Video and Sound Production - Lecture
21/4/26 - /5/26 / Week 1 - Week
Janice Cheah Pei Ern / 0376497
Video & Sound Production / BDCM / Taylor's University
Lecture
LIST / JUMP LINK
LECTURES
Week 1
Shot Size
Fig. 1 Shot Size
Extreme Wide Shot (ELS): Makes subject seem small to emphasise
scale, isolation or the setting
Long Shot (LS) / Wide Shot (WS): Body is fully visible, shows character and surroundings
Long Shot (LS) / Wide Shot (WS): Body is fully visible, shows character and surroundings
Full Shot (FS): Character fills the frame with emphasis on
scenery
Medium Long Shot (MLS) / Medium Wide Shot (MWS): Knees-up
framing
Cowboy Shot: Mid-thighs up framing
Medium Shot (MS): Waist-up framing, balance emotion and
environment
Medium Close Up (MCU): Chest-up framing, focus on
character's expression
Close Up (CU): Face fills the frame, show emotion and detail
Extreme Close Up (ECU): Focus on small detail like eyes or
object, creates intensity or importance
Establishing Shot: Shows location and context of the
scene
Camera Shot
Single Shot: One character (Isolate the character)
Single Shot: One character (Isolate the character)
Two Shot: Two characters (Show relationship/interaction)
Three Shot: Multiple characters (Show group dynamics)
Over-the-Shoulder Shot (OTS): Shot from behind another
character
Point-of-View Shot (POV): Shows what the character sees
Camera Angles
Eye Level Shot: Neutral perspective to feel natural and
balanced
High Angle Shot: Looks down on subject to make them seem
smaller or weaker
Low Angle Shot: Looks up at subject to make them seem powerful or
dominant
Dutch Angle: Tilted sideways to create tension or unease
Overhead Shot: Directly above subject to show environment clearly
or make the subject feel controlled
Aerial Shot: Taken from very high with drone or helicopter to
emphasise scale and setting
Shot Composition
Rule of Thirds: 3x3 divided frame and subjects are placed on
intersecting lines
Balance & Symmetry: Balanced shots feel stable and harmonious,
symmetry draws attention and tension
Leading Lines: Lines in the frame to guide viewer's eye to
important subjects
Eye-level Framing: Camera at eye level to create connection and
empathy
Depth of Field: Control what is in focus, Shallow focus isolates
the subject, Deep focus shows more context of the surroundings
Deep Space Composition: Placing elements at foreground, midground
and background to show depth and relationships
Week 2
3-Act Structure
Most stories/movies follow the 3-Act structure formula.
Fig. 2 3-Act Structure
Act 1 - Setup (Beginning)
- Captivate the audience with a Hook
- Introduces the characters, world and conflicts
- Establish the protagonist's goal
- Inciting Event/Incident to get the plot moving (usually a challenge)
Act 2 - Confrontation (Middle)
- The protagonist faces obstacles
- Challenges become harder
- Midpoint that shifts or escalates the story (usually between 1st and 2nd halves of the act)
Act 3 - Resolution (End)
- The story will reach its Climax
- Conflict is resolved in success or failure
- Ends with Resolution/Denouement
Week 3
Storyboard
Storyboard is a visual representation of a film sequence.
It is done by storyboard artists and part of the pre-production
process. There are two types of storyboards:
Traditional Storyboard: Basic pencil sketches, information
like arrows for camera movement, characters, props, etc.
Fig. 3.1 Traditional Storyboard
Thumbnail Storyboard: Don't have any writing, only
images
Storyboards can help to prevent continuity errors and as a visualisation
guide.
Week 4
Stages of Film Production
Some will simplify to the main three stages, Pre-production,
Production and Post-production.
But in detail during the filmmaking process, it is usually divided into
these stages:
1. Development
3. Production
4. Post-production
5. Distribution
- Overseen by a Producer
- Producer putting everything together in a Package (Gather screenplay, director, actors etc.)
- Producer secures financing
- Preparation for filming
- Budgeting (Rentals, props, equipment costs etc.)
- Getting a Team/Crew
- Pre-visualising on the film (Storyboard, shot list, location scouting etc.)
- Call sheet by assistant director (For call time and itinerary of the day)
- Setting up the scene (Lighting, camera, makeup etc.)
- Shooting the film
- Film editing
- Picture editing (Assembly, Rough Cut, Fine Cut)
- Sound editing (Sound effects, dialogue, voiceovers etc.) and sound mixing
- Additional Visuals (VFX, CGI, colouring, title and credits)
- Marketing
- Securing distribution from studios, firms or at a film festival
Roles in a Production Team
There are many roles in a production team but in general, it consists
the roles below:
Producer: Group leader of the production, managing from
start to finish
Director: Overseeing the shooting and assembly of a film
Screenwriter: Crafts dialogues and shape the sequence of events
in a film
Production Designer: Translate script to visual form through
storyboards
Art Director: Acquire what is need for the film's settings
(Buildings, landscapes, props etc.)
Costume Designer: Prepare costumes for characters
Cinematographer: Director of photography, capture the script on
film or video while paying attention to lighting and camera.
Editor: Organize footages and arranges them into one continuous
sequence.
Actors: Characters in a film
Music Supervisor: Selecting the right music for the film
Some more specific roles that is in a production team:
Mise en scene (meez-on-senn) means setting the stage in French. It is
the arrangement of scenery and stage properties in a play. But, in
film analysis, it is everything in front of the camera to set the
effect and feel of the film for the audience.
Mise en scene elements include:
- Sets
- Props
- Lighting
- Costumes
- Actor blocking
- Shot composition
Location / Setting: Place of a scene affects tone, character and
meaning
Colour: Influences emotion, symbolism and atmosphere (Visual identity
or emotional response)
Stage Set: Establish the film's world and anchor the characters
Props: Objects in frame can carry symbolic or narrative importance
Costumes: Convey Personality, Social Status, Time Period and Emotional
State
Hair and Makeup: Enhance character identity and world-building
Lighting: Creates mood, depth and thematic meaning
Composition: Visual elements arranged inside the frame
Framing: What audience see and how they interpret it
Depth of Field / Focus (Shallow/Deep Focus): Directs viewer's
attention
Actor Blocking: How actors move and position themselves in a scene
Background Action: Small details happening behind the main action can
add tension, foreshadowing or realism
Week 7
Colour Theory
-Scientific principle that explains how colour hues and saturations are created
-Creative discipline that examines how colour is used to achieve emotional effect in visual art
Colour Wheel
Fig. 5 Colour Wheels with Colour Schemes
Colour Schemes
Monochromatic: Variations of one colour (usually greys)
Analogous: Colours next to each other on the wheel
Complementary: Colours opposite to one another on the wheel
Triadic: Colours that are connected together on the wheel to form an equilateral triangle
Tetradic: Colours that are connected together on the wheel to form a rectangle
Colours affect the emotional responses, mood and tone, and the effectiveness of visual storytelling.
Some examples done by filmmakers:
David Fincher: Uses muted blue-grey tone for tension and unease
Stanley Kubrick: Uses saturated reds and blues for thematic impact
Zack Snyder: Uses monochrome while cross-matching with complimentary colours
Guillermo del Toro: Often uses triadic colours for vibrant fantasy worlds
Wes Anderson: Uses vibrant palettes to make it more storybook-like
Common Colour used: Orange and Teal
Colour Correction V.S. Colour Grading
Colour Correction: Technical clean-up in post-production edits (Exposure, white balance, saturation)
Colour Grading: After colour corrected image, use tools to create a creative deliberate style (Hues, alter contrast, refine saturation, secondary colour adjustments)
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