Video and Sound Production - Exercises

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21/4/2025 - 25/7/2025 (Week 1 - Week 14)

Lim Yeng San (0366316)
Video and Sound Production / Bachelor of Design (Hons) in Creative Media / Taylors University
Exercises

TABLE OF CONTENTS

1. Lectures
  • Week 1
  • Week 2
  • Week 7
  • Week 1
  • Week 2
  • Week 3
  • Week 4
  • Week 5
  • Week 6
4. Exercises
  • Week 1
  • Week 2
  • Week 3
  • Week 4
  • Week 6
  • Week 9
1. LECTURES
Week 1: Production Process
Pre-Production
- Idea development
- Story
- Storyboard
- Visual references
- Location
- Props

Production
- Lighting
- Costume
- Principal shooting

Post-Production
- Offline editing
- Online editing
- Audio editing


Week 2: Framing and Storyboard
Earliest Cinema
- Shots were simple and straightforward
- Filmmakers turned to dramatic presentations (AKA filmed plays)
- The camera is positioned as if it were a member of the audience
- Films looked visually flat

Cinema Technique
- Manipulating shots and sequences

Composition
Facial Modelling
- Main subject at 45º (¾ angling) to the camera, if properly lighted will appear round and fully display eyes

3-Dimensional Solidity
- 2 or more subjects
- Angling the camera so that two sides of the subjects are seen

Parallel Lines
- Angling the camera so that parallel lines diminish and converge
- Preferably towards the right side of the frame
- Ensures the viewer's eyes follow the lines into the distance

Screen Direction
Dynamic Screen Direction
- Constant screen travel
- Depicts subject motion in one direction only
- Subject should move in the same direction to show progression

Fig 1.1: Dynamic screen direction diagram

Static Screen Direction
- For shots with 2 characters
- The camera stays on a horizontal axis (Line of Action) and doesn't cross sections

Fig 1.2: Static screen direction diagram

180º Degree Rule
- If Camera 2 and 4 are used, the audience crosses the line of action, making it disorienting and confusing


Week 7: Colour Correction
- Individual clips is altered to match colour temperature

Colour Grading
Teal and Orange
- Teal and orange have the highest colour contrast between their exposure values out of all other colours
- eg: warm orange against blue

2. ASYNCHRONOUS CLASS MATERIALS
Week 1: Shot Size, Framing, Camera Angle and Composition
Shot Size
Establishing Shot
- Shows the location of the scene

Figure 2.1: Establishing shot example


Extreme Long Shot / Extreme Wide Shot
- Makes subject(s) look small against their location
- Makes subject(s) feel distant or unfamiliar


Wide Shot / Long Shot
- The main subject is in the middle of the scene where some space is kept above and below them
- Keeps the subject in plain view among their surroundings
- Gives an idea of how the character works with the scene

Figure 2.2: Wide shot / Long shot example


Full Shot
- The main subject's body fully reaches the height of the frame

Figure 2.3: Full shot example


Medium Full Shot
- The subject(s) is framed from the knees up
Cowboy Shot: The subject(s) is framed from the mid-thighs up

Figure 2.4: Medium Full Shot / Cowboy Shot example


Medium Shot
- The subject(s) is framed from the waist up

Figure 2.5: Medium Shot example


Medium Close Up Shot 
- The subject(s) is framed from the chest up

Figure 2.6: Medium Close Up Shot example


Close Up Shot
- A part of the subject is framed (usually face)
- To show important moments 

Figure 2.7: Close Up Shot example


Extreme Close Up
- A small part of the subject(s) is framed (usually eyes or mouth)
- Emphasizes specific details

Sources referenced:



Framing
Single Shot
- Only one subject is in the frame
Dirty Single: Parts of another character is featured in the frame with the main subject

Figure 2.8: Single Shot example


Two Shot / Three Shot / Four Shot / ... / Crowd Shot
- Two subjects are featured in the frame
Three Shot: 3 subjects
Four Shot: 4 subjects
Crowd Shot: A crowd of people in the frame

Figure 2.9: Two Shot example


Over The Shoulder Shot
- Shows the main subject from behind  the shoulder of another character
- Common in conversation scenes
- Provides orientation and connects the characters emotionally
Over The Hip Shot: Shows the main subject from behind the hip of another character
- Suggests power imbalance between the two characters

Figure 2.10: Over The Shoulder Shot example


Point of View Shot (POV)
- Puts the audience in the point of view (POV) of the character
- Often paired with POV audio

Figure 2.11: Point of View Shot example


Insert Shot
- The camera focuses on an inanimate object
- Shows specific details




Camera Angles
Low Angle Shot
- The subject(s) are framed from a camera placed at a low angle pointing up at them
- Emphasize power dynamics between characters (Often to show villains strength)

Figure 2.13: Low Angle Shot diagram


High Angle Shot
- The camera points down at the subject(s)

Figure 2.14: High Angle Shot diagram


Overhead Shot / Bird's Eye View
- The camera looks down at the subject(s) from a bird's eye view perspective

Figure 2.15: Overhead Shot diagram



Dutch Angle Shot / Dutch Tilt Shot
- The camera is slanted to one side horizontally
- Creates a feeling of disorientation and danger

Figure 2.16: Dutch Angle Shot diagram


Eye Level Shot
- The subject(s) is at eye level with the camera
- Creates a sense of neutrality in the scene

Figure 2.17: Eye Level Shot diagram


Shoulder Level Shot
- The camera films as high as the subject(s) shoulder
- Gives the subject a sense of superiority

Figure 2.18: Shoulder Level Shot diagram


Hip Level Shot
- The camera films above the subject(s) waist

Figure 2.19: Hip Level Shot diagram


Knee Level Shot
- The camera films above the subject(s) knees
- Emphasizes the subject's superiority (if paired with a low angle)

Figure 2.20: Knee Level Shot diagram


Ground Level Shot
- The camera height is on ground level with the subject(s) (often filming the subject's feet)
- Shows happening on the ground with the subject

Figure 2.21: Ground Level Shot diagram

Sources referenced



Composition
- The way elements are placed in a frame
Shot Composition: The arrangement of visual elements to convey a message

Composition Elements
Points
- Certain subjects within the frame to attract the audience's focus
- Paired with compositional techniques like rule of thirds and golden triangle

Figure 2.22: Points example


Lines
- Create a sense of direction and mood
- Vertical lines suggest height and strength
- Horizontal lines suggest distance and calmness
- Diagonal lines add an off-tilted energy
- Curved lines add gracefulness
- Leading lines are used to lead the audiences eye to certain points in the frame

Figure 2.23: Lines example


Shape
- Bring visual unity
- Geometric shapes add a sense of tidiness to the frame
- Organic / Irregular shapes adds a natural or chaotic feeling
- Create frames within frames to give the viewer a smaller area of focus within the frame

Figure 2.24: Shape example


Textures and Patterns
- Makes subject(s) stand out from or blend in with the background
- Can be used to create visual and contextual differences between subjects

Figure 2.25: Textures and Patterns example


Space
Positive Space: The main subject
Negative Space: The area around the main subject
- The more space the main subject takes in the frame, the more importance it has
Lead Room / Looking Room: The negative space in front of the subject

Figure 2.26: Space example


Depth
- The space within a frame is divided into three sections:- Foreground, Middle ground and Background
- Creates hierarchies of meanings and relationships between subjects
- Changing focus between objects draws viewer's attention from subject to subject
Deep Focus: A large depth of focus
- Allows for multiple layers of attention
- Creates hierarchy of importance and power

Figure 2.27: Depth example


Balance
- Either symmetrical or asymmetrical
- Keeps the frame organized and stable
Rule of Odds: When shooting multiple subjects, it's more visually pleasing for the amount of subjects to be an odd number
The Golden Ratio: The ratio of 1:1.618
- When the height of the frame is divided by 1:1.618, it creates a line to place different kinds of subjects

Figure 2.28: Balance example


Colour and Tone
- Helps direct a viewer's eye around the frame

Figure 2.29: Colour and Tone example

Sources referenced:


Week 2: The Three Act Structure
- A narrative structure that divides the story into 3 parts, Act 1 (Beginning), Act 2 (Middle) and Act 3 (End).

Act 1: Setup
- Introduction of characters, locations, stories and an inciting incident
- Usually the first 20 - 30 minutes of the film

The Hook
- The opening and first act of the movie
- Captivates the audience

The Inciting Event
- The event that starts the story


Act 2: Confrontation / Build
- The events and conflicts in the story
- A plain storyline will bore the audience
- A storyline with ups and downs keeps the audience hooked

First Plot Point
- The break into Act 2
- The point of no return for the characters

First Pinch Point
- About a quarter of the way through Act 2
- The first obstacle typically involving the antagonist
- Sets up the midpoint

The Midpoint
- Halfway through the movie
- The moment that redirects the plot

Second Pinch Point
- The moment where the protagonist is in trouble and the audience is left questioning their fate
- Sets up Act 3


Act 3: Resolution / Payoff
- The ending to the story

Third Plot Point
- Brings the audience into the highest stakes of the story

Climax
- The most anticipated part of the stories

Resolution
- The closure of the story

Source referenced:


Week 3: Storyboard
- A series of sketches to plan out the direction of the film
- Includes camera direction, dialogue, sound effects and other details
- Maps out the character's actions, shot specs and frame composition

Traditional Storyboards
- Pencil sketches 

Thumbnail Storyboards
- Images

Source referenced:
 
How To Make a Storyboard
1. Identify key scenes in the script
- Highlight major details (actions, locations, wardrobe, staging, narrative arcs, major plot points)

2. Map out the key scenes

3. Add images or sketches
- Sketches, images or photos

4. Describe what happens in each frame
- Composition, framing, transitions, characters, emotions, expressions, annotations, actions

Source referenced:



Week 4: Production
Stages of Film Production
1. Development
2. Pre-Production
3. Production
4. Post-Production
5. Distribution

Development
- Overseen by the producer
- 2 primary phases

The Package
- A collection of creative elements related to the creation of the project
- May consist of a screenplay, intellectual properties, directors or actors
- If a package is approved by a studio it gets "greenlit"
- If it gets rejected, it enters "development hell"
- Development hell: A project is bounced around from studio to studio until it receives an approval

Financing
For studios,
- Pre-sales: Selling a movie before it's made to local distributors
- Slate financing: Getting money from investors


Pre-Production
- The preparation before filming starts

Budgeting
- Line producer: Manages the budget
- Creating a detailed shooting schedule which foresees location, cast, film crew and equipment costs

Setting Up The Crew
- Hiring the crew members with input from the director
- Cinematographer, production designer, costume designer, etc
- The rest of the employees will be hired by the department heads
- Casting director: Organize auditions for actors in accordance with the script and sends potential candidates to the director

Pre-Visualizing
- Making a storyboard
- Writing a shot list
- Consulting the production designer for the look of the sets
- Consulting the costume designer for the look of the costumes
- Location scouting


Production
- The making of the film

The Call Sheet
- The plans for each member of each department
- A document sent out by an assistant director each day before a shoot

The Set Up
- Grip and electric departments sets up the lighting for the shot
- Camera department sets up the camera and rigging involved for movement
- Makeup and costume department style the actor for the scene
- Actors sometimes go through blocking with the director with the sound and camera crew rehearsing with them
- Gives everyone an idea of what's to come and flags potential issues

Shooting
1. Assistant director announces "picture is up"
2. Assistant director calls for quiet, then says "roll sound" and the sound mixer presses record. Once recording, sound mixer will respond "sound speeds"
3. Assistant director says "roll camera" and the camera operator starts rolling the camera. Once recording, camera operator will respond "speeds"
4. The clapper loader (2nd assistant director) reads the scene information off the clapperboard and marking
5. Director says "action"
6. Once the scene is over, director says "cut"


Post-Production
- After all the footage is filmed

Picture Editing
- Editing and cutting the footage to create the film
- 3 general cuts;
1. Assembly - Footage is reviewed, selected and put in order by the editor and director without regard for pacing
2. Rough Cut - Clips are arranged more in line with pacing and rhythm
3. Fine Cut - Finer cuts are made 

Sound Editing
- Adding in sound effects, dialogue and voiceovers

Sound Mixing
- Adjusting all levels of sound in the film

Additional Visuals
- CGI (computer generated images)
- Coloring
- Title and credits


Distribution
- Marketing
- Securing Distribution

Website referenced:

Roles of The Production Crew
Producer
- Manages production
- Develops the project from the initial idea
- Finalizes the script
- Arranges financing
- Manages the production team
- Coordinates the filmmaking process

Set Production Assistant (Set PA)
- Transports actors
- Carries out small tasks on set

Screenwriter
- Shapes the sequence of events in the film to ensure smooth and interesting transitions

Production Designer
- Creates storyboards from the script

Art Director
- Controls the film's settings, buildings, landscapes and interiors
- Acquires props
- Decorates sets
- Makes the sets believable

Costume Designer
- Creates the costumes

Makeup Artist
- Handles the actor's makeup

Hair Stylist
- Styles the actor's hair

SPFX Makeup Designer
- Does special effects makeup (eg: gore, aliens)

Prosthetics Designer
- Creates prosthetics (eg: non-human features, old-age makeup)

Director
- Oversees shooting and film assembling

Assistant Director
1st AD
- Creates the shooting schedule
- Works with the 2nd AD to prepare call sheets and plan out the logistics of principal photography
- Manages the set
2nd AD
- Makes and distributes daily call sheets
- Manages the actors
2nd 2nd / 3rd / 4th  AD
- Shares workload with the 2nd AD on large projects

Cinematographer / Director of Photography
- Captures the vision of the script on video
- Controls the lighting and camera in the scene

Editor
- Organizes and arranges the footage into a continuous sequence

Actors
- Portrays the characters in the story

Music Supervisor
- Controls the selection of the music


Camera Crew
Camera Operator
- Operates the camera

Assistant Camera
1st AC (Focus Puller)
- Controls the focus of a shot in progress
- Load and unload gear
- Assists the camera operator and director of photography
2nd AC
- Maintains camera gear and accessories, 
- Builds camera rigs
- Operates the clapboard  
- Keeps a log of technical details for every recorded shot
- Set marks used by 1st AC and actors for focus

Film Loader
- Loads camera magazines
- Switches between magazines in a timely manner


Grip and Electric Department
Key Grip
- Head of the Grips
- Supervisor of the department
- In charge of non-electrical gear 
- Responsible for safety on set
- Works with the Gaffer to carry out the Cinematographer's / Director of Photography's plan for lighting and camera
- Takes inventory and keeps track of all equipment
- Builds and rigs equipment

Gaffer
- Head of lighting, power and works
- Works with the Key Grip to carry out the Cinematographer's / Director of Photography's plan for lighting and camera

Best Boy
- Key Grip's/Gaffer's right-hand person
Key Grip Best Boy
- Assist the Key Grip with lighting arrangements
- Delegate responsibilities
- Orders and maintains inventory
Gaffer Best Boy
- Helps the Gaffer with electric equipment

Grip
- Moves and sets up equipment
- Construct rigs
- Perform handiwork
- Responsible for the Grip Truck
Grip Truck
- A large vehicle(s) equipped with tools and equipment

Dolly Grip
- Specializes in camera dollies
- Operates the dolly during dolly shots
- Ensures that the dolly track is positioned properly

Electrician
- Sets up lights on set

Generator Operator
- Transports, sets up and operates generator on set for locations with low accessibility to electricity



Websites referenced:


Week 5: Mise en Scène
- The arrangement of elements in a play

Elements of Mise en Scène
1. Location
2. Colour
3. Set
4. Props
5. Costumes
6. Hair and Makeup
7. Lighting
8. The Medium (film/video)
9. Camera Type
10. Camera Placement
11. Film pace
12. Composition
13. Form and Frame
14. Depth and Field
15. Sound Design
16. Music
17. Actor Choice
18. Blocking Actors
19. Background Action
20. Post-Production

Website referenced:



Week 6: Colour Theory
Colour Wheel
Monochrome
- Tones of one colour

Analogous
- Colours that are next to each other

Complementary
- Colours that are opposite to each other

Triadic
- Three colours that form a triangle on the colour wheel
 
Tetradic
- Four colours that form a rectangle on the colour wheel

Fig 2.30: Types of colour wheels

Website referenced:


3. INSTRUCTIONS

Figure 3.1: The Module Information Booklet for Video and Sound Production



4. EXERCISES

Week 1
Task 1: Mints
For the first exercise, we were tasked to recreate a mint ad by reordering the clips in order. I imported the clips into Adobe Premiere Pro and followed Mr. Martin's instructions to produce the video.

Figure 4.1: The finished mints video


Task 2: Doritos
I followed the same method for the second video but had to guess the sequence of them.
Figure 4.2: The finished doritos video


Quiz
The quiz asked about shot sizes, framing, camera angles and composition. I got most of the answers correct at first but I forgot the results, so I redid the quiz and got 11/15 answers correct.

Figure 4.3: Quiz 1 results


Week 2
Task 1: Shooting Practice, Shoot and Editing
We were tasked to watch a tutorial video on Adobe Premier Pro CC, then film ourselves in 8 different shot types. The clips were shot by Te Li Wen and Irdhina while I edited them into on Adobe Premiere Pro.

Tutorial Video:

Figure 4.4: Shooting practice 1 compilation


Task 2: Editing Practice
Using the given footage, follow the tutorial to edit the short movie, Lalin into a shorter video using the given footage.

Original Video:

Figure 4.5: Editing practice progress

In class, Mr. Martin mentioned that the video had to have graphics and sound effects, so reedited the video to add them in.

Figure 4.6: Editing practice final


Task 3: Three-Act Story Structure
Based on the movies, Lalin and Everything Everywhere All At Once, analyze the 2 movies based on the Three-Act Story Structure.

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

Act 1
Act 1 introduces the main character, Lalin and her life as a net idol. It tells that she moved to Japan after an incident that happened at a Christmas party. It also shows her life in Japan constantly wearing a face mask and her popularity online. Lalin then gets contacted by an artist, Nut, to translate his work from Thai to Japanese. She gets close to him as they chat more and more.

Act 2
The two schedule to meet in a cafe. Lalin struggles to meet with Nut and hides in the bathroom of the cafe. She then looks at the mirror and takes off her mask revealing her acne. Nut eventually leaves the cafe leaving behind a folder.

Act 3
Lalin opens the folder and reads his graphic novel. As she reads the novel, she realizes that Nut was a former classmate who she met at the Christmas party. He used to be obese but worked to lose weight. Lalin chases after Nut but misses him at a train platform.

2. What is the inciting incident in the movie?
Lalin getting contacted by Nut.

3. What is the midpoint scene in the movie?
Nut wanting to meet Lalin in a cafe.

4. What is the climax scene in the movie?
The reveal that Nut and Lalin used to classmates.

5. What is the theme of the movie?
The movie deals with themes of hiding. Lalin moves to Japan so that she can wear a face mask all the time to hide her acne without being seen as weird. Lalin also heavily edits her photos to hide her acne. Contrastingly, Nut used to be obese but worked hard to lose weight. It showed that Lalin hid her imperfections away but Nut worked hard to improve them.


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
Act 1 starts with the main character, Evelyn Wang and her husband Waymond Wang in their house  as they prepare to meet with an IRS agent for the tax audit of their laundromat. Tensions arise with the arrival of their daughter, Joy and her girlfriend as Evelyn wants to keep her daughter's lifestyle from her father, Gong Gong. After handling the requests of the customers in the laundromat, Evelyn, Waymond and Gong Gong head to the IRS building for the tax audit. In the elevator, Waymond suddenly acts different and transports Evelyn to another universe. There, he explains that he's Waymond from the Alpha universe who's mission is to stop Jobu Tupaki, a being that experiences every universe all at once who's set on destroying the multiverse. The two are then killed by Jobu's followers and Evelyn is sent back to her universe.

Act 2
Back in her universe, after a failed meeting, Evelyn learns of Jobu Tupaki's true identity as Alpha-Joy who was pushed to the brink by Alpha-Evelyn. Using her newfound universe jumping abilities, Evelyn hopes to stop Jobu without killing her. Alpha-Waymond supports her goal and guides her. Alpha-Gong Gong then appears and orders Evelyn to kill Joy to block Jobu from accessing her universe. She refuses and fights the jumpers sent by Alpha-Gong Gong using her abilities from her other universal counterparts. Alpha-Waymond is then killed by Jobu Tupaki in the Alpha Universe. She appears before Evelyn and reveals her real plans as she plans to find the right Evelyn among the multiverse then destroy herself and the multiverse. Evelyn goes through a similar transformation as Jobu as her mind shatters and she experiences her multiple lives in multiple universes.

Act 3
Evelyn almost follows through with Jobu's plan until she hears Waymond's pleas. This grounds her in her universe and makes her rethink her plans with Jobu. She decides to stop Jobu from carrying out her plans. Jobu refuses and continues while Alpha Gong-Gong and his jumpers try to prevent Evelyn from stopping Jobu. Evelyn defeats each of them and saves Jobu. 

2. What is the inciting incident in the movie?
The elevator scene. Alpha-Waymond transports to Evelyn's universe and briefs her on his mission. He introduces her to universe jumping and explains Jobu Tupaki's goal to her.

3. What is the midpoint scene in the movie?
Evelyn learns of Jobu Tupaki's true intentions and almost follows through with her plans to destroy herself and the multiverse.

4. What is the climax scene in the movie?
Evelyn retracts her decision to follow through with Jobu Tupaki's plans and instead goes out to save her.

5. What is the theme of the movie?
The movie deals with the theme of kindness. Throughout the movie, Evelyn believes her husband to be silly while she is the one handling family and business matters seriously. We the audience and Evelyn are then taught that Waymond's kindness is ultimately the reason behind the resolution of the plot. The clearest example would be in the universe where Evelyn is detained after an outburst at the laundromat with the IRS agent, she is released from custody after Waymond talks to the agent and explained the reason behind her behavior. Later in the movie, Waymond's plea for kindness is also the driving reason behind Evelyn's decision to save Jobu Tupaki as she defeats every one of Alpha-Gong Gong's jumpers, Alpha-Gong Gong himself and finally Jobu Tupaki through kindness and empathy. In the end of the movie, it's what brings the four family members together.

Quiz
The quiz asked about the three act structure. I got most of the answers correct at first but I forgot the results, so I redid the quiz and got all answers correct.

Figure 4.7: Quiz 2 results


Week 3
Task 1
Use the ripple edit tool to edit the Lalin video to be 35 seconds long

Figure 4.8: Lalin video (35 secs)

Task 2
We shot videos in 8 more shot types. We filmed ourselves during class time then Kai Xuan edited the video.

Figure 4.9: Shooting practice 2

Quiz
The quiz asked about storyboard. I got all of the answers correct

Figure 4.10: Quiz 3 results

Week 4
Storyboard Practice
We had to draw a storyboard based on a video.

Figure 4.11 and 4.12: Shot descriptions

I drew my storyboard on paper with the given template.

Figure 4.13, 4.14 and 4.15: Storyboard practice

Week 6
Quiz
The quiz asked about colour correction and colour grading. Unfortunately I got all wrong because there were no correct answers set in the quiz.

Figure 4.16: Quiz results


Week 9
We had to edit a visual effects video with the roto brush tool on After Effects.

Figure 4.17: Edited roto brush video



5. LINKS TO OTHER VIDEO AND SOUND PRODUCTION POSTS


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