Video and Sound Production -Exercise

日期：

22/9/2025 - 5/10/2025 / Week 1 - Week 2

YANG SHUO / 0384037

Bachelor of Design (Hons) in Creative Media

Video and Sound Production / Exercise

LECTURE

Week 1

1. Shot Size

  • Establishing Shot
A wide shot used to establish the location and geography of a scene. It often appears at the beginning of a sequence to introduce the setting and provide spatial context.
  • Master Shot
Covers all the characters and the environment within a scene. It helps confirm the scene’s location, geography, and character relationships.
  • Wide Shot
Shows the subject within their environment from a distance. It emphasizes the relationship between the subject and surroundings, using distance, depth, or size to convey meaning.
  • Full Shot
Frames the entire body of the subject from head to toe, fitting within the top and bottom edges of the frame.
  • Medium Full Shot
Frames the subject from the top of the head down to just below the waist, often used for natural conversation or action.
  • Medium Shot
Typically frames the subject from above the waist to just above the head. Commonly used for dialogue scenes.
  • Medium Close-Up
Frames the subject from the middle of the chest to the top of the head. It reduces unnecessary background and focuses on expressions and character details.
  • Close-Up
Focuses closely on the subject’s face, often at eye level, to capture emotions and expressions — “the window to the soul.”
  • Extreme Close-Up
Fills the frame with a small detail of the subject, such as eyes, mouth, or an object. It highlights fine detail and draws attention to specific focal points.

2. Framing
  • Single Shot
Contains one subject in the frame. (A variation called a “dirty single” includes a bit of another character’s shoulder or body.)
  • Two Shot
Frames two characters together, emphasizing their interaction or relationship.
  • Three Shot
Includes three characters within the same frame, often used to establish group dynamics.
  • Over-the-Shoulder Shot (OTS)
Shows a subject from behind another character’s shoulder, creating perspective and emotional connection between characters.
  • Point-of-View Shot (POV)
Shows the scene from a character’s viewpoint, letting the audience experience what the character sees.

3. Shot Angles
  • Eye-Level Shot
The most natural camera height — aligned with the subject’s eyes. Creates a sense of equality and realism.
  • Low Angle Shot
Looks up at the subject from a low position. Emphasizes power, dominance, or importance.
  • High Angle Shot
Looks down on the subject. Creates a sense of vulnerability or inferiority.
Hip Level Shot
Camera positioned around waist height; often used in westerns or action scenes.
  • Knee Level Shot
Camera is level with the subject’s knees, useful for emphasizing power or movement.
  • Ground Level Shot
Camera placed on the ground, often for dramatic or environmental emphasis.
  • Shoulder-Level Shot
Camera aligned with the subject’s shoulders, enhancing the sense of presence and subtle dominance.
  • Dutch Angle (Tilt)
The camera is tilted to one side, distorting the horizon line to create tension or disorientation.
  • Bird’s-Eye View (Overhead Shot)
Shot from directly above the scene, showing scale and spatial relationships.
  • Aerial Shot
Captured from a drone or helicopter, showing vast landscapes or movement from a high altitude.

4. Composition
  • Rule of Thirds
Divides the frame into thirds horizontally and vertically. Placing subjects along these lines creates balance and guides viewer focus.
  • Balance and Symmetry
Understanding framing rules helps directors create harmony. Breaking symmetry or the rule of thirds can intentionally draw attention or create unease.
  • Leading Lines
Natural or constructed lines that draw the viewer’s eye toward key elements or subjects within the frame.
  • Eye-Level Framing
Positions the camera at the character’s eye level to make the audience feel emotionally connected or “present” in the scene.
  • Depth of Field
Refers to the range within an image that appears sharp and in focus. A shallow depth isolates subjects; a deep depth includes more background detail.
  • Rack Focus
A technique where focus shifts between subjects at different depths, guiding viewer attention and enhancing storytelling.
  • Deep Space Composition
Involves placing important elements both near and far from the camera. Unlike deep focus, not all elements need to be sharp — the spatial arrangement itself adds meaning.

Quiz(12/15）

Fig 1.1 Screenshot of quiz

Reflection

Learning about shot size, camera angles, and composition helped me understand how visual storytelling works in film. I realized that every shot choice carries meaning — whether it’s a close-up showing emotion or a wide shot setting the scene. These techniques are not only technical but also creative tools that influence how the audience feels and connects with the story.


Week 2

The Three-Act Story Structure

Act 1: Setup

  • Introduces protagonist, world, and situation.
  • Inciting Incident: disrupts normal life and triggers action.

Act 2: Confrontation

  • Longest part; full of obstacles and challenges.
  • Two halves: progress  and setbacks.
  • Midpoint: major shift or crisis.
  • Ends with a Turning Point: biggest setback.

Act 3: Resolution

  • Climax: final challenge, peak tension.
  • Resolution: loose ends tied up, satisfying conclusion.

Summary

  • Not a formula, but a guide.
  • Gives structure while allowing creativity.
  • Creates rhythm and emotional impact.

Quiz(10/10)

Fig 1.2 Screenshot of quiz


Reflection

Learning about the Three-Act Story Structure helped me understand how stories are built to engage audiences. I realized that each act serves a purpose — the setup draws us in, the confrontation builds tension, and the resolution delivers emotional payoff. This structure is not just a formula but a flexible guide that helps balance creativity and clarity in storytelling.


INTRODUCTION


EXERCISE

Week 1: Video editing practice for 'Mints' and 'Doritos'

👉 Google Drive:  mints




👉 Google Drive:  doritos



Week 2

The three-act structure of a film

👉 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 (Setup):The movie begins with Evelyn’s messy daily life in her laundromat and her family problems. The story really starts when Waymond tells her about the multiverse and her special role in it.
  • Act 2 (Confrontation):Evelyn learns to jump through different universes and use new skills. At first, she gets stronger and feels she can control things. But later, she struggles because of Jobu Tupaki’s power and her broken relationship with her daughter.
  • Act 3 (Resolution):The climax is when Evelyn faces Jobu Tupaki. She doesn’t fight with anger but uses love and kindness. In the end, she makes peace with her daughter and accepts her life, even if it is messy.
2. What is the inciting incident in the movie?
  • Waymond pulls Evelyn into the multiverse conflict and says she is the only one who can stop Jobu Tupaki.
3. What is the midpoint scene in the movie?
  • Evelyn gains big confidence when she uses multiverse powers, but she also realizes the heavy cost of these powers.
4. What is the Climax scene in the movie?
  • At the “everything bagel,” Evelyn saves her daughter by showing empathy and love, ending the biggest conflict.
5.What is the theme of the movie?

  • The film shows that even in a chaotic and meaningless world, love and kindness give life meaning.

Shooting Exercises 1

👉 Googledrive：





Week 3 


Exercise: Editing  Practice 1(Lalin) 

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