Video & Sound Production | Exercise
Video & Sound Production | Exercises
- April 21, 2025
21/4/25 - 28/5/25 (Week 1 - Week 3)
Hu Yao Ping | 0376768
Bachelor of Design (Honours) in Creative Media | Taylor's University
Video & Sound Production
Exercises
[Table of Contents]
[Lectures - Asynchronous Study]
Week 1 (21/4/25)
1.Shot size:
Title: Understanding Shot Sizes in Film
Introduction:
In filmmaking, shot size determines how much of the subject and its surroundings are visible in the frame. It directly influences how the audience perceives a scene and connects emotionally with the character.
Main Content:
- Extreme Wide Shot (EWS): Often used as establishing shots, these shots show the environment and set the context. The subject may be very small or even unrecognizable.
- Wide Shot (WS) / Long Shot (LS): Shows the subject from head to toe while still including the background. It balances character and setting.
- Full Shot (FS): A type of wide shot where the subject’s full body is shown with little space above and below. It’s useful for showing body language.
- Medium Shot (MS): Frames the subject from the waist up. This is the most common shot and is ideal for dialogue scenes.
- Medium Close-Up (MCU): Frames the subject from the chest or shoulders up. It emphasizes facial expression while still offering context.
- Close-Up (CU): Frames the subject’s face closely to highlight emotion. It’s powerful for dramatic moments.
- Extreme Close-Up (ECU): Focuses on a small detail like an eye or a hand. It draws intense attention and can feel intimate or unsettling.
- Insert Shot: A close-up of an object, often used to show important details (e.g., a letter or a phone screen).
Conclusion:
Each shot size plays a specific narrative and emotional role. Choosing the right one helps communicate mood, scale, and story progression effectively.
2.Framing:
Title: Mastering Camera Framing Techniques
Introduction:
Camera framing refers to how subjects and objects are placed within the boundaries of the shot. Good framing enhances storytelling and directs viewer attention.
Main Content:
- Single Shot: Focuses on one character, often used to show isolation or individual perspective.
- Two-Shot: Frames two characters together, often used in conversation scenes to show relationships.
- Over-the-Shoulder (OTS): Frames the subject from behind another character’s shoulder, offering a perspective-oriented view.
- Point of View (POV): Represents what a character sees. It immerses the viewer into the character’s experience.
- Overhead Shot: Looks down on the subject from above. It can make characters seem vulnerable or insignificant.
- Tracking (Dolly) Shot: Moves with the subject. It adds dynamism and is often used to follow characters through environments.
- Master Shot: Captures the entire scene from a wider angle, used to maintain spatial continuity and coverage.
Conclusion:
Framing is not just about aesthetics; it’s about narrative power. Properly framed shots guide the audience’s focus and emotions.
3.Camera Angle:
Title: The Impact of Camera Angles on Visual Storytelling
Introduction:
Camera angles affect how the audience perceives a subject — in terms of power, vulnerability, or emotion. They’re crucial in shaping tone and perspective.
Main Content:
- Eye-Level Angle: Neutral and natural; the subject appears as if the viewer is on equal footing with them.
- High Angle: Looks down on the subject, often used to show weakness, fear, or inferiority.
- Low Angle: Looks up at the subject, making them appear powerful, dominant, or intimidating.
- Dutch Angle (Tilted Shot): The camera is tilted to create a sense of unease, disorientation, or tension.
- Overhead (Bird’s Eye View): Gives a god-like or omniscient perspective; often used in establishing shots or to dehumanize a subject.
- Worm’s Eye View: Extremely low angle looking up, exaggerates the subject’s dominance or scale.
- Over-the-Shoulder (OTS): Offers spatial relationship and is commonly used in dialogue scenes.
- Point of View (POV): Matches what a character sees, offering a subjective, immersive perspective.
Conclusion:
Angles influence audience interpretation. Effective angle selection enhances character dynamics and narrative mood.
4.Composition:
Title: The Art of Composition in Cinematography
Introduction:
Composition is the arrangement of elements in the frame. It guides the viewer’s eye, emphasizes meaning, and communicates emotion visually.
Main Content:
- The Rule of Thirds: Dividing the frame into 3x3 grid helps position subjects off-center, making the composition more dynamic and pleasing.
- Leading Lines: Use natural or constructed lines to draw attention to the subject (e.g., roads, hallways).
- Symmetry and Balance: Symmetrical compositions can suggest order or control. Asymmetry can create tension or draw focus.
- Depth and Layers: Use foreground, middleground, and background to create a three-dimensional feel and visual interest.
- Headroom and Look Room: Give space above the head and in front of the subject’s gaze or movement to feel natural.
- Framing Within the Frame: Use elements like windows or doorways to frame subjects, adding depth and visual emphasis.
- Negative Space: Purposefully empty space can suggest isolation, peace, or tension, depending on context.
- Contrast and Color: Use contrast in light, color, or focus to separate the subject from the background.
Conclusion:
Mastering composition means using visual tools with intention. Every element in the frame should contribute to the story being told.
Week 2 (28/4/25)
[Instruction]
[Exercises]
Week 1: Editing Exercises
In the first class, Mr. Martin introduced us to the basics of PR software and guided us in doing classroom exercises on video editing.
Exercise 1 - Mints:
Process：
Create a new one in pr and put the selected material into it
quiz:
Week2 : Editing Exercises
In the second week, we systematically learned about the 8 lenses and carried out relevant video shooting exercises, followed by editing exercises.
- Low angle Wide shot
- Frontal MCU (soft background)
- Frontal MS (soft background)
- Extreme Close-Up shot
- Side angle MS (soft background)
- ¾ angling MCU shot (with blurry/soft foreground)
- Close-Up shot
- Eye-Level Medium-Wide shot
Quiz：
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