Video and Sound Production / Project 1

on

7/10/2024--20/10/2024 (Week3-Week4)

LIU YITONG (0370907)

Video and Sound Production / Bachelor of Design (Hons) in Creative Media / Taylor's University

Project 1


INSTRUCTION


LECTURE

Week 3

Asynchronous class materials

· Storyboard
· Drawings, sketches, reference images or photographs to represent each frame.
· A description of the shot — any relevant information on the action, dialogue, or composition.
· Shot specs — shot size, lens length, two-shot, etc.
· Arrows to indicate camera and/or character movement or how each shot connects to the next.
Fig.1.0 Example of storyboard

· Traditional vs. thumbnail
Traditional storyboards are what we see above — basic pencil sketches that include detailed information like arrows for camera movement, characters, props, etc.

There are also thumbnail style storyboards that don’t have any writing. Keep in mind I use the term thumbnail in this article and was referring to the image, not this style board. Again, the more detail you put into it, the easier it will be to execute later.

· How to make storyboard
1. Identify key scenes in the script
When creating a storyboard, it’s crucial to know what story you’re telling. The best starting point is to break up the script or narrative you’ll be working from.
2. Map out the key scenes
3. Add images or sketches
4. Describe what happens in each frame
· Composition and Framing: Decide how characters and objects will be framed within each shot. Use the rule of thirds and other compositional techniques to create visually appealing and balanced frames.
· Transitions: Plan how each shot transitions to the next. Smooth transitions create a cohesive flow, while abrupt changes can be used for dramatic effect.
· Character Blocking: Determine character positions and movements within each shot. Show how they interact with each other and the environment.
· Emotion and Expression: Define a character's facial expressions and body language to capture their emotions and reactions.
· Annotations: Use additional notes or captions for things that can't be easily conveyed in the visuals.
Dynamic Action: For action scenes, break down fast-paced movements into a sequence of panels to ensure clarity.
5. Share it with your team
6. Finally, reference it on the day

Quiz


Reflection
The material on storyboarding provides an insightful guide on how to visually plan out a story before production begins.
The comparison between traditional storyboards and thumbnail storyboards highlights the flexibility in style, with traditional methods providing more detailed visual and technical information, while thumbnails focus primarily on images.
This structured approach to storytelling allows filmmakers to precisely communicate their vision, helping to maintain clarity and focus during production. Detailed consideration of composition, emotion and movement ensures a good coordination of visual and narrative elements, resulting in a smoother production process and a more polished final product.


Week 4

Asynchronous class materials

Production
· Production stages
1.Pre-production: This is the planning stage of filmmaking, where all the necessary preparations are made before filming begins. This includes tasks such as writing the script, creating storyboards, casting actors, scouting locations, designing sets and costumes, and hiring crew members.
2.Production: This is the stage where the actual filming takes place. The production team will work together to capture all the footage needed for the film, using the plans and preparations made during pre-production as a guide.
3.Post-production: This is the stage where the footage is edited and assembled into a final product. This includes tasks such as cutting and arranging scenes, adding music and sound effects, colour grading, and visual effects. Post-production can be a time-consuming process, as it requires careful attention to detail and a keen eye for storytelling.

The most widely agreed-upon, and the method we’ll be going by, contains five distinct stages:

· Development
This is where it all begins. Development is the spark. A producer or a screenwriter has an idea, and they begin to make that idea into a movie.

· Pre-production
This is where it all begins. Development is the spark. A producer or a screenwriter has an idea, and they begin to make that idea into a movie.
There’s three major things that have to happen during this stage.
Budgeting, Getting the Team Together, Pre-visualizing (This might mean making a storyboard or writing out a shot list) 

· Production
The Call Sheet, The Set Up, Shooting

· Post-production
 Post-production. This stage refers to all the work that is done after footage is captured to finish the film.And that’s a lot of work. Here's a breakdown of the post process.
Picture Editing
There are three general cuts that an editor will go through, along with collaboration with the director. 
The first is the assembly, essentially where the editor and director review the footage, select takes, and put them in order with little regard for pacing. The second is a rough cut, where rhythm becomes more of a priority. Finally, there’s the fine cut, where decisions are more intricate and the cut is approaching picture lock.
Sound Editing
First, there’s sound editing.Then, there’s sound mixing, which refers to getting all of the levels correct for exhibition (and various exhibition settings).
Additional Visuals

· Distribution

Production Crew
1. Director: Oversees the entire production, guiding the creative vision and working with the cast and crew to execute the film's look and performances.
2. Producer: Manages logistics and finances, securing funding, hiring the crew, and ensuring the project stays on schedule and budget.
3. Cinematographer (DP): Handles the film’s visual style, working with the director to choose cameras, lenses, and lighting to create the desired mood.
4. Production Designer: Designs the visual world, including sets, costumes, and props, ensuring a cohesive look that aligns with the director's vision.
5. Sound Designer: Manages all audio elements, including dialogue, effects, and music, ensuring smooth integration with the visuals.
6. Editor: Assembles footage into a polished narrative, shaping the film’s pacing, tone, and structure in collaboration with the director and sound designer.

Gaining an understanding of the function of each movie crew member’s role can be a confusing and lengthy endeavor without a proper guide, so we put together the ultimate guide to film crew positions to make this task as simple and intuitive as possible.
1. Camera & Lighting Department
2. Directorial Department
3. Hair and Makeup Department
4. Sound Department
5. Stunts Department
6. Special Effects Department
7. Locations Department
8. Food Department
9. Production Department
10. Art Department
11. Script Department
12. Editorial Department

Quiz
1.

2.

Reflection

This material outlines the five stages of film production: development, where the idea originates; pre-production, where the script, crew, budget, and planning are organized; production, the actual filming; post-production, which includes editing, sound design, and visual effects; and distribution, where the film is released to the public. The roles of key crew members such as the director, producer, cinematographer, sound designer, and editor are essential in ensuring the creative and technical aspects of the film come together smoothly.

The StudioBinder guide breaks down the roles of film crew members across different departments. It covers key positions such as directors (overseeing creative vision), producers (handling logistics and budget), cinematographers (responsible for visual aesthetics), and production designers (creating the visual world). It also explains technical roles like grips, gaffers, and sound designers, each essential for the technical execution of the film. Additionally, the guide explores post-production roles like editors and sound mixers, emphasizing how each position contributes to the filmmaking process. 

This systematic breakdown ensures that each stage of filmmaking is executed with clear goals, proper organization, and creative collaboration between departments. Through each phase, from conception to distribution, the team works collectively to transform an idea into a polished final product.






EXERCISE

Week 3

· EXERCISE 1 / AUDIO DUBBING

In project one, we were provided with a short clip of Everything Everywhere All at Once along with subtitles scripts. From the clip, we were instructed to create a Google sheet that includes the scene breakdown with the links to the sound effects and ambience sound according to the timeline.


Audio Breakdown
We were formed into a group of six to complete the sheet together. After filling in the scene information, I added the links to the sound effects and ambience sound according to the description individually. 


The completed sheet of Audio Breakdown（PDF）

SFX Editing on Adobe Premiere Pro 

Fig.2.0 SFX Editing Progress
Before adding in the dubbs, I placed the SFX audio first.
· A1-A2: 2 tracks for ambience sound.
· A3-A6: 4 tracks for sound effects.

Edited clip (SFX)

Dubbing Process

After exporting my voice records, I moved onto Adobe Premiere Pro to sync the dubbed files to the clip. 

Change the speed of each dialogue to match the timing of the clip.
Fig.2.1 Change the speed of dialogue

Edit voice from female to male, male to female, human to cute animal/adult to kid: Premiere Pro → Audio Effects → Pitch Shifter → Semi tones. I edited my voice for each character using different settings.
Fig.2.3 Settings for Waymond

Fig.2.4 Settings for Evelyn

Fig.2.5 Settings for Deirdre

After all that, I started adjust the audio levels to the appropriate volume in Effect Control Panel.
Dialogue: between -6dB & -12dB
Ambience: below -20dB, 
Hard sound effects: Depend.
In some places I also used a fade effect to make the audio link softer.
Fig.2.6 Process
· A7-A9: 3 tracks for dialogue. ( Each track for each character )

Final Outcome

Week 7

· EXERCISE 2 / SOUND SHAPING
Record our own voice for 5 seconds for Exercise 2 submission.We need to use our own voice to transform into the 5 scenarios.
1. Voice of phone call
Fig.2.7 Phone call voice

2. Voice coming from inside of the closet
Fig.2.8 Voice coming from inside of the closet

3. Voice of toilet/bathroom
Fig.2.9 Voice of toilet/bathroom

4. Underground cave
Fig.2.10 Underground cave

5. Alien/ Orc voice
Fig.2.11 Alien/ Orc voice




REFLECTION

I found our audio dubbing exercises on the Everything Everywhere All at Once project to be an engaging experience. Working with my team of six enabled us to efficiently find the right audio for the video.

I was happy to have the opportunity to contribute individually by adding links to sound effects and atmosphere, which allowed me to explore various audio sources and think critically about how each sound choice aligned with visual elements.
Editing and dubbing are the parts that I personally complete, which takes a lot of time, but also trains me to use Pr editing skills.

Overall, this exercise was a valuable introduction to audio dubbing, and I look forward to applying what I learned in future projects.


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