Exercises
Valerius Ethan Wirawan / 0372774
Video & Sound Production / Creative Media / The Design School
Exercises
TABLE OF CONTENT
4. Reflection
1. LECTURES NOTES
Establishing shot
Used to open a scene by showing the location, time of day, and setting. Often wide and helps orient the audience.
Master shot
Covers the full scene from beginning to end, showing where each character is positioned in relation to others.
Wide shot / Long shot
Shows the subject’s full body with space around them. Emphasizes their relationship to the environment.
Full shot
Frames a subject from head to toe. Useful for presenting a character’s physicality.
Medium full shot / Cowboy shot
Frames from the top of the head to just below the waist. Often used for confident or confrontational characters.
Medium shot
Frames from the waist up. The most common shot size, matching how we typically interact with others.
Medium close-up
Frames from mid-chest to just above the head. Prioritizes the face while retaining some physical context.
Close-up
Focuses on the face, especially the eyes. Used to capture emotions and subtle reactions.
Extreme close-up
Zooms in on a specific feature (e.g. eyes, lips) to emphasize emotion or detail.
Extreme wide shot
Shows the subject small within a large setting. Emphasizes isolation or environment scale.
Medium wide shot
Frames from the knees up, balancing body visibility and setting.
Over-the-shoulder (OTS)
Shows one character from behind another’s shoulder. Common in conversations.
Point of view (POV)
Shows exactly what a character sees. Often includes POV sound design.
Insert shot
Very tight shot of an object or detail. Used to highlight important visual information.
Over-the-hip shot
Framed from behind a character’s hip. Similar to OTS but lower in perspective.
Low angle
Camera looks up at the subject. Makes them appear strong, dominant, or intimidating.
High angle
Camera looks down at the subject. Makes them appear weak, vulnerable, or insignificant.
Overhead / Bird’s-eye view
Camera is directly above the subject. Used to show layout, action, or detachment.
Dutch angle
Camera is tilted to create tension or disorientation.
Eye-level
Most neutral and common angle. Feels natural and relatable.
Shoulder level
Just below eye level. Often used in dialogue or to show subtle power shifts.
Hip level
Camera at waist height. Matches cowboy shots or walking movement.
Knee level
Camera placed around knee height. Used to track lower-body movement or show vulnerability.
Ground level
Camera at or below floor height. Good for dramatic tracking or environmental emphasis.
Additional Notes
Rule of thirds
Divide the frame into thirds vertically and horizontally. Place subjects at intersections for balance.
Symmetry and balance
Breaks the rule of thirds by centering the subject. Used to focus the viewer’s attention or create tension.
Blocking
Actor positioning and movement within the frame. Helps guide viewer attention and narrative clarity.
Leading lines
Lines in the environment that direct the viewer’s eyes to the subject or focal point.
1.2. Class 2 (28/04/2025)
Three Act Structure
Fig. 1.2.1. Three-Act Structure (Source: Studio Binder)Act 1: Setup
This act introduces the main characters, the world they live in, and the normal state of things. The story begins with the Hook, the very first moment designed to grab the audience’s attention and make them want to keep watching or reading. In Jurassic Park, this is the suspenseful opening scene that hints at the danger of the dinosaurs. Next comes the Inciting Event, a crucial disruption that breaks the status quo and forces the protagonist to react, pushing them into the story’s main conflict. Act One ends with the First Plot Point, a turning point where the protagonist either makes a key decision or faces an unavoidable situation that launches them fully into the central storyline.
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The Hook: The opening moment that captivates the audience’s interest.
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Inciting Event: The disruption that sets the story’s main conflict in motion.
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First Plot Point: The event that marks the transition into Act Two.
Act 2: Confrontation
This act raises the stakes and deepens the conflict. The protagonist encounters obstacles and challenges that complicate their goal. Early in this act is the First Pinch Point, a smaller confrontation or reminder of the antagonist’s threat. The tension continues building toward the Midpoint, where a major revelation or shift occurs that changes the protagonist’s understanding of the situation. Afterward, the Second Pinch Point delivers another moment of pressure or setback, driving the story toward its darkest point and preparing for the final confrontation.
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First Pinch Point: A minor conflict or reminder of the antagonist’s power.
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Midpoint: A major shift or revelation that changes the story’s direction.
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Second Pinch Point: A setback or reversal, ramping up tension toward Act 3.
Act 3: Resolution
This final act brings the story to its peak and then to its close. It begins with the Third Plot Point, where the protagonist faces their lowest moment or biggest challenge yet, pushing them to act decisively. The Climax follows as the story’s most intense and dramatic moment, resolving the central conflict through confrontation, realization, or sacrifice. The story concludes with the Resolution, offering closure as the aftermath unfolds and the protagonist’s journey comes full circle, often showing how they have changed.
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Third Plot Point: The lowest moment or a pivotal turning point leading into the final act.
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Climax: The final confrontation or resolution of the main conflict.
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Resolution: The conclusion that ties up the story and reflects the protagonist’s growth.
Origin and Use
This structure traces its roots back to Aristotle’s Poetics and was popularized in modern screenwriting by Syd Field. Writers like Blake Snyder adapted and expanded it in guides such as Save the Cat. The Three-Act Structure is a flexible but effective storytelling framework used in many successful films, including Jurassic Park, which follows these beats closely from its captivating beginning to its thrilling climax and final resolution.
Application Of The Three Act Structure in 'Lalin (advertisement)'
1. Which part is act 1, act 2, act 3 respectively?
In Lalin, Act 1 begins by introducing Lalin, a Thai student in Japan who hides behind a white mask while becoming a popular online idol, establishing her struggle with identity and societal acceptance. Act 2 follows her rising internal conflict as she navigates daily life, gains online fame, and forms a connection with a classmate, all while concealing her true self. Act 3 culminates in a moment of vulnerability where Lalin removes her mask in front of the classmate, who responds with warmth, leading to emotional resolution and symbolizing Lalin’s journey toward self-acceptance and authenticity.
2. What is the inciting incident in the movie?
The inciting incident occurs when Lalin meet a guy in santa costume and get bullied the she goes to Japan to start a new life.
3. What is the midpoint scene in the movie?
The midpoint occurs when Lalin edits her photo with a “beautiful” filter, highlighting her internal struggle between her real identity and her online personality.
4. What is the Climax scene in the movie?
The climax occurs when Lalin chases the guy.
5.What is the theme of the movie?
The theme of Lalin is about self-acceptance and the struggle between true identity and societal expectations.
What is a storyboard (StudioBinder)
- Camera angles
- Shot composition
- Movement
- Dialogue and action cues
- Traditional/Hand-drawn – Basic sketches.
- Thumbnail – Mini sketches for exploring ideas.
- Digital – Created using storyboard software, more detailed.
- Clarifies creative vision.
- Enhances communication among the production team.
- Saves time and money by reducing mistakes during shooting.
Milanote focuses more on how to make a storyboard, especially for beginners and creatives in pre-production.
Steps to make a storyboard:
- Write your script or concept – Start with the narrative or a rough idea of the story.
- Break it into scenes – Identify key moments or beats.
- Sketch each scene – Draw frames (stick figures or polished art are both fine).
- Add directions and notes – Include camera movement, dialogue, effects, or transitions.
- Use software (optional) – Tools like Milanote make it easy to arrange, edit, and collaborate.
- Don’t focus on perfect art—clarity matters more.
- Use reference images to boost visual quality.
- Keep the team involved early for better creative alignment.
1.4. Class 4 (14/05/2025)
The Five Main Stage of Film Production
The process of making a film is generally divided into five widely recognized stages, each with specific tasks and objectives:
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This is the initial phase where the idea for the film is conceived and developed.
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Key activities include writing the screenplay, assembling a creative package (such as attaching a director or lead actors), and securing financing.
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The producer oversees this stage, working to get the project “greenlit” by a studio or investors.
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Development can be lengthy and sometimes projects get stuck in “development hell,” where they linger without moving forward.
Once funding is secured, detailed planning begins.
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This stage involves finalizing the script, budgeting, hiring cast and crew, scouting and securing locations, and planning the visual style through storyboards and shot lists.
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Department heads (like the cinematographer, production designer, and costume designer) are hired, and logistical details are ironed out.
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The casting director helps fill out the rest of the cast, and location scouts and tech scouts prepare for the shoot.
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This is the phase where the actual filming takes place.
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The crew sets up lighting, sound, and camera equipment, while actors prepare for scenes.
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Each day is organized by a call sheet, and the shooting process is meticulously coordinated by the assistant director.
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The director leads the creative execution, while department heads manage their teams to ensure smooth operations on set.
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After filming, the focus shifts to editing and finishing the film.
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Editors assemble the footage into a coherent story, progressing from an assembly cut to a rough cut and finally a fine cut.
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Sound editing and mixing, visual effects (VFX), color grading, and the addition of music and titles are completed during this stage.
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The goal is to polish the film for its final release.
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The completed film is marketed and delivered to audiences.
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This includes creating promotional materials (trailers, posters), securing distribution deals, and planning the film’s release in theaters, on streaming platforms, or at festivals.
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Marketing strategies vary depending on the film’s scale and target audience, and securing distribution can be as challenging as getting the film made.
| Stage | Key Activities |
|---|---|
| Development | : Concept creation, scriptwriting, financing, packaging |
| Pre-Production | : Budgeting, hiring, casting, scheduling, location scouting, storyboarding |
| Production | : Filming, directing, on-set coordination, capturing footage |
| Post-Production | : Editing, sound design, VFX, color grading, music, finalizing the film |
| Distribution | : Marketing, securing distribution, release planning, audience engagement |
What is Mise en Scène?
French term meaning “setting the stage.”
Refers to everything visible on screen: set design, lighting, costumes, actor placement, props, shot composition.
It shapes the overall look, feel, and atmosphere of a film.
Pronounced meez-on-senn.
Essential for filmmakers and viewers to understand how visual storytelling works.
Key Mise en Scène Elements
Location
Location choice affects mood, character, theme, and story context.
Example: A conversation in a church vs. a fast-food restaurant conveys very different meanings.
Budget constraints influence location decisions.
Tied closely to script breakdown and budgeting.
Color
Color is a powerful storytelling tool that influences mood and tone.
Not just a post-production afterthought; integral to production design.
Examples: Kubrick’s precise color palettes, Coen brothers’ dusty tones in O Brother, Where Art Thou?, Akira Kurosawa’s use of color.
Color elements include hue, saturation, and brightness.
Color schemes (analogous, triadic) help convey story themes and emotions.
Set Design
Sets establish the world and time period of the story.
Can be simple (a bench in Forrest Gump) or elaborate (wizarding school in Harry Potter).
Sets anchor characters and inform the audience about the story’s environment.
Large part of the budget and production planning.
Props
Props are objects used by characters or present in the scene.
Can be central to the story (e.g., the Heart of the Ocean in Titanic, ruby slippers in The Wizard of Oz).
Even background props contribute to storytelling.
Must be carefully tracked during script breakdown.
Costumes
Wardrobe reveals character traits, social status, and setting.
Helps ground characters in the story world.
Examples: Gone with the Wind (period and social cues), The Breakfast Club (high school archetypes).
Costume tracking is important for continuity and storytelling.
Hair and Makeup
Extend character portrayal and complement costumes.
Can redefine or revitalize characters (e.g., Joker in The Dark Knight).
Important for creating believable worlds and characters, especially in fantasy or period films.
Lighting
Sets tone, mood, and atmosphere.
Essential for visual storytelling; can be subtle or dramatic.
Example: Film Noir’s chiaroscuro lighting; Schindler’s List’s stark contrasts.
Lighting decisions should be made early in pre-production.
Medium (Film vs. Digital)
Choice of medium affects texture, color, and overall look.
Film stock varies by size (8mm to 70mm), color, and speed.
Digital offers different possibilities and challenges.
Choice impacts mise en scène and artistic expression.
Camera Choice
The camera shapes how mise en scène is captured.
Different cameras and lenses create different visual effects.
Example: John Cassavetes’ use of handheld 16mm for realism (Cinéma Vérité) vs. Paul Thomas Anderson’s use of 65mm for high resolution and scope.
Camera choice influences framing, depth, and style.
Additional Insights
Mise en scène is a collaborative effort involving directors, producers, designers, and many craftspeople working together to create the film’s visual world. Script breakdowns and production management tools are essential for tracking and controlling these elements. Every detail within the frame contributes to storytelling by shaping what the audience sees, hears, and feels. A deep understanding of mise en scène enriches both the filmmaking process and the appreciation of film as an art form.
Reference:
https://www.studiobinder.com/blog/mise-en-scene-elements/
1.6. Class 6 (28/05/2025): Color Theory, Color Color Grading, Correction
What is Color Theory?
Color theory is both a scientific principle and a creative discipline. Scientifically, it explains how color hues and saturations are created. Creatively, it examines how color is used to achieve emotional effects in visual art, including film. The foundation of color theory is the color wheel, first formalized by Isaac Newton in the 18th century, which organizes colors into original (primary) and compounded (mixed) categories.
Key Concepts in Color Theory:
Color Wheel: Visual representation of colors arranged according to their chromatic relationship.
Color Schemes:
Monochrome: Variations of a single color.
Analogous: Colors next to each other on the wheel.
Complementary: Colors opposite each other on the wheel.
Triadic: Three colors evenly spaced around the wheel.
Tetradic: Four colors forming a rectangle on the wheel.
Hue, Saturation, Brightness: The three main elements of color, which influence mood and tone in visual storytelling.
Color in Film:
Directors use color to set mood, convey themes, and create visual harmony. For example, David Fincher uses muted blue-gray tones for moodiness, while Wes Anderson employs bold, saturated palettes for whimsical worlds.
Color Correction vs. Color Grading
Tools Used:
Color Wheels, Curves, HSL Qualifiers: Adjust parameters like hue, saturation, and luminance.
Scopes (Waveform, Histogram, Vectorscope): Analyze and ensure technical accuracy in color adjustments.
2. INSTRUCTION
3. PROCESS WORK AND FEEDBACK
Fig. 3.1.4. Doritos Commercial Outcome
4. REFLECTION
Experience
Over the past six classes, I experienced a well-rounded and engaging introduction to the fundamentals of film production and cinematography. Starting with Adobe Premiere Pro, I gradually built technical confidence through hands-on editing tasks such as assembling a Doritos and candy commercial. Through practical exercises like the shot size assignments and storyboarding, I began to understand how visual decisions support storytelling. Analyzing advertisements such as John Lewis 2014 and Lalin allowed me to connect theory with real-world examples, deepening my understanding of narrative structure. Each session felt progressive and well-paced, allowing room for creativity, exploration, and technical skill development.
Observation
I observed that visual storytelling involves much more than just capturing good footage. The composition of a frame, choice of color, shot size, and camera angles all serve specific narrative purposes. For instance, close-up shots effectively conveyed emotional tension in the Lalin ad, while low-angle shots demonstrated character dominance. The mise en scène session emphasized how lighting, set design, and props subtly but powerfully influence the mood and tone of a scene. I also noticed how collaborative and detail-oriented film production is—from script development through post-production, every decision shapes the audience's experience.
Findings
I found that understanding shot composition and narrative structure is key to creating compelling visual stories. Concepts like the Three-Act Structure and mise en scène helped me recognize how intentional every element in a film must be to communicate effectively. Tools like storyboards and color grading techniques are not just technical add-ons—they’re central to planning and enhancing the story’s impact. I also discovered the importance of pre-visualization and planning, especially during pre-production, as it significantly affects the efficiency and coherence of the final product. Overall, these insights reinforced the idea that filmmaking is a balance of art, planning, and technical execution.
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