Video and Sound Production: Exercises
JUMPLINKS
LECTURE NOTES
Week 1 - Shot Size, Camera Angle, Composition
Shot size, camera angle, and composition are all elements of visual storytelling used in film, television, and other visual media.
Shot size refers to the amount of space that is visible within a single shot or frame. Different shot sizes can be used to convey different types of information or create different emotional effects. For example, a close-up shot shows a small area of the scene in great detail and is often used to emphasize a character's emotions or reactions, while a wide shot shows a larger area of the scene and is often used to establish the setting or context.
Camera angle refers to the position of the camera in relation to the subject being filmed. Different camera angles can be used to create different perspectives and convey different types of information. For example, a high-angle shot looks down on the subject from above and can create a sense of vulnerability or powerlessness, while a low-angle shot looks up at the subject from below and can create a sense of power or dominance.
Composition refers to the arrangement of visual elements within a shot or frame. This can include the placement of characters or objects within the frame, the use of colour and lighting, and the balance and symmetry of the overall image. Composition can be used to create visual interest, guide the viewer's eye, and convey meaning or emotion.
Together, shot size, camera angle, and composition are all important tools that filmmakers and other visual storytellers use to create meaning and convey ideas to their audience.
Week 2 - Understanding Storytelling
The three-act story structure is a popular narrative framework used in storytelling, particularly in film and literature. It divides a story into three distinct parts: the setup, the confrontation, and the resolution.
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. The inciting incident can be a positive or negative event, but it must be significant enough to disrupt the protagonist's world and force them to take action.
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. This act is often divided into two parts: the first half, where the protagonist makes progress towards their goal, and the second half, where they encounter setbacks and complications. The second act typically ends with a major turning point, where the protagonist faces a significant setback or crisis that forces them to reevaluate their approach.
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. 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 loose ends are tied up, and the protagonist's journey comes to a satisfying conclusion.
Overall, the three-act story structure provides a clear and effective framework for storytelling, allowing writers to create engaging and well-structured narratives that resonate with audiences.
Week 3 - Storyboard
Storyboard in filmmaking is a visual representation of a film, animation, or video game, much like a comic strip. It's made up of a series of illustrations or images displayed in sequence for the purpose of pre-visualizing a motion picture, animation, motion graphic or interactive media sequence.
Storyboards are used to plan shots, understand the narrative flow, and to communicate ideas to the production team. They can include details such as camera angles, character movements, dialogue, and even notes about special effects or sound. This helps the director, cinematographer, and other crew members visualise the scenes and prepare for the shooting process.
Storyboarding is a crucial part of the pre-production process because it allows filmmakers to experiment with different visual approaches, identify potential problems, and make necessary adjustments before the actual filming begins, saving time and resources.
Week 4 - Production
The production stages in filmmaking can be broken down into three main phases: pre-production, production, and post-production. Here's a brief overview of each stage:
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. This stage can be physically and logistically challenging, as it involves coordinating a large team of people and managing a complex schedule.
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.
After post-production, the film may go through additional stages such as distribution and marketing, but these are not considered part of the production process.
Production Crew:
The production crew is a team of professionals who work together to create a film or video. Each member of the crew has a specific role and set of responsibilities, which are essential to the overall success of the production. Here are some of the key production crew members and their tasks:
1. Director: The director is responsible for overseeing the entire production and ensuring that the creative vision for the project is realised. They work closely with the cast and crew to block out scenes, direct the actors' performances, and make creative decisions about the look and feel of the film.
2. Producer: The producer is responsible for the logistical and financial aspects of the production. They secure funding, hire the crew, coordinate the schedule and locations, and ensure that the project is completed on time and within budget.
3. Cinematographer: The cinematographer, also known as the director of photography (DP), is responsible for the visual aesthetic of the film. They work closely with the director to choose the right camera, lenses, and lighting to achieve the desired look and mood for each scene.
4. Production Designer: The production designer is responsible for the overall visual design of the film, including the sets, costumes, and props. They work closely with the director and cinematographer to create a cohesive and immersive visual world for the story.
5. Sound Designer: The sound designer is responsible for the audio aspects of the film, including recording and editing dialogue, sound effects, and music. They work closely with the director and editor to ensure that the sound and picture are seamlessly integrated.
6. Editor: The editor is responsible for assembling the footage into a coherent and compelling story. They work closely with the director and sound designer to shape the pacing, tone, and structure of the film.
There are many other roles on a production crew, including grips, gaffers, makeup artists, and stunt coordinators, but these are some of the key positions and tasks involved in the filmmaking process.
Week 5 - Mise en Scène
Mise en scène is a French term that translates literally to "placing on stage." In the realms of theater, film, and other visual storytelling mediums, it refers to the overall visual arrangement and presentation of a scene. This concept encompasses everything that appears within the frame or on stage and how these elements are organized to convey meaning, emotion, and narrative to the audience.
Key Components of Mise en Scène
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Setting and Location:
- Physical Space: The environment where the action takes place, whether it's a realistic setting like a living room or an abstract, symbolic space.
- Time Period: The era in which the story is set, influencing costumes, props, and set design.
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Props and Objects:
- Items used by characters or present in the scene that can symbolize themes, indicate character traits, or advance the plot.
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Costume and Makeup:
- Clothing and makeup that reflect a character’s personality, social status, occupation, or psychological state.
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Lighting:
- The use of light and shadow to create mood, highlight specific elements, and guide the audience’s focus. For example, high-contrast lighting can create a dramatic or tense atmosphere.
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Composition and Framing:
- How elements are arranged within the frame or on stage, including camera angles in film or the positioning of actors in theater. This affects how the audience perceives relationships and power dynamics.
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Performance and Acting:
- The actors’ physical movements, facial expressions, and interactions contribute significantly to the mise en scène, conveying emotions and subtext.
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Color Palette:
- The selection of colors used in costumes, sets, and lighting can evoke specific emotions or symbolize thematic elements.
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Spatial Relationships:
- The distance and arrangement between characters and objects, which can indicate intimacy, conflict, or hierarchy.
INSTRUCTIONS
TASK
Week 1 - In-class editing exercise
- Create a new project on Adobe Premiere Pro,
- Import all of the given footages onto the software,
- Arrange the footages to the correct timeline and order,
- Render and export the final video.
Final edited Mints sequence video:
Week 1 - Independent learning editing exercise
Final edited Doritos sequence video:
3 Zach King Videos:
Visual Effects:
This video showcases Zach’s trademark illusion techniques. The mirror “seeing through” the paper is achieved through high-level compositing and practical mirror work. The synchronization between the real-world action and the digitally altered reflection is seamless, making the illusion mind-bending.
Art Direction:
The set is clean and minimal, which helps focus the viewer’s attention on the paper and mirror. Lighting is balanced to prevent obvious digital edits from being noticeable, preserving the realism of the illusion.
Style:
This is classic Zach King: a simple setup, one surreal twist, and a punchline that surprises the audience. His magical realism style turns ordinary objects into sources of wonder.
Character Design:
Zach plays himself, a curious and slightly mischievous persona who discovers the illusion. His reactions are intentionally understated, which helps keep the tone light and clever rather than overdramatic.
Narrative Appeal:
The short format delivers an immediate hook: “How does the mirror do that?” It taps into our fascination with perception and reality, making it both mysterious and funny.
2. “Creative Furniture Life Hacks”
3. “Flying on a Broomstick like Harry Potter”
Week 2 - Asynchronous Class Quiz (Three-act story structure)
Lalin
Everything, everywhere, all at once
Week 2 - Exercise: Shooting practice, shoot & editing
- Close-Up shot
- Frontal Medium Close-Up shot (soft background)
- Frontal Medium shot
- Extreme Close-Up shot
- Side angle Medium shot
- ¾ angling Medium Close-Up shot
- Low angle wide shot
- Eye-Level Medium-Wide shot
- Shooting the video in a landscape format; a maximum length of 5 seconds per shot.
- Shoot wide shots with a wide angle.
- For the rest of the other shots, we had to zoom in to get a soft background.
- Refer to the examples given or reference from Google for good composition.
- Avoid overexposed or underexposed settings (too bright or too dark).
- Do the shooting during daytime.
- Edit with CAPTION (mentioning the shot sizes), export the video for submission.
Week 3 - Exercise: Shooting practice, shoot & editing
- Deep Focus - Foreground: Medium Close-Up, Background: Full Body
- Over the Shoulder Shot on Medium Shot
- Over the Shoulder Shot on Medium Wide Shot
- Tight Medium Shot (Side Angle)
- Tight Medium Shot
Week 3 - Asynchronous Class Quiz (Storyboard in Film Making)
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Week 4 - Asynchronous Class Quiz (Production Stages & Production Crews)
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Week 5 - Asynchronous Class Quiz (Mise en scene)
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Week 5 - Shooting Exercise
During this week’s shooting exercise, I had the opportunity to be one of the actors in our project. Through this experience, I learned how to perform a role on camera, follow scene directions, and maintain consistency in expressions and movements across multiple takes. We were also introduced to the basics of on-set procedures, including how to work with the director and crew, and how to respond to cues.
In addition to acting, our team members have also learned how to handle basic film equipment, such as cameras, tripods, and boom mics, and how to position them properly for each shot. This session helped me better understand both the technical and performance sides of a production, and how important teamwork is during filming.
Week 5 - Storyboard Exercise
We were tasked with creating a storyboard based on the information presented by Mr. Martin in the slides he provided. Below is my finished storyboard sketch:
Week 6 - Asynchronous Class Quiz (Color Grading, Color Theory & Color Grading)
REFLECTION
Experience
Throughout week 1 to 6, I experienced a hands-on introduction to video and sound production, including editing sequences, filming different shot types, acting on set, and creating storyboards. Working both individually and in groups gave me insight into the technical and creative processes behind video production.
Observation
I observed that every detail—camera angle, lighting, composition, even
body movement—affects the mood and meaning of a scene. Clear communication
and role understanding within a team made the filming process smoother and
more efficient.
I found that storytelling is not just about dialogue, but also about
visual language and emotional rhythm. Pre-production planning, teamwork,
and post-production finesse are equally critical to achieving a successful
final video.
Findings
I found that storytelling is not just about dialogue, but also about visual language and emotional rhythm. Pre-production planning, teamwork, and post-production finesse are equally critical to achieving a successful final video.
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