24/04/24 - 15/05/24 (Week 1 - Week 4)
Andrea Choo Qin Hui (0366959)
Andrea Choo Qin Hui (0366959)
Video & Sound Production / Bachelor of Design (Hons) in Creative Media
Exercises
INSTRUCTIONS
LECTURES
Week 1 (Camera Shots)
・Extreme Wide Shot (ELS/EWS)
Makes your subject appear small against their location, can also use extreme wide shot
to make your subject feel distant or unfamiliar.
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| Figure 1.1 Example of Extreme Wide Shot in Mad Max: Fury Road |
・Long Shot (LS) or Wide Shot (WS)
If your subject is a person then his or her whole body will be in the view - but not
filling the shot.
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| Figure 1.2 Example of Wide Shot in The Martian |
・Full Shot (FS)
Can be used to feature multiple characters in a single shot.
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| Figure 1.3 Example of Full Shot in The Guardians of the Galaxy |
・Medium Wide Shot (MWS)
Frames the subject from roughly the knees up.
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| Figure 1.4 Example of Medium Wide Shot in The Usual Suspects |
・Cowboy Shot (CS)
It's called a 'Cowboy Shot' because it is used in Westerns to frame a gunslinger's gun
or holster on the hip.
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| Figure 1.5 Example of Cowboy Shot in Wonder Woman |
・Medium Shot (MS)
Frames from roughly the waist up and through the torso, so it emphasises more of the
subject while keeping the surroundings visible.
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| Figure 1.6 Example of Medium Shot in X-men: Days of Future Past |
・Medium Close-Up Shot (MCU)
Frames the subject from roughly the chest up, so it typically favours the face but still
keeps the subject somewhat distant.
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| Figure 1.7 Example of Medium Close-Up Shot in No Country for Old Men |
・Close-Up Shot (CU)
The close-up camera fills the frame with a part of the subject
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| Figure 1.8 Example of Close-Up Shot in The Usual Suspects |
・Extreme Close-Up Shot (ECU)
It is the most you can fill a frame with your subject, it often show eyes, mouths and gun
triggers. In extreme close-up shots smaller objects get great detail and are the focal
point.
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| Figure 1.9 Example of Extreme Close-Up Shot in X-Men: First Class |
Shot size:
Framing:
Camera Angle:
Composition:
Week 2 (Understand Storytelling)
・The Basics of Three Act Structure
A beginning, middle and an end isn't an formula. It brings cohesion to otherwise
random events.
When a writer discusses three act structure, this is the model they are usually referring
to:
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・Act One: The Setup
Involves introduction of the characters, their story world and some kind of 'inciting
incident', typically a moment that kickstarts the story. (Usually in the first 20-30 mins
of the film)
・Act Two: The Confrontation / Build
The middle of your story should raise the stakes, you want the audience to keep
watching. This main chunk of the story often leads us to the worst possible thing that
can happen to the character.
The plot doesn't have to move in one direction. There are ups, downs and
turnarounds. In fact, if the story just builds and builds in a straightforward manner,
you may bore the audience with a predictable movie.
・Act Three: The Resolution
The end should bring some kind of catharsis or resolution, (regardless the ending is
happy or sad). It's a sigh, either of relief or despair.
The climax is the most intense and dramatic part of the story, where the stakes are
highest and the tension is at its peak. The resolution on the other hand, is the
denouement, where lo0se ends are tied up and the protagonist's journey comes to a
satisfying conclusion.
Week 3 (Storyboard)
・What is a Storyboard?
A storyboard is a visual representation of a film sequence and breaks down the action
into individual panels. It is a series of ordered drawings, with camera direction,
dialogue, or other pertinent details. It sketches out how a video will unfold, shot by
shot.
- 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 on how each shot connects to
the next.
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・How to make a Storyboard?
Step 1: Identify key scenes in the script
- Mark up key parts of the story by highlighting major beats such as actions, locations,
wardrobe, staging, narrative arches and major plot points.
Step 2: Map out key scenes
- Give each one a number and a relevant title so it's easy to link them back to the
broader story in the script.
Step 3: Add images or sketches
- This part of the process has been referred to as 'idea landscaping' -- a place to
brainstorm the visual features of each beat within the landscape of a story.
Step 4: Describe what happens in frame
- Composition and Framing
- Transitions
- Character Blocking
- Emotion and Expression
- Annotations
- Dynamic Action
EXERCISES
Week 1 (Camera Shots)
Quiz 1
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| Figure 1.1 Quiz 1 |
Editing Exercises 1 & 2
For our first class, Mr. Martin had instructed us to edit 'Mints' and 'Doritos' videos with
Adobe Premiere Pro.
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| Figure 1.2 Rearrangement of 'Mint' Video |
Figure 1.3 Final 'Mint' Video
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Figure 1.4 Rearrangement of 'Doritos' Video |
Figure 1.5 Final 'Doritos' Video
Week 2 (Understand Storytelling)
Quiz 2
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| Figure 1.6 Quiz 2 Results |
Shooting Exercise
For this week's shooting exercise, Mr. Martin told us to pair up and I decided to pair up
with Aidi for this exercise.
| Figure 1.7 Shooting Exercise (Angle Shots) |
Editing Exercise 3
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| Figure 1.9 Final 'Lalin' Video |
3-Act Structure
Figure 1.10 3-Act Structure PDF
Figure 1.11 Further Tasks PDF
Week 3 (Storyboard)
Quiz 3
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REFLECTIONS
Week 1
Each shot serves a unique purpose in conveying a narrative and these shots, whether in film, television or in photography are the building blocks that are able to construct the visual and emotional landscape of a story.
All camera shots contribute to the narrative in distinct ways, shaping how the story is perceived and felt. With careful shot selection and arrangement, photographers and filmmakers can create immersive, captivating experiences that captivate viewers.
Week 2
3-act story structure is a common narrative framework used in storytelling, especially in literature and film. The setup, the confrontation, and the resolve are the three main sections that it separates a story into.
The protagonist, their environment, and their predicament are introduced in the First Act. Usually, this act closes with an instigating incident that introduces the plot and poses a challenge for the protagonist to overcome. Either a good or bad thing can happen as the inciting incident. The Second Act is the longest and most intricate as it's the scene where the protagonist must overcome numerous difficulties in order to accomplish their objective. It is often divided into two parts: initial progress and setbacks. This act typically ends with a major turning point, forcing the protagonist to reevaluate their approach.
The story reaches its climax and resolution in the Third Act. Here, the protagonist must overcome their greatest obstacle or difficulty in order to accomplish their objective. With the biggest stakes and the most stress, the climax is the most dramatic and powerful moment. Following to tie up loose ends and bring the protagonist's journey to a satisfying finish is the resolve, also known as the denouement.
Week 3
A storyboard is a comic strip-like graphic depiction of a movie, animation, or video game used in filmmaking. It is made up of a sequence of sequentially shown graphics or images that are used to simulate a motion picture, animation, motion graphic, or interactive media sequence.
Storyboards can help the production team grasp the narrative flow, plan shots and convey concepts. They frequently contain information on language, character motions, camera angles, or special effects. This aids the director, cinematographer, and crew in picturing scenes to help the production process.
A vital pre-production stage is storyboarding, which enables directors to test out several visual strategies, spot any problems and make necessary changes before shooting which can save a lot of time and money.
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