23/9/2024--6/10/2024 (Week1- Week2)
LIU YITONG (0370907)
Video and Sound Production / Bachelor of Design (Hons) in Creative Media / Taylor's University
Exercise
INSTRUCTION
LECTURE
Week1
Asynchronous class materials
In the first class, tutor gave a briefing on all our projects for the semester.
· Learning Objectives
The course covers pre-production (idea development, storyboarding), production (lighting, costume, shooting), and post-production (editing).
· Project Assignments
Project 1: Audio editing exercises (using Adobe Audition, including sound dubbing and shaping).
Project 2: Video shooting and editing (using Adobe Premiere Pro, with a focus on creating videos for Instagram/TikTok).
Final Project: A 60-second stop motion video with specific software and equipment recommendations.
Asynchronous class materials（Thursday 6-7pm）
Shot size, camera angle, and composition are all elements of visual storytelling used in film, television, and other visual media.
· Shot size
Fig.1.0 The example of establishing shot
Establishing shot: It's wide enough to establish geography and often used to overdo between scenes. So establishing shotis a crucial introduction to any scenario.
Fig.1.1 The example of master shot
Master shot: The master shot confirms the scene location and the geography. It also clarifies those characters in the scene and their relationships
Fig.1.2 The example of wide shot
Wide shot: A wideshot takes the subject away from the camera to visually show their relationship to the environment.Use it when you need to establish a subject relationship. Use distance, depth, or size to make statements.
Fig.1.3 The example of full shot
Full shot: A shot was defined as a full shot when the entire body of the subject extended from the top edge of the frame to the bottom edge.
Fig.1.4 The example of medium full shot
Medium full shot: The range of the medium full shot is arranged from the top of the subject's head to below the waist, according to the height of the holster.
Fig.1.5 The example of medium shot
Medium shot: A typical composition of a midium shot begins above the waist and ends above the head.
Fig.1.6 The example of medium close up
Medium close up: When the subject is taken from the middle of the chest to the top of the head, the process is called a close-up.Aims to reduce dry meat and prioritise story and character details.
Fig.1.7 The example of close up
Close up: Close up are usually arranged at eye level to better tap into the window of the soul.
Fig.1.7 The example of extreme close up
Extreme close up: An extreme close-up is the most you can fill a frame with your subject. It often shows eyes, mouths and gun triggers. In extreme close-up shots, smaller objects get great detail and are the focal point.
· Framing
Fig.1.8 The example of Single Shot
Single Shot: When your shot captures one subject it’s known as a single shot. (over-the-shoulder single, also known as a "dirty single" that technically has more than one person in the frame.)
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Fig.1.8 The example of two Shot
Two Shot: A two-shot is a camera shot with two characters featured in the frame.
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Fig.1.8 The example of three Shot
Three Shot: A two-shot is a camera shot with two characters featured in the frame..jpg)
Fig.1.8 The example of OTS
Over-the-Shoulder Shot (OTS): An over-the-shoulder shot shows your subject from behind the shoulder of another character. Because it emulates perspective.Over-the-shoulder shots can help to provide orientation, and connect the characters on an emotional level.
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Fig.1.8 The example of POV
Point-of-View Shot (POV): A POV shot is a camera shot that shows the viewer exactly what that character sees.
· Shot Angles
Eye Level Shot: First, consider the most common height: the eye level shot.
Low Angle Shot: A low angle shot frames the subject from a low camera height looking up at them. These camera shots most often emphasize power dynamics between characters.
High Angle Shot: In a high angle shot, the camera points down at your subject. It usually creates a feeling of inferiority, or “looking down” on your subject.
Hip Level Shot: A hip level shot is when your camera is roughly waist-high.
Knee Level Shot: This is when your camera height is about as low as your subject’s knees. They can emphasize a character’s superiority, if paired with a low angle.
Ground Level Shot: A ground level shot is when your camera’s height is on ground level with your subject.
Shoulder-Level Shot: This is when your camera is roughly as high as your subject’s shoulders.A shoulder level shot can maximize the feeling of superiority when paired with a low angle.
Dutch Angle Shot: For a dutch angle (dutch tilt), the camera is slanted to one side. With the horizon lines tilted in this way, you can create a sense of disorientation.
Birds-Eye-View Shot / Overhead Shot: An overhead shot is from way up high, looking down on your subject and a good amount of the scenery surrounding him or her. This can create a great sense of scale and movement.
Aerial Shot / Helicopter Shot: Whether taken from a helicopter or drone, this is a shot from way up high. It establishes a large expanse of scenery.
· Composition
The Rule of Thirds: The rule of thirds is one of the most common camera framing techniques used in film or photography. It's about positioning a character to show their relation to other elements in the scene.
Balance and symmetry: Understanding frame composition rules is invaluable knowledge for directors and cinematographers. And so is knowing when to break them.
Shooting a perfectly symmetrical shot, breaking the rule of thirds, is used for very specific reasons.
Leading lines: Leading lines are actual lines (or sometimes imaginary ones) in a shot, that lead the eye to key elements in the scene.
Eye-level framing: Eye-level framing positions the audience at eye-level with the characters, which plants the idea that we are equal with the character. Leading the eye and the mind to consider how we would feel if we were there, because it almost feels like we already are.
Fig.1.9 Depth of field
Depth of field: Depth of field describes the size of the area in your image where objects appear acceptably sharp. That area is called the field, and the size of that area is the depth of that field.
Rack focus: In photography, bokeh (/ˈboʊkeɪ/ BOH-kay; Japanese: [boke]) is the aesthetic quality of the blur produced in the out-of-focus parts of an image produced by a lens.
Deep space composition: Filmmakers use deep space when significant elements in a scene are positioned both near and far from the camera. These elements do not have to be in focus. (Unlike, deep focus, defined by elements both near and far from the camera in focus.)
Quiz
Reflection
This week's material offers a foundational understanding of visual storytelling through shot size, camera angles, and composition. It emphasizes how each element plays a crucial role in shaping the narrative. For instance, different shot sizes, such as wide shots or close-ups, provide varying levels of detail, from establishing the environment to highlighting character emotions. Mastering these tools is essential for effectively conveying both the story and its tone.
Composition techniques, like the rule of thirds and leading lines, further enhance the visual impact by directing the viewer’s attention to key elements. Additionally, symmetry, depth of field, and deep space composition contribute to creating visually compelling scenes that support the narrative while offering the director creative flexibility.
Week2
Asynchronous class materials
Understand storytelling
· Three act structure
A three-act structure keeps your beginning separate from your middle and your middle separate from your end.
Fig.1.10 hree act structure chart
Act One: The Setup
The first act establishes the protagonist, their world, and the situation they find themselves in. This act typically ends with an inciting incident, which sets the story in motion and creates a problem that the protagonist must solve.
Act Two: The Confrontation
The second act is the longest and most complex of the three acts. It's where the protagonist faces a series of obstacles and challenges as they work towards their goal.
Act Three: The Resolution
The third act is where the story reaches its climax and resolution. The protagonist must confront their final challenge or conflict and overcome it in order to achieve their goal.
Fig.1.11 Three act structure broken down
Quiz
Reflection
The three-act structure provides a basic way to tell a story, breaking it down into clear and understandable parts. The first act is used to introduce the main characters and their world, setting up exciting events, and moving the plot forward. This structure helps guide the audience smoothly into the story, arranging the initial setting before moving into the action.
The second act, confrontation, is the most dynamic part, full of conflict. The middle section maintains user engagement by adding tension and complexity.
The third and final act, the solution, takes the story to the top and then closes the narrative loop. This structure ensures a satisfying, well-paced narrative that keeps the audience engaged from beginning to end.
EXERCISE
Week1
· EXERCISE 1 / Mints Exercise
Fig.2.0 Progress
Mints Exercise
· Doritos Exercise
Fig.2.1 Final arrangement
Doritos Exercise
Week2
· EXERCISE 2 / Lalin
Those video clips are created by our seniors and we need to trim the video clips and put it together.
Fig.2.2 Progress
Lalin exercise
· Shooting exercise
In class, Mr. Martin taught us about the shot sizes and we were asked to take videos according to the 8 shot sizes that was given and stitch them together into 1 video.
However, the shooting in class was not so satisfactory to me, so I re-shot it (the shooting in class was put in the back).
Shooting exercise
The shooting in class
Fig.2.3 The shooting in class
· Now, give your knowledge on 3-act structure a run for the money.
By now you should have already watched:1. Lalin, 2. Everything, everywhere, all at once.
Lalin
1. Which part is act 1, act 2, act 3 respectively? Describe each act with ONE paragraph only.
Act 1: Lalin, the main character, was ridiculed by others because of her acne since she was a child. She could not stand the malice and decided to go to a place where she did not know anyone and would not feel strange wearing a mask - Japan. She came here and became an net idol.Lalin meets a cartoonist named Nut, who hires Lalin to translate his cartoons.
Act 2: From then on their contact became frequent. Later, Nut came to Japan to meet Lalin, but Lalin couldn't overcome his inferiority and chose to escape. Nut left his book behind.
Act 3: Lalin saw Nut's cartoon and began to imagine that Nut was also obese, but he was trying to lose weight and ran to Lalin. At the end of the comic, Lalin took off her mask, reconciled with her acne, and shed the low self-esteem that had been haunting her.
2. What is the inciting incident in the movie?
Nut came to Lalin to translate his comic.
3. What is the midpoint scene in the movie?
Nut brings his manga to Japan to meet Lalin.
4. What is the Climax scene in the movie?
Lalin refuses Nut's meeting, but he reads the comics he left behind, giving Nut an imagination of overcoming his obesity defect to find Lalin.
5.What is the theme of the movie?
Appearance is never the standard to judge people, we can change the situation by accepting ourselves and being confident.
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：The scene sets the basis for the story by introducing Evelyn Wang, a laundromat owner facing the breakup of her relationship with her daughter Joy. In an accident, Evelyn is pulled into a multiverse crisis by her husband Waymond's alter ego. Here, she learns about the multiverse and that she is the only one who can stop the interdimensional villain (a version of her daughter).
Act 2：Evelyn begins her multiverse journey to learn how to fight Jobu Tupaki. As she drifts between different identities in the multiverse, overwhelmed by the chaos, she questions herself. The plot intensifies as she explores countless different universes, eventually facing the challenges posed by JobuTupaki.
Act 3：In the final act, Evelyn must face Jobu Tupaki as the stakes rise to save her family and the multiverse. Evelyn gave up the fight and chose the path of compassion and reconciliation with her daughter.
2. What is the inciting incident in the movie?
The inciting incident occurs when an alternate version of Waymond abruptly interrupts Evelyn's meeting with the lRs to tell her about the concept of the multiverse and how she must help stop a great evil that pulls her into a surreal adventure.
3. What is the midpoint scene in the movie?
The midpoint of the story occurs when Evelyn uses multiple versions of herself in the multiverse and gains the ability to experience all of their skills and knowledge, which gives her a deeper understanding of the multiverse. But it also left her overwhelmed by endless possibilities and questions about the meaning of her life.
4. What is the Climax scene in the movie?
The climax of the story occurs when Evelyn decides to stop fighting in favor of acceptance and understanding, using love as her ultimate weapon. She reconciled with Joy Tupaki, a decision that resolved the crisis.
5.What is the theme of the movie?
The central theme of "Everything Everywhere All at Once" revolves around family acceptance, and the search for meaning in chaos.
Google drive link：Exercise - Google Drive
REFLECTION
In Week1, two editing exercises let me preliminarily know the function of Pr, which is helpful for my next study.
In the Larin exercise, starting with the original video gives a clear idea of how the story unfolds. Then, working from the original footage of our predecessors, the challenge was to choose the right sequence to ensure continuity and a smooth transition of the video.
The shooting practice allowed me to apply shot types and editing skills in a hands-on setting. Working with a partner helped us understand how different shots tell a story and how proper pacing in editing impacts the final product.
These exercises helped me realize the importance of rhythm and rhythm when telling a story. Each cut must be intentional, directing the audience's attention while keeping the narrative flowing.
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