EXERCISES

on

21/04/24 - 28/07/24 (week 1 - week 14)

Gabriella Grace Christyanti / 0371915
Sound & Video Production / Bachelor of Design (Honours) in Creative Media
Exercises

TABLE OF CONTENTS 

1. Lectures
2. Instructions
3. Exercises
4. Feedback
5. Reflection

1. LECTURES

WEEK 1: INTRODUCTION TO THE MODULE

During class, Mr. Martin gave us an overview of what the Video and Sound Production module will cover. One of the first things he emphasized was the importance of writing and preparation. Before starting any projects, we’re expected to write down our ideas and also gather professional references we can find online (e.g. from Pinterest).

He then explained the structure of our assignments, including Project 1, Project 2, and the Final Project. For Project 2, he mentioned that it’s a group project where we’ll be divided into teams to plan and shoot our own production, which should be edited in the style of a thriller. He also briefly explained that we’ll be using Adobe After Effects for our final project, and that we’ll need to get a tripod for our shoots.

Since our tutorial and practical sessions are held in the computer lab, we got hands-on experience using Adobe Premiere Pro. During the session, we completed two exercises to help us get familiar with the software and its tools. Mr. Martin also shared a helpful shortcut: using the up and down arrow keys lets you jump to the edge of a clip in the timeline, which makes it easier to line up clips without leaving large gaps.

I ran into an issue where my sequence didn’t appear, but Mr. Martin helped me out and explained that you can create a new sequence by simply dragging a clip down into the timeline. He also walked us through how to export our edited videos properly, showing us step-by-step which format settings to choose.

Before diving into cinematography, it's important to first understand the foundational elements of cinematography: shot size, camera angle, and composition. These are the core building blocks of visual storytelling, used by filmmakers, content creators, and visual artists alike to communicate ideas, emotions, and narratives effectively to their audience. 

SHOT SIZE

Shot size refers to how much of the subject and their surroundings is visible within the frame. The choice of shot size influences the audience's emotional connection, the importance of the subject, and the context of the scene.

  1. Extreme Wide Shot (EWS) / Extreme Long Shot (ELS)

    • Emphasizes the setting and makes the subject appear small or even insignificant.

    • Often used to establish the location or evoke a sense of scale, isolation, or distance.

    • Example: Mad Max: Fury Road

  2. Wide Shot (WS) / Long Shot (LS)

    • Shows the subject's full body, usually with space above and below them.

    • Balances the subject and environment, useful for giving spatial context.

    • Example: The Martian

  3. Full Shot (FS)

    • Frames the entire body of the subject, filling more of the frame than a wide shot.

    • Often used for group shots or full character introductions.

    • Example: Guardians of the Galaxy

  4. Medium Wide Shot (MWS) / Medium Long Shot (MLS)

    • Frames the subject from the knees up.

    • A transitional shot between full and medium shots, useful in dialogue and action scenes.

    • Example: The Usual Suspects

  5. Cowboy Shot (CS)

    • Frames from mid-thighs up; designed to include the holsters or weapons in Westerns.

    • Adds a dramatic flair, often used for standoffs or intense moments.

    • Example: Wonder Woman

  6. Medium Shot (MS)

    • Captures the subject from the waist up.

    • The most commonly used shot in film and animation due to its versatility.

    • Ideal for dialogue, showing emotion while still keeping background context.

    • Example: X-Men: Days of Future Past

  7. Medium Close-Up (MCU)

    • Frames the subject from the chest up.

    • Focuses more on facial expression without fully isolating the subject from the scene.

    • Example: No Country for Old Men

  8. Close-Up (CU)

    • Emphasizes facial expressions, reactions, or important details.

    • Draws the viewer into the emotional experience of the character.

    • Example: The Usual Suspects

  9. Extreme Close-Up (ECU)

    • Frames a very specific part of the subject, such as eyes, lips, or an object.

    • Used to create tension, highlight critical details, or enhance intimacy.

    • Example: The Usual Suspects

  10. Establishing Shot

    • A wide or extreme wide shot placed at the beginning of a scene.

    • Shows where the action will unfold, orienting the viewer.

    • Can also set the tone and mood of the narrative environment.

FRAMING

Framing involves choosing how many subjects are in the shot and how they are positioned in the frame. It controls the viewer's focus and emotional response.

  1. Single Shot

    • Frames one subject.

    • Can be in any shot size but focuses solely on one character or object.

    • Example: Iron Man

  2. Two Shot

    • Frames two subjects in the same composition.

    • Often used in conversations or comedic interactions to capture chemistry or conflict.

    • Example: The Matrix Reloaded

  3. Three Shot

    • Frames three characters.

    • Common in ensemble or adventure films where group dynamics are important.

    • Example: Harry Potter and the Deathly Hallows – Part 1

  4. Over-The-Shoulder Shot (OTS)

    • Shows one character from behind another’s shoulder.

    • Essential in dialogue scenes to create perspective and spatial relationships.

    • Example: Westworld

  5. Over-The-Hip Shot (OTH)

    • Similar to OTS, but lower, with the hip in the foreground.

    • Highlights physical dominance, especially if one character is seated.

    • Example: Reservoir Dogs

  6. Point of View Shot (POV)

    • Mimics what a character sees.

    • Makes the audience feel like they are in the character's shoes.

    • Often part of a shot-reverse-shot sequence: character looks → POV → reaction shot.

    • Example: Kill Bill

CAMERA ANGLES

Camera angle influences how the subject is perceived—powerful, weak, equal, or unstable.

  1. Eye Level Shot

    • Neutral and balanced.

    • Most natural viewpoint, where the camera is positioned at the subject's eye level.

    • Example: Forrest Gump

  2. Low Angle Shot

    • Looks up at the subject.

    • Makes the subject appear powerful, heroic, or intimidating.

    • Example: The Empire Strikes Back

  3. High Angle Shot

    • Looks down on the subject.

    • Can make the character look weak, vulnerable, or overwhelmed.

    • Example: The Princess Bride

  4. Hip Level Shot

    • Camera at waist height.

    • Useful in action scenes and conversations involving seated characters.

    • Example: Reservoir Dogs

  5. Knee Level Shot

    • Positioned at knee height.

    • Highlights a character's movement or emphasizes power when paired with a low angle.

    • Example: Home Alone

  6. Ground Level Shot

    • Camera at floor or ground level.

    • Reveals hidden actions or creates dramatic low-angle compositions.

    • Example: Star Wars: The Last Jedi

  7. Shoulder Level Shot

    • Camera at the subject's shoulder height.

    • Slightly lower than eye-level, can subtly affect power dynamics.

    • Example: No Country for Old Men

  8. Dutch Angle / Tilt Shot

    • The camera is slanted to one side.

    • Suggests unease, instability, or psychological tension.

    • Example: Mission: Impossible

  9. Bird’s Eye View / Overhead Shot

    • Directly above the subject.

    • Emphasizes patterns, scale, and geography.

    • Example: Eternal Sunshine of the Spotless Mind

  10. Aerial Shot

    • Taken from a helicopter or drone.

    • Offers dramatic overhead views, often used in establishing shots or chase scenes.

    • Example: Blade Runner

COMPOSITION

Composition is how visual elements are arranged in a shot to guide the viewer’s eye and support storytelling.

  1. Rule of Thirds

    • Divides the frame into thirds horizontally and vertically.

    • Placing subjects along these lines creates visually balanced and appealing images.

    • Example: Rear Window

  2. Balance & Symmetry

    • Symmetrical shots can emphasize order, peace, or formality.

    • Imbalance can create tension or focus.

    • Example: Full Metal Jacket

  3. Leading Lines

    • Real or implied lines that draw the viewer’s eye to a focal point.

    • Enhances depth and connection between elements in a scene.

    • Example: Nightcrawler

  4. Eye-Level Framing

    • Keeps viewer aligned with the character’s perspective.

    • Often used to immerse the viewer or create empathy.

    • Example: Nightcrawler

  5. Depth of Field

    • Refers to how much of the image is in focus.

      • Deep Focus: everything is sharp.

      • Shallow Focus: background blurred, subject sharp.

      • Soft Focus: everything slightly blurred.

    • Used to control attention or create mood.

    • Example: Nightcrawler

  6. Deep Space Composition

    • Places subjects at varying distances from the camera.

    • Creates visual tension or contrast between foreground, middle ground, and background.

    • Example: Nightcrawler

WEEK 1 QUIZ:

WEEK 2: Understanding the Three Act Structure

Introduction to the Three Act Structure

The Three Act Structure is a classic narrative framework that divides a story into three distinct parts: Setup (Act I), Confrontation (Act II), and Resolution (Act III). This model offers a structured and dynamic way to shape compelling stories and is widely used in filmmaking, screenwriting, and storytelling in general.

Basic Structure Breakdown

Act I: Setup

  • Duration: Typically the first 20-30 minutes of a film.

  • Introduces the protagonist, supporting characters, and the world they inhabit.

  • Establishes the character’s goals and initial obstacles.

  • Includes the conflict key event that disrupts the status quo and launches the main conflict and sets the story in motion

Act II: Confrontation or Build

  • Forms the bulk of the narrative.

  • The protagonist actively pursues their goal but faces rising obstacles and conflicts.

  • Includes major turning points:

    First Pinch Point    : An initial reminder of the story’s stakes, often involving the antagonist.
    Midpoint: A major turning moment that alters the direction of the story (for better or worse).
    Second Pinch Point: A moment of serious trouble or setback that builds tension and leads toward the climax.

  • Ends with the Third Plot Point where stakes are at their highest.

Act III: Resolution or Payoff

  • Brings the story to its climax, the ultimate confrontation or emotional peak.

  • Delivers catharsis, either through success, failure, or transformation.

  • Ends with the Resolution, showing how the events of the story have permanently changed the protagonist or world.



Key Narrative Beats in the Three Act Structure

  1. The Hook: The opening event that grabs the audience's attention.

  2. Inciting Incident: The moment that propels the protagonist into the core conflict.

  3. First Plot Point: The story's point of no return — the protagonist commits to a course of action.

  4. First Pinch Point: A smaller conflict or challenge often involving the antagonist.

  5. Midpoint: A major twist or revelation that redirects the story.

  6. Second Pinch Point: The protagonist hits a major low or setback.

  7. Third Plot Point: The lead-in to the climax, the highest stakes moment yet.

  8. Climax: The final, most intense conflict.

  9. Resolution: The aftermath and emotional closure.

Story Analysis Using the Three Act Structure

Lalin Advertisement Breakdown

Act 1: Setup

  • Lalin, a girl who was bullied during high school, escapes to Japan for a fresh start.

  • She enjoys a peaceful, anonymous life, though social media both boosts her popularity and brings new haters.

Act 2: Confrontation

  • Lalin connects online with a graphic novelist, Astronut Nut.

  • They build a close relationship through messages.

  • Conflict arises when Astronut Nut visits Japan and wants to meet in person, Lalin panics and refuses.

Act 3: Resolution

  • After he leaves, Lalin reads his novel and realizes he is her childhood friend.

  • She chases after him, but it’s too late — they don’t reunite.

  • Theme: The film explores bullying, identity, self-worth, loneliness, and the tension between online personas and real-life vulnerability.

Key Moments:

  • Inciting Incident: Lalin is bullied and flees to Japan.

  • Midpoint: Astronut Nut comes to Japan unannounced.

  • Climax: Lalin realizes his identity and chases after him.

  • Resolution: She fails to find him, underscoring emotional loss and reflection.

Everything, Everywhere All at Once Breakdown

Act 1: Setup

  • Evelyn Wang struggles with her family life and IRS issues.

  • At the audit, she is pulled into a multiverse by an alternate version of her husband, Waymond.

Act 2: Confrontation

  • Evelyn learns she is the only one capable of defeating Jobu Tupaki, the multiverse’s greatest threat, who turns out to be her daughter, Joy.

  • She battles different versions of herself and confronts existential chaos.

Act 3: Resolution

  • Evelyn chooses kindness and connection over conflict.

  • She repairs her relationship with her daughter and family.

  • Theme: A story about empathy, acceptance, and the power of human connection across chaos.

Key Moments:

  • Inciting Incident: Evelyn is pulled into the multiverse.

  • Midpoint: Evelyn realizes her role as the “chosen one.”

  • Climax: She uses compassion to reconcile with Joy.

  • Resolution: Family unity and peace are restored.

WEEK 2 QUIZ:

WEEK 3: Storyboard

Storyboard Overview

  • A storyboard is a visual roadmap of a film or video, breaking down scenes into sequential panels like a comic book.

  • It includes drawings, sketches, or reference images, paired with descriptions of action, dialogue, camera movements, and shot specifications.

  • It helps pre-visualize the story and simplifies the production process.

  • Often considered an essential pre-production tool in filmmaking and animation.

Types of Storyboards

  • Traditional Storyboard

    • Pencil sketches with detailed notes.

    • Includes arrows for camera/character movements, props, and directions.

    • Common in team productions where clarity is essential.

  • Thumbnail Storyboard

    • Simplified drawings without text.

    • Useful for small teams or solo creators.

    • Focuses more on the image than on written detail.


What's Included in a Storyboard

  • Visuals: sketches, drawings, or reference photos.

  • Scene descriptions: actions, emotions, and character behavior.

  • Technical details: shot size, lens, camera angle, framing.

  • Movement: arrows to show character or camera motion.

  • Additional notes: annotations to clarify what visuals can't show.

How to Create a Storyboard (6 Steps)

  1. Identify Key Scenes

    • Understand your story and highlight major beats:

      • Actions, locations, wardrobe, staging, plot points, etc.

  2. Map Out Key Scenes

    • Organize scenes into a sequence.

    • Assign numbers and titles to easily reference the broader narrative.

  3. Add Images or Sketches

    • Begin idea landscaping: brainstorm and visualize each scene.

    • Use photography, illustration, screenshots, or location images.

  4. Describe What Happens in Each Frame

    • Communicate how each frame will look and feel.

    • Consider these components:

      • Composition & Framing: Use techniques like rule of thirds.

      • Transitions: Plan how each shot flows into the next.

      • Character Blocking: Show positioning and movement.

      • Emotion & Expression: Facial and body language cues.

      • Annotations: Extra notes for direction or tone.

      • Dynamic Action: Break fast-paced action into multiple panels.

  5. Share with Your Team

    • Gather feedback and ensure everyone understands the vision.

    • Make revisions based on team input during pre-production.

  6. Reference on Set

    • Bring printed or digital versions to the shoot.

    • Useful for rehearsals and on-the-fly adjustments.


2. INSTRUCTIONS

3. EXERCISES 

WEEK 1: Introduction to Premiere Pro

In our first week, Mr. Martin introduced us to Adobe Premiere Pro, the industry-standard video editing software. He began by guiding us through the basics: importing media, navigating workspaces, arranging clips in sequence, using shortcuts like the insert button, and exporting the final edit.

Our first exercise was to edit and assemble a pre-recorded video advertisement for mints using clips provided by Mr. Martin. Here's how the process went:

  1. Download & Import
    We started by downloading all the provided video clips from Google Drive. Then, we launched Premiere Pro, created a new project, and imported the clips using the Import Media option.


  2. Workspace Setup

    We switched the workspace to Assembly by going to "Window > Workspaces > Assembly". This layout made it easier to arrange and view the clips during editing.

  3. Arranging Clips
    Each clip was double-clicked and inserted into the timeline using the Insert button, as suggested by Mr. Martin. This method allowed us to drag and drop clips directly into our sequence (Sequence 01) in the correct order.

  4. Editing View
    To improve navigation, we switched from Icon view to List view, which helped us organize and locate clips more efficiently.

  5. Exporting
    Once the editing was complete, we exported the video by selecting File > Export > Media, changed the format to H.264, and named the file as instructed. The video was saved in a designated folder.

EXERCISE 2

The second exercise, completed as homework, involved editing a Doritos video using shuffled clips. The goal was to organize the clips in the correct narrative sequence.

  1. Import & Workspace
    Just like in the first exercise, we imported all the clips into Premiere Pro and set the workspace to Assembly.

  2. Arranging Shuffled Clips
    This task was more challenging since the clips were not in order. We had to analyze the content and rearrange parts 1 through 21 into a logical sequence. The Insert button helped streamline the process.

  3. Final Export
    After arranging all the clips correctly, we exported the final version using the same steps as before — selecting Sequence 01, exporting via File > Export > Media, setting the format to H.264, and saving the file in our folder.

FINAL OUTCOME:

WEEK 2: Shooting Practice

During class, we were divided into groups of three and given 30 minutes to complete a shooting exercise around the school. The objective was to film eight specific shot types, each in landscape orientation and lasting around 5 seconds. After filming, we were required to edit the footage in Adobe Premiere Pro, add captions to each shot, and optionally include background music.

Required Shot Types:

  1. Close-Up Shot

  2. Frontal Medium Close-Up Shot

  3. Frontal Medium Shot

  4. Extreme Close-Up Shot

  5. Side Angle Medium Shot

  6. 3/4 Angling Medium Close-Up Shot

  7. Low Angle Wide Shot

  8. Eye-Level Medium-Wide Shot

Editing Process (Premiere Pro):

  1. Imported all video clips into Premiere Pro.

  2. Arranged the clips in the correct sequence based on the shot types.

  3. Added captions using the text tool for each shot; some captions were styled with rectangle tool with low opacity and included a cross dissolve transition.

  4. Inserted background music and trimmed it to fit the video length

FINAL OUTCOME


In this exercise, Mr. Martin provided us with raw footage from a previous batch’s project, based on the Lalin advertisement. Our task was to create a 35-second edited video that involved cutting, arranging, and enhancing the footage by adding graphics, text effects, and sound effects.

We were given access to the raw video footage, graphics assets, storyboard references, and sound effects (iPhone notification tone)

Editing Process (Premiere Pro):

  1. Downloaded and imported all materials into Premiere Pro.

  2. Previewed and trimmed clips using the ‘I’ (in-point) and ‘O’ (out-point) shortcuts before adding them to the timeline.

  3. Arranged the clips in accordance with the storyboard to maintain the intended narrative.

  4. Added cross dissolve effects at the beginning and between some clips for smooth transitions.

  5. Inserted graphics and text overlays, and applied cross dissolve on text elements to create a fading effect.

  6. Included sound effects (like phone notifications) at relevant points.

  7. For the disappearance effect, stacked two clips, trimmed the second, and applied a cross dissolve transition between them.

FINAL OUTCOME

WEEK 3: Shooting exercise 2

During class session, we were given 30 minutes to go outside and take 5 videos on our phone based on the example shot size sir Martin provided us


Editing Process (Premiere Pro):

  1. Imported all video clips into Premiere Pro.

  2. Put in and trimmed clips using the ripple edit tool

  3. Color correction for the first clip

  4. Inserted graphics and text overlays, and applied cross dissolve on text elements to create a fading effect

  5. Inserted background music and trimmed it to fit the video length

FINAL OUTCOME

4. FEEDBACKS

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5. REFLECTIONS

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