06/24)

Bathroom Sound Effect (Reverb)

Figure 2.6.1-5: Reverb, Week 9 (21/06/24)

Figure 2.6.1-6: Bathroom Sound Effect (Final Submission), Week 9 (21/06/24)

Cave Sound Effect (Reverb)

Figure 2.6.1-7: Reverb, Week 9 (21/06/24)

Figure 2.6.1-8: Cave Sound Effect (Final Submission), Week 9 (21/06/24)

Alien Sound Effect

Figure 2.6.1-9: Pitch Shifter, Week 9 (21/06/24)

Figure 2.6.1-10: Alien Sound Effect (Final Submission), Week 9 (21/06/24)

2.7 WEEK 10

2.7.1 STOP-MOTION TRIAL SHOOT

Instructions:
  1. Prepare clay stop-motion props.
  2. Film two stop-motions:
    1. Clay (00:04 – 00:13).
    2. Paper cut (00:19 – 00:43).
  3. Each stop-motion should be filmed twice:
    1. Once using your phone.
    2. Once using a DSLR camera.
  4. Software: Adobe Premiere Pro and Adobe After Effects.

Checklist

Figure 2.7.1-1: Checklist, Week 9 (21/06/24)

Pre-Production

Figure 2.7.1-2: Materials, Week 9 (21/06/24)

Based on the task delegation, I'm in charge of preparing the props for the clay stop-motion. Thanks to my hoarding tendencies, I already had the materials on hand:
  • Kneaded erasers — for the body.
  • Plastic toy eyes (?) — for the eyes.
  • Eraser — for the phone.

Figure 2.7.1-3: Clay Puppet Attempt, Week 9 (21/06/24)
Just a silly little guy.

My first attempt at making clay puppets. I loosely referenced the puppet from the original video (Figure 2.7.1-3: In the background). I think I'll change the proportions of the limbs in the final puppet to make it goofier.

For the phone, I sliced off the end of an unused eraser and called it a day.

Production

We split our group of five further into two groups to maximise efficiency. Two for clay, three for paper cut:
  • Clay — Angel, Yuk Guan.
  • Paper cut — Yong, Jessie, Emily (me).

1. Clay Stop-Motion


Angel and Yuk Guan seemed to have forgotten that I already made the clay stop-motion props, so there was some confusion when they brought materials along. They ended up using a modified version of my puppet, a Lego brick (for the phone), and some additional clay when filming.

2. Paper Cut Stop-Motion


Despite our roles listed in the checklist PPT, the three of us ended up sharing the roles of director, camera / lighting, and animator. This was honestly a relief because having to manoeuvre a bunch of tiny props while hunched over is painful as it is, alternating roles meant each of us could take a rest without disrupting the workflow. One of us (usually the one resting) would be in charge of taking and checking the footage while the other two would do the animating. 

We admittedly took a long time filming on Jessie's phone because that was our first time filming a stop-motion. It was also tricky filming the scene where the sofa comes into view since the phone tripod was in the way, but we made it work by having one person stand behind the tripod and curve the prop outwards until there was enough space to set the prop down. 

Filming on the DLSR camera went much quicker now that we had some experience. The furniture scene was also much easier to film since there was a gap between the legs of the camera tripod that allowed us to work behind unobstructed.

2.8 WEEK 11

2.8.1 STOP-MOTION WORKFLOW

Instructions:
  1. Import this stop-motion.
  2. Software: Adobe After Effects.

Figure 2.8.1-1: WIP, Week 11 (05/07/24)

Figure 2.8.1-2: Time Stretch, Week 11 (05/07/24)

Figure 2.8.1-3: Stop-Motion Workflow (Final Submission), Week 11 (05/07/24)

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