Video and Sound Production - Exercises

日期：

22/09/2025 - 22/12/2025   Week 1 - Week 14 

YANG SHUO / 0384037

Bachelor of Design (Hons) in Creative Media

Video and Sound Production / Exercises

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INSTRUCTION


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LECTURE ＆ EXERCISE

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.


Exercise：
Video editing practice for 'Mints' and 'Doritos'

👉 Google Drive:  mints




👉 Google Drive:  doritos



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.


Exercise：

The three-act structure of a film

👉Lalin

1. Which part is act 1, act 2, act 3 respectively? Describe each act with ONE paragraph only. 
  • Act 1 (Setup):The story introduces Lalin’s daily life, routine, and hidden emotional struggles. Her life feels repetitive and stuck until an unexpected event disrupts her routine and pushes her towards change.
  • Act 2 (Confrontation): Lalin faces emotional and situational challenges as she tries to move forward. Although she makes some progress, repeated setbacks force her to realize that her old way of thinking no longer works, leading to her lowest point.
  • Act 3 (Resolution): Lalin confronts her biggest challenge and makes an important decision. The climax resolves her main conflict, showing her personal growth and a change in her life and relationships.
2. What is the inciting incident in the movie?
  • An unexpected event in Lalin’s personal life breaks her routine and forces her to take action.
3. What is the midpoint scene in the movie?
  • Lalin reaches a realization that the situation is more serious than she thought, and that change is unavoidable.
4. What is the Climax scene in the movie?
  • Lalin directly confronts her main challenge and makes a decisive choice that resolves the central conflict.
5.What is the theme of the movie?

  • The story shows that self-discovery and growth come from facing emotional struggles rather than avoiding 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 (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.


Week 3

Storyboard

What is a Storyboard? 

Main idea:
A storyboard is a visual plan that shows each shot of a film before shooting.

Key points:

  • Turns scripts into visual sequences.

  • Includes sketches, notes, and camera details.

  • Two main types: traditional (detailed) and thumbnail (simple).

  • Helps communicate ideas and plan shots efficiently.

  • Used by directors to visualize composition and movement.

Reflection:
Storyboards make filming clearer and more organized.

How to make storyboard

  • A storyboard visualizes scenes before filming, showing the sequence through images and notes.
  • Key steps:

  1. Identify main scenes and actions from the script.
  2. Create frames and label each shot.
  3. Add sketches or reference images.
  4. Include notes on movement, framing, and camera angles.
  5. Review and revise with the team.
  6. Use it as a guide during filming.

  • Purpose: Helps the team understand visual ideas and maintain narrative flow and composition.

Quiz(8/10)

Fig 1.3 Screenshot of quiz

Reflection

Learning about storyboards helped me understand how important planning is in filmmaking. A storyboard turns written ideas into visual sequences, making it easier to organize shots and communicate with the team. I realized that it’s not just about drawing — it’s about visual thinking and storytelling. Creating storyboards helps ensure a smooth production process and a clear visual direction.


Exercise：



Editing  Practice (Lalin) 

In week 2, we conducted preliminary editing, including video editing, sound editing, and subtitle creation. In week 3, we shortened the video to within 35 seconds as required. 

Fig 1.4 Screenshot in Pr





Week 4

Production

Production Stages
1.Pre-production
The planning and preparation stage.
Involves writing the script, creating storyboards, casting, location scouting, designing sets and costumes, and hiring crew members.

2.Production
The actual filming stage.
Follows the pre-production plan, coordinates actors and departments, and manages time and schedule.

3.Post-production
The editing and assembling stage.
Involves cutting footage, adding sound and music, color grading, and creating visual effects.

4.Distribution and marketing are not part of the production process.

Quiz(5/5)

Fig 1.5 Screenshot of quiz


Production Crew
  • Director
Oversees the overall creative and artistic direction.
Directs actors’ performances, camera movement, and film style.
  • Producer
Manages the financial and logistical aspects of production.
Handles funding, hires the crew, and coordinates schedule and budget.
  • Cinematographer / Director of Photography (DP)
Responsible for the film’s visual style and lighting.
Chooses the camera, lenses, and lighting setup.
  • Production Designer
In charge of the overall visual design.
Designs sets, costumes, and props for visual consistency.
  • Sound Designer
Responsible for all audio elements of the film.
Handles dialogue, sound effects, background music, and final mixing.
  • Editor
Assembles footage into a complete and coherent story.
Controls pacing, scene order, and emotional rhythm.
  • Other roles include gaffer, grip, makeup artist, and stunt coordinator.

Quiz(5/5)

Fig 1.6 Screenshot of quiz

Reflection

This week helped me understand how each production stage connects, especially how strong pre-production affects filming and editing. Learning about production crew roles clarified how responsibilities are divided in real projects. The quizzes also helped me review key concepts and check my understanding effectively.

Practice: This week I learned audio editing. This will play an important role in the upcoming projects.

Exercise：

This week I learned audio editing. This will play an important role in the upcoming projects.
 

Week 5

There are no classes this week because of the Deepavali holiday.


Week 6

Mise en scène

Key Points

Setting & Time: The space and time period shape the environment, costumes, and props.

Props: Objects that support the story, show character traits, or symbolize ideas.

Costume & Makeup: Show personality, status, role, and emotional state.

Lighting: Creates mood, directs focus, and shapes atmosphere.

Composition & Framing: Placement of actors and objects; camera angles influence how relationships and power are perceived.

Acting: Movement, gestures, and expressions communicate emotion and subtext.

Color Palette: Colors create emotion, tone, and thematic meaning.

Spatial Relationships: Distances between characters/objects show intimacy, conflict, and hierarchy.

Quiz(9/10)

Fig 1.7 Screenshot of quiz

Reflection

This topic helped me understand how different elements of mise en scène work together to communicate meaning. I realized that details like color, lighting, and spatial relationships can express emotion and power without dialogue, which will be useful for my future visual and film projects.

Exercise：

We filmed all the required scenes as a group, with each member assigned a specific production role. I took on the role of lighting technician, where I learned how lighting choices affect mood and visual clarity, and I adjusted the setup according to different scenes and story needs. After filming, I worked on Task 2 by editing a 25–30 second film trailer in Premiere Pro, synchronizing audio and video and exploring a more creative, trailer-style editing approach, which helped me better understand pacing and audience engagement.

Figure1.8 Shooting progress


Week 7

Color Theory & Color Correction vs. Color Grading

1. Color Theory

  • Studies how colors interact, influence perception, and convey emotion.

  • Combines artistic and scientific principles.

  • Color Wheel: Shows relationships between primary, secondary, and tertiary colors.

  • Color Harmonies: Includes complementary, analogous, and monochromatic schemes for visual balance.

  • Hue, Saturation, Value (Brightness): Control color intensity, purity, and lightness.

  • Helps maintain visual consistency, mood, and emotional meaning across media.

2. Color Correction vs. Color Grading

Color Correction

  • A technical process.

  • Fixes exposure, white balance, and color inconsistencies.

  • Aims to make footage look natural and accurate.

Color Grading

  • A creative process applied after correction.

  • Enhances mood, atmosphere, and storytelling.

  • Creates the final visual style or “look” of a film.

Workflow

  • First: Color correction.

  • Second: Color grading.


Reflection

This topic helped me understand when to do color correction and when to apply color grading in my own editing. I realized that fixing exposure and white balance first makes grading easier and gives the video a clearer and more consistent look.

👉 Google drive：https://drive.google.com/file/d/1Nrq8K9kPbO_iFFRTEmZ9i0xsT05DlTOT/view?usp=drive_link

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