EXERCISES

Week 1-Week 14 (21/04/2025-28/07/2025)

Jennifer Michelle Hiendrawan/0374682

Video and Sound Production/Bachelor of Design (Honours) in Creative Media

Exercises 

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TABLE OF CONTENTS

1.Instructions

2.Task

3.Feedback

4.Reflection

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LECTURES

Week 1

Mr.Martin explains to us about all of the tasks in this module and also teach use how to use adobe premiere pro as a beginner. We must make 2 exercises that require us to sort the videos that given by Mr.Martin.

SHOT SIZE

Types of cameras shot sizes:

1.Extreme Wide Shot (ELS) 

• An extreme long shot (or wide shot) makes the subject appear small against the location
• Object will feel distant or unfamiliar 
• You can use it when you need to emphasize location or isolation

Fig 1.1 Cinematic Shots - (EWS) Extreme Wide Shot Example in Mad Max: Fury Road

2.Long Shot (LS) / Wide Shot (WS) 

• If the subject is a person, the whole body will be in view, but not filling the shot 
• Use a long shot to keep you subject in plain view amidst grander surroundings

Fig 1.2 Types of camera shots: (WS) Wide Shot Example in The Martian

3.Full Shot (FS) 

• Can be used to feature multiple characters in a single shot 

Fig 1.3 Cinematic Shots: (FS) Full Shot Example in Guardians of the Galaxy

4.Medium Long Shot (MLS) / Medium Wide Shot (MWS) 

• Frame the subject from roughly the knees up

Fig 1.4 (MWS) Medium Wide Camera Shot Example in The Usual Suspects

5.Cowboy Shot 

• Frame the subject roughly mid-thighs up 
• Called a 'cowboy shot' because it is used in westerns to frame a gunslinger's gun or holster's on his hip

Fig 1.5 (CS) Cowboy Shot Camera Shot in Wonder Woman

6.Medium Shot (MS) 

• Frames from roughly the waist up and through the torso 
• Emphasizes the subject more while keeping the surroundings visible
• Often be used as a buffer shot for dialogue scenes that have an important moment later that will be shown in a close-up shot

Fig 1.6 (MS) Medium Shot Example in X-Men: Days of Future Past

7.Medium Close Up (MCU) 

• Frames the subject from roughly the chest up 

Fig 1.7 (MCU) Medium Close Up Shot Example in No Country for Old Men

8.Close Up (CU) 

• To reveal a subject emotions and reactions 
• Perfect for important moments 

Fig 1.8 (CU) Close-Up Shot Example in The Usual Suspects

9.Extreme Close Up (ECU) 

• The most you can fill frame with your subject
• Often shows eyes. mouth, and gun triggers
• Smaller objects get great detail and became the focal point 

Fig 1.9 (CU) Close-Up Shot Example in The Usual Suspects

10.Establishing Shot Film Techniques 

• A shot at the head of a scene that clearly shows us the location of the action 

FRAMING

Types of cameras shot framing:

1.Single shot

• When your shot captures one subject 
• Set and framed in any shot size you like, as long as there is only one character featured within the frame

Fig 1.10 Type of camera shots example: Single Shot in Iron Man

2.Two shot

• Useful for allowing performances to play out in a single take, especially for comedy

Fig 1.11 Type of shot example: 2-Shot in The Matrix Reloaded

3.Three shot

• Important in adventure films or any film that has a group of characters 

Fig 1.12 Type of shot example: 3-Shot in Harry Potter and the Deathly Hallows – Part 1

4.Over-The-Shoulder Shot (OTS)

• Shows your subject from behind the shoulder of another character 
• Common in conversation scene 

Fig 1.13 (OTS) Over-The-Shoulder Shot Example in Westworld

5.Point of View Shot (POV)

• Camera shots that show the viewer exactly what the characters sees

CAMERA ANGLE 

1.Eye Level Shot

• Neutral perspective (not superior or inferior)

Fig 1.14 Types of Angles: Eye Level Shot Example in Forrest Gump

2.Low Angle Shot

• Frames the subject from a low camera height looking up at them 

Fig 1.15 Types of Angles: Low Angle Shot Example in The Empire Strikes Back

3.High Angle Shot

• Camera points down at your subject 

Fig 1.16 Film Shots Examples: High Angle Shot in The Princess Bride

4.Hip Level Shot

• Roughly waist-high

Fig 1.17 Types of Camera Angles: Hip Level Shot Example in Reservoir Dogs

5.Knee Level Shot

• As low as your subject's knee 
• Can emphasize character's superiority, if paired with a low angle 

Fig 1.18 Shot Types: Knee Level Shot in Home Alone

6.Ground Level Shot

• Camera's height is on ground level with your subject 
• Captures what's going on the ground your subjects stand 

Fig 1.19 Types of Angles: Ground Level Shot Example in Star Wars VIII: The Last Jedi

7.Shoulder Level Shot

• Roughly as high as your subject's shoulder 
• Can make your actor seem shorter than reality 

Fig 1.20 Types of Camera Shot Angles: Shoulder Level Shot in Black Panther

COMPOSITION

1.The rule of third 

• Positioning a character to show their relation to other elements in the scene 

Fig 1.21 Rule of Third 

2.Balance and Symmetry 

• Direct the viewer's eye to a specific place 

Fig 1.22 Balance and Symmetry

3.Blocking

• The way directors move actor in the scene 

4.Leading Lines

• Lead the eye to key elements in the scene 
• To connect the character's essential objects, situations, or secondary subjects 

5.Depth of field 

• The size of the area in your image where objects appear acceptably sharp 

Fig 1.23 Depth of field

Week 2

THREE ACT STRUCTURE 

-Narrative models that divide stories into 3 parts (Act one, Act two, and Act three)

-These acts are labeled as Setup, Confrontation, Resolution or Setup, Build, and Payoff 

-Act one sets up the world, characters, character's goals, as well as the conflicts or obstacle 

-Act two raises the stakes for the character to achieve goal, escalating the conflict 

-Act three resolves the story with either an achievement of that goal or failure

Fig 1.24 Three Act Structure

Act 1: Setup

-The first 20-30 minutes of the story 

-If the story contains supernatural elements, the rules will be established here 

Act 2: Confrontation or build 

-The middle of the story that should raise the stakes

-Often leads us to the worst possible thing that happen to the character 

-Plot doesn't have to move in one direction. There are ups, downs, and turn arounds

Act 3: Resolution of Payoff

-The end should bring some kind of catharsis or resolution (regardless if the ending is happy or sad)

MAKING SENSE OF THE 3 ACT STRUCTURE 

-There is no predetermined formula knowing exactly where and when these critical events should occur within each act 

-Most of the time, big event like the inciting accident or resolution will obviously and naturally happen in their intended acts, but the specific should come from the organic nature of the story 

Fig 1.25 Three Act Structure

3 ACT STRUCTURE BREAKDOWN 

1.The hook

-The opening of the movie and in turn the first act

-The main goal is to captivate audience 

2.The inciting event 

-Gets the plot moving 

-Protagonists are going right into the belly of the beast 

3.First Plot Point 

-Commonly referred as the break into act 2

-After the characters cross this barrier, they cannot go back 

4.The first pinch point 

-Happens about a quarter of the way through the second act 

5.The midpoint 

-The moment that redirects the plot 

6.Second pinch point 

-The protagonists is really in trouble and the audience is starting to wonder on how they will get out of this 

7.Third Plot Point 

-Segues us into the highest stake of the story 

8.Climac

-The final battle 

HOW TO USE 3 ACTS STRUCTURE IN YOUR WRITING 

1.Act one: exposition, inciting action, turning point into act two

2.Act two: rising action, midpoint, turning point into act three

3.Act three: pre climax, climax, denouement

Lalin

1.Which part is act 1, act 2, act 3 respectively?

Act 1: The video tells the story of a protagonist named Lalin who feels insecure because people think that she is ugly and bullied her, therefore she must wear mask everywhere and anytime to cover her face. She decided to fly to Japan because in Japan people didn't know her and no one would hurt her. In Japan, she often uploads edited photos of herself on social media so that she finally becomes famous. But the famous reality is indeed bitter, she has to receive a lot of hate comments as well when people know her real face. 

Act 2: One day there was a man who sent a message to Lalin and asked Lalin to translate his book. From there they got to know each other and fell in love. They often make video calls but the man named astrounout never sees her face because she always wears a mask. However, one day the man suddenly approached her in Japan directly. Lalin was very shocked and said that she was not ready to meet him. 

Act 3: Lalin chased astronaut away because she felt that she was not ready to meet. While reading the novel brought by Astronaut, Lalin realizes that he is her old friend. Now Lalin is confident and finally open her mask. She went to approach astronaut, however she had missed her chance because he already gone.

2.What is the inciting incident in the movie?

When she experienced severe bullying that damaged her self-confidence, she decided to move to a new environment where no one would recognize her and start a new life in Japan 

3.What is the midpoint scene in the movie? 

The midpoint scene is when Lalin eventually developed feelings for Astronaut and thought everything would go smoothly since they could make phone calls every day and Lalin wouldn't have to show her face. However, unexpectedly, Astronaut came to Japan to meet Lalin in person without notifying her beforehand. This made Lalin panic because she wasn't prepared and didn't feel confident to take off her mask.

4. What is the Climax scene in the movie?

It is when Lalin eventually realized that the astronaut was her old friend through the novel she had read. But the person had already gone too far because of herself, which indirectly caused astronout to leave.

5.What is the theme of the movie? 

The theme of the movie is confidence. This film tells the story about Lalin who is lacking in self-confidence, while in reality, Astronaut likes her just the way she is, without judging her appearance. This teaches us that we must believe in ourselves and that appearance are not everything; a kind heart can change someone's feelings towards us

Everything, all at once 

1.Which part is act 1, act 2, act 3 respectively? 

Act 1: The video tells a story of a protagonist main character named Evelyn Wang and her family. Evelyn Quan Wang is faced with a series of problems. Her husband, Waymond Wang filed for divorce. Meanwhile she also faced a situation where her only daughter, Joy, is lesbian. At the same time, she has to meet a tax agent about her problematic income report. However, that day everything changes when Waymond appears from another universe. Alpha Waymond, her husband tried to explain that the multiverse was real.

Act 2: Alpha Waymond seeks Evelyn's help to save the universe from the threat of Jobu Tupaki, who intends to annihilate the entire multiverse. He believes that only his wife can accomplish this due to Evelyn and Jobu Tupaki bond. Discovering her many selves in parallel universes left Evelyn feeling confused and disoriented 

Act 3: Evelyn finally defeat Jobu Topaki and rebuild her connection with her family

2.What is the inciting incident in the movie? 

When Waymond pulls Evelyn into multiuniverse  to confront Jobu Tupaki because he believes only his wife can handle this. 

3.What is the midpoint scene in the movie? 

The midpoint scene is when Evelyn was confused about all of the multiuniverse things, however she was asked by her husband to defeat Jobu Topaki because she is the only one who has a connection with Jobu Topaki. 

4.What is the Climax scene in the movie? 

Evelyn stoped Joy (Jobu Topaki) and tells her that even though the world feels absurd and empty, they can still choose to love and be there for each other. Evelyn says that even if all the other versions of their lives might be better, she still wants to be with Joy in the real word.

5.What is the theme of the movie?

The theme is about love and kindness, shown through Evelyn who learns to appreciate her life and her relationship with her daughter

Week 3

STORYBOARD

Storyboard definition 

-Storyboard is a visual representation of a film sequence and breaks down the action into individual panels 

-Ordered drawings, camera direction, dialogue, or other pertinent details 

-It skeches out how a video will unfold, shot by shot 

Storyboard format and layout

Traditional vs Thumbnail 

-Traditional storyboards basic pencil sketches that include detailed information like arrows for camera movement, characters, props, etc.

-Thumbnail storyboards don’t have any writing. 

-Thumbnail was refering to the imagen and the more detail you put into it, the easier it will be to execute later.

Fig 1.26 Traditional Storyboard

Fig 1.27 Thumbnail Storyboard

Storyboard Examples

-Storyboard is constructed to match what's already been written in the script, but they can also become deeply tied to the actual storytelling process. 

- An animation storyboard and animatics are fundamental steps, not just to refine the specific animation and movements but to craft story beats and character behavior at the same time.

HOW TO CREATE STORYBOARD

1.Identify key scenes in the script

- Know what story you’re telling. 

- Break up the script or narrative you’ll be working from. 

- Mark up the key parts of the story by highlighting major beats such as actions, locations, wardrobe, staging, narrative arches, and major plot points. 

2.Map out the key scene

-Give each one a number and a relevant title so it's easy to link them back to the broader story. 

3.Add images or sketches

- Referred to as “idea landscaping” (a place to brainstorm the visual features of each beat within the landscape of a story). 

- With modern storyboards you can collect reference photography, illustrations, screenshots, location shoots, and even motion from anywhere.

4.Describe what happens in each frame

- Try to communicate how it will look and feel as a moving sequence. 

- Describes the style, mood, and behavior of characters.

- Consider some of the following: 

1.Composition and Framing: 

-Decide how characters and objects will be framed within each shot.

- Use the rule of thirds and other compositional techniques to create visually appealing and balanced frames. 

2.Transitions: 

-Plan how each shot transitions to the next. 

-Smooth transitions create a cohesive flow, while abrupt changes can be used for dramatic effect.

3.Character Blocking: 

-Determine character positions and movements within each shot. 

4.Emotion and Expression: 

-Define a character's facial expressions and body language to capture their emotions and reactions. 

5.Annotations: 

-Use additional notes or captions for things that can't be easily conveyed in the visuals. 

6.Dynamic Action: 

-For action scenes, break down fast-paced movements into a sequence of panels to ensure clarity.

Week 4

STAGES OF FILM PRODUCTION 

1.DEVELOPMENT

-Where it all begins

-An idea by the producer or screen writter

-Producer's job during development is to include a screenplay, a piece of intellectual property, a director, or some actors 

-A script with proper screenplay formatting will inform everything from the dialogue and costumes to the budget and schedule

-Studios can get money from pre-sales, which refers to selling a film before it’s made to local distributors. They can also rely on slate financing, which is getting money from investors for an entire roster of films and also can take out loans through things like negative pickups, gap financing, and bridge financing

Fig 1.28 Script Example

2PRE-PRODUCTION

-Pre-production refers to all the preparation before the film begins

-Everything being happened between financing being secured and production

-3 major things that have to happen during this stage:

1.Budgeting: A producer has outlined the general costs of a film during the development phase and will look at where money will go during and after the shoot. They need to consider rentals, props, costumes, set decorations, etc.

2.Getting the team together: Typically, a movie is made by hundreds of people. For the crew, a producer, usually with input from the director, will hire heads of departments (professionals like the cinematographer, production designer, costume designer, etc.). This is where a casting director comes into play. The casting director will read the script, consult with the director, and put together auditions for all the parts that need to be filled. They’ll send their top picks to the director (if the director isn’t there for the auditions).

3.Pre-Visualizing: A director, and usually their DP as well, will start planning out how they want their film to look and make a storyboard or writing out a shot list. There will be a consultation with the production designer to decide what sets will look like, and meeting with the costume designer to think about what the costumes will look like. 

3.PRODUCTION

-Camera rolls and footage are captured 

-Moving elements between the production stage:

1.The call sheet: a document sent out by an assistant director each day before a shoot to tell each member of each department what their call time is and what they should be planning to do for the day.

2.The set up: The grip and electric departments work to set up the lighting for the shot. The camera department will set up the camera and any rigging involved for movement. Meanwhile, the makeup and costumes department will get an actor into the right look for the given scene.

3.Shooting: The Assistant Director announces, “Picture is up” AD calls for quiet, then says “roll sound,” prompting the sound mixer press record. Once recording, the mixer will respond, “Sound speeds.” AD says, “roll camera,” and the camera operator will start rolling. 

4.POSTPRODUCTION

-Film editing

-Elements:

1.Picture Editing:There are three general cuts that an editor will go through, along with collaboration with the director. The first is the assembly, where the editor and director review the footage, select takes, and put them in order with little regard for pacing. The second is a rough cut, where rhythm becomes more of a priority. Last is the fine cut, where decisions are more intricate and the cut is approaching picture lock.

2.Sound Editing:The sound team in post-production is expansive, consisting of sound mixing & sound editing. Sound editing is essential to put all the sound effects, dialogue, voice overs, and more in place. Sound mixing is refers to getting all of the levels correct for exhibition (and various exhibition settings). 

3.Additional Visuals: There’s computer generated images (or CGI) amd also coloring, which is done by a colorist. Depending on how a film is shot (on film, RAW, etc.), this can take many different forms. A film also needs a title and credits, which will involve typography choices, motion designers and more. 

5.DISTRIBUTION

Elements:

1.Marketing: You can cut a trailer, make a poster, build an electronic press kit, and more for relatively cheap.

2.Securing Distribussion: The major studios usually have an in-house distribution company, while indie studios will typically shop their project around to multiple firms. If you’re a truly independent filmmaker who’s made a feature on your own, then you may get distribution at a film festival, or you may want to hire a sales agent, who can connect you with distribution companies. Also you can use the internet.

THE ROLES OF THE PRODUCTION TEAM

1.PRODUCER

-The group leader and is responsible for managing the production from start to finish. 

-Develops the project from the initial idea, makes sure the script is finalized, arranges the financing, manages the production team that makes the film, and coordinates the filmmaking process to ensure that everyone involved in the project is working on schedule and on budget. 

2.DIRECTOR

-Responsible for overseeing the shooting and assembly of a film. 

-While the director might be compared to a novel's author as a film's primary visionary, he or she would not be able to make the film without the help of numerous other artists and technicians. 

3.SCREENWRITER 

-Shapes the sequence of events in a film to ensure that one scene transitions to the next so that the story will unfold logically and in an interesting way. 

4.PRODUCTION DESIGNER 

-Translate the script into visual form.

-Creates a series of storyboards that serve as the film's first draft. 

-Storyboards serve as the director's visual guide throughout the production and will be a template to follow during the editing process.

5.ART DIRECTOR 

-Responsible for the film's settings: the buildings, landscapes and interiors that provide the physical context for the characters. 

-Responsible for acquiring props, decorating sets and making the setting believable.

6.COSTUME DESIGNER 

- Convey a great deal about the film's time period and the characters who wear them, including their economic status, occupation and attitude toward themselves. 

7.CINEMATOGRAPHER 

-The director of photography and responsible for capturing the script on film or video. 

-Pay attention to lighting and the camera's technical capabilities. 

8.EDITORS

-Organize the footage and arranges individual shots into one continuous sequence. 

- Choices about which shots to use, and the order in which to place them, have a profound effect on the appearance of the final film.

9.ACTORS

-Responsible for portraying the characters in a film

-Appearing on the set and reciting lines.

10.MUSIC SUPERVISOR 

-Selecting just the right music for the film will intensify the story for the audience.

Week 5

MISE EN SCENE DEFINITION

-Everything that has to happen to make the finished image look the way it looks, which in turns helps your content feel the way you need. 

-Refers to the visuals of a film. It’s what we see onscreen 

-The arrangement of scenery and stage properties in a play. 

-Refers to everything in front of the camera, including the set design, lighting, and actors.

MISE EN SCENE ELEMENTS 

Sets, Props, Lighting, Costumes, Actor blocking, Shot composition

FILM TECHNIQUES

1.How locations affect your screen 

-When choosing a location, the budget often plays a role. 

-Take a deeper dive into film budgeting during your script breakdown phase. 

2.Pick the right color 

-Color in film is a massive element of mise en scene that permeates every other visual element. 

-The use of color is malleable and subjective. Its role in creating mood or effect 

-Color is a primary tool for filmmakers because it is a vital means of artistic expression. 

3.Your set establishes your world 

-Since the earliest days of motion pictures, setting the stage has been crucial for creating worlds. 

4.Props importance 

-The use of props is often lumped in with set or wardrobe. Hair and makeup can revitalize familiar characters, dispel preconceived notions about them, and make them relevant right now. Such is the case with the Joker in The Dark Knight Trilogy. When it was announced that the character of the Joker would be rebooted in the new Batman series, many scoffed at the idea of recreating a character that Jack Nicholson had made so iconic for Tim Burton. A similar adjustment was made for Todd Phillips' Joker as well. Here's a breakdown of how that character was realized in each iteration.

5.Costumes make the different 

-The costume, or wardrobe, is another key part of the filmmaking arsenal when composing mise en scène. 

-What characters wear says much about the world they inhabit, who they are within the world, how they feel, and how they carry themselves.

6.Hair and Makeup 

-Costumes extend and bind all the elements of mise en scène. This is also true of hair and makeup, with intimate connection to talent. 

- Contributes to the elements of film in even the most complex worlds.

-Hair and makeup can revitalize familiar characters, dispel preconceived notions about them, and make them relevant right now.

7.Lighting sets the tone 

-Lighting techniques exemplify this “seen and unseen” quality. 

- Lighting is one of the key elements of film. It’s the pièce de résistance in completing your mise en scène. 

8.The medium- film vs video 

-Back then a time filmmakers had a small selection of black and white film available. T

-Today, the choices are abundant, beginning with size: 8mm, 16mm, Super 16mm, 35mm, 65mm and so on. Then there is black and white or color, as well as stock and speed. 

9.Picking the camera 

-If the mise en scene translation comes out to “staging” or “putting on stage,” then what kind of camera you use makes a difference. 

-Your choice of camera is an essential element of mise en scène. 

-It can paint as distinct and unique a picture as any other element. 

-At the heart of filmmaking is manipulating and capturing light to produce a picture. What you use to capture that light, simple or advanced, has an effect.

10.Camera Placement 

-Where you choose to put your camera is just as important as what kind of camera you use. 

11.Speediung up or slowing down film 

-As a filmmaker, you can shape and bend your created world like a wizard. 

-You can also change the tempo of your world and your characters with fast or slow motion. 

-Many filmmakers have used the speed of the scene to accentuate every element of mise en scène. 

12.Comprehending composition 

-Ultimately, characters and action should suggest the layout of the image, the placement of elements within it. 

-Good composition guides a viewer’s eye and leads a viewer’s focus within the frame. 

-The Rule of Thirds is one way filmmakers can imbue their frame and scene with the focus they desire.

13.Form and frame 

- Every beautiful picture deserves a spectacular form and a well-thought-out frame. 

14.Depth of field 

-Depth of field is one of the subtler elements of film, but a measurable one. 

-With a light touch, a filmmaker can play with peripheral elements while keeping the primary focus in the viewer’s sights.

15.Sound Design 

-One of the elements of film that often gets neglected by fledgling filmmakers

-Whether you are using diegetic or non-diegetic sound, music, and sound effects, it is critical that you think of what is heard as essential to your mise en scene elements.

16.Music

-The music becomes a character in the film itself. The leitmotif and the character are synonymous. 

-The rhythm, tempo, and texture of mise en scene is tied to the music. 

-Music also is a way for the filmmaker to communicate to the audience.

-The filmmaker can inform and enrich the what, when, why, and how of a story’s moment-by-moment emotional resonance.

17.Know the talent 

-Your actors are one of the most essential mise en scène elements. 

-Actors’ strengths and weaknesses can be exploited when they are the central focus of a scene.

- Some actors are chosen for the melodramatic or overacting quality of their performance. 

18.Blocking actors 

-Blocking organizes the action, the business of the moment. 

-It flavors what’s going on, both on the surface and underneath

- Does an actor take a step, scratch an itch, put on a hat, do a jumping jack, bite into a sandwich?

19.Action in the background 

-The main action in any given moment is what your mise en scene all comes down to. 

- Where do your characters start in a scene, and where do they end? Not just physically, but emotionally. How do they change? Background action, seemingly throwaway action, and any action that is secondary to that in primary focus can be memorable and valuable as part of your mise en scène. 

20.Post-production

-CGI or Computer Generated Imagery, can be the icing on the cake for your completed film

- The rapid growth of CGI can create mega-worlds of wizards and superheroes. This translates to the ability of filmmakers to add many critical mise en scène elements with computers.

Week 6

BASIC COLOR THEORY 

History of color theory 

-Color has been played with for a long time, both scientifically and artistically. 

-Color theory is: 

1. A scientific principle that explains how color hues and saturations are created. 

2. A creative discipline that examines how color is used to achieve emotional effect in visual art. 

-Types of Color Theory: Color Wheel, Color Context, Color Harmony

ACHIEVING COLOR HARMONY 

What is a color wheel? 

-Color wheels have been used for hundreds of years to express ranges of color. 

-We can trace the use of color wheels back to the early 18th-century with Isaac Newton’s natural philosophical text Opticks. 

-In the book, Isaac Newton used a circle (rather than a line or other shape) to propose a range of perceivable color. 

-Colors were divided into two categories: original (red, orange, yellow, green, blue, indigo, and violet, perhaps better known by the acronym ROYGBIV) and compounded (colors that are created by, you guessed it, compounding original colors)

-In the following year, color wheels progressively offered wider (and/or more diverse) ranges of spectral hues 

Fig 1.29 Warm vs Cool color

-Color scheme: Monochrome, Analogous, Complementary, Triadic, Tetradic Monochrome utilizes varying tones of just one color (usually gray). 

-Analogous utilizes colors that are next to each other on the color wheel. 

-Complementary utilizes colors that are colors that are opposite to one another on a color wheel. 

-Triadic color utilizes colors that connect together on a color wheel to form an equilateral triangle. 

-Tetradic color utilizes colors that connect together on a color wheel to form a rectangle.

  

Fig 1.30 Color Schemes 

COLOR THEORY EXPLAINED 

Mastering the movie color palette 

-Every visual artist uses color differently.

COLOR GRADING VS COLOR CORRECTION 

-Color correcting is the process of correcting (or fixing) colors in a video or a film as a way to get them back to what they should look like for your project. 

-Color grading is the process of grading (or editing) colors in a video or film as a way to give them a stylistic look.

Fig 1.31 Color Grading vs Color Correction

COLOR CORRECTION

-Example: if the white and black levels match what the human eye sees as white and black, then the rest of the colors should be balanced as a result as well.

-If the footage you shot (or perhaps was given to you to edit) was very improperly balanced to begin with, the process can be quite tricky to complete without at least a little bit of expertise.

-5 basic steps of color correcting:

1.Normalize your footage as much as possible. 

2.Fix your saturation first. 

3.Fix your brightness and contrast. 

4.Set your new white balance. 

5.Double check your skin tones. 

COLOR SATURATION AND COLOR BRIGHTNESS

-Element that should always consider in color correcting is the relationship between the color saturation and color brightness 

-In an ideal video setting, footage will be shot as flat and undersaturated as possible. 

-If footage is oversaturated or too bright or dark, valuable information could be lost which can make your footage unusable. 

COLOR GRADING 

- This is an entirely optional process, especially if the film is meant to be as realistic as possible. 

-The right color grading will always help convey a visual tone or mood to heighten the narrative. 

-Example: you might want to use higher contrast and darker tones for a horror film, or inverted colors for a sci-fi shootout

LUTs in color grading 

-Stands for “look-up table,” and it is a quick cheat-sheet which filmmakers can use in camera, or more importantly, which editors can use in their edit to give their footage specific grade and look. 

-These tools can be huge timesavers and with the right use 

HOW TO COLOR GRADE IN 5 STEPS?

-5 basic steps;

1.Normalize your folate as much as possible. 

2.Follow the steps to correct your colors. 

3.Choose your desired look and style. 

4.Make your color adjustments in your editing program of choice. 

5.Double check skin tones and vectorscope. 

-Color grading should really only be done after your video has been normalized and corrected so that you’re working off of footage that represents how it is meant to be seen. 

Fig 1.31 Color Grading before and after 

WHICH FOOTAGE REALLY NEEDS

-In most circumstances, clients want footage that looks correct and cinematic, which means they want both color correcting and grading. 

- With today’s modern digital editing technology, and the vast number of educational resources and tutorials available to editors, both these feats can be performed by you on your computer.

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INSTRUCTIONS

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TASK 

Week 1- "Mints" and "Doritos" editing

Fig 2.1 Exercise 1 (Mints Editing)

Fig 2.2 Exercise 2 (Doritos Editing)

Fig 2.3 Quiz

Week 2-Exercise Shooting Practice & Editing (add caption)

During the class, we were divided into groups of 3 where we had to take turns recording each other in landscape position for 5 seconds. Here are some videos that we need to take:

1. Close-Up Shot 

2. Frontal Medium Close-Up Shot 

3. Frontal Medium Shot 

4. Extreme Close-Up Shot 

5. Side Angle Medium Shot 

6. 3/4 Angling Medium Close-Up Shot 

7. Low Angle Wide Shot 8. Eye-Level Medium-Wide Shot 

Once we have recorded the video in class, we have to edit the video and sort it. Then we also have to add captions for each video.

Process

1.First i imported all of the video and arranged it based on the slide.

Fig 2.4 Editing Video Process

2.I added captions for all of the videos by using text. I also added the shadow for all of the text.

Fig 2.5 Editing Video Process

3.I added music for the video.

Fig 2.6 Editing Video Process

FINAL OUTCOME

 

Fig 2.7 Editing Video Process

Week 2-Editing Exercise (Lalin)

We need to edit the video that has been provided by Mr. Martin. We have to arrange the clips, cut some parts of the video because the duration must be 35 seconds, add graphic elements, and also include some effects in the video

Process

1.First i saved the video, graphic elements, and sound from Mr.Martin and then import in on Adobe Premiere Pro. I started to arrange the videos one by one. 

Fig 2.8 Editing Video Process

2.After that i added the graphic elements for each of the video that has the graphic elements on it.

Fig 2.9 Editing Video Process

3.I started to trim the video and adjust the duration of each video.

Fig 2.10 Editing Video Process

4.Here I have dragged some videos. I'll put the videos one by one until the last video

Fig 2.11 Editing Video Process

5.I created a scene when the man suddenly dissapear. I followed the tutorial by Mr.Martin

Fig 2.12 Editing Video Process

6.I added sound (phone text sound), added effect for the text (cross dissolve) 

Fig 2.13 Editing Video Process

FINAL OUTCOME

Fig 2.14 Final Outcome

Week 2 - Quiz

Fig 2.15 Quiz 2

Week 3 - Quiz

Fig 2.16 Quiz 3

Week 3-Exercise Shooting 

We are divided into groups of 4 people where we can take turns filming according to the predetermined shots. Then after filming, we need to edit it in Adobe Premiere Pro.

1.First i downloaded all of the videos and import it to adobe premiere pro.

Fig 2.17 Exercise Shooting Progress

2.I arranged the videos one

Fig 2.18 Exercise Shooting Progress

3.After that, i added text and also create shadow to highlight the text for each of the video, so that everybody can know what kind of shot it is 

Fig 2.19 Exercise Shooting Progress

3.I imported music and added it to the video to make it more interesting 

Fig 2.20 Exercise Shooting Progress

FINAL OUTCOME 

Fig 2.21 Exercise Shooting Finl Outcome 

Week 4-Quiz

Fig 2.22 Quiz 4

Fig 2.23 Quiz 4

Week 5-Quiz

Fig 2.24 Quiz 5

Week 6-quiz

Fig 2.25 quiz 6

Week 9

We must edit a vfx video on class and follow Mr.Martin for the step by step. We must make it based on the example provided. 

1.First i downloaded the footage and import in on adobe after effects 

2.I arranged the shots in composition following the video tutorial

3.I cropped some of the shots based on the tutorial and only use the part that needs to be use. For example, here i cropped the jumping part and use only the few frames that character floating in air.

4.Use roto brush to make pre-com. 

5.Add adjustment layers to add color for all layers

FINAL OUTCOME