Shot size: how much of the subject or scene is visible within the frame of a camera shot. It’s a key element in filmmaking and photography used to convey different emotions, relationships, or the context of the subject. Here are common shot sizes:

Extreme Close-Up (ECU):
- Focuses on a very small detail, such as a person's eye or a specific object.
- Used to show extreme detail or emotion.
Close-Up (CU):
- Shows a subject’s face or a small object, filling the frame.
- Used to capture emotions or reactions.
Medium Close-Up (MCU):
- Frames the subject from the chest up.
- Often used for dialogue scenes to show both facial expressions and some body language.
Medium Shot (MS):
- Frames the subject from the waist up.
- Balances the subject with the surroundings, commonly used for general interaction between characters.
Medium Long Shot (MLS):
- Frames the subject from the knees up.
- It gives more context to the environment while still focusing on the subject.
Long Shot (LS):
- Frames the entire subject (such as a person) within the frame.
- Shows the subject in relation to the surroundings, often used for action or context.
Extreme Long Shot (ELS):

The subject is very small or far away, showing a vast amount of the surroundings.
Often used for establishing shots or to show grand landscapes.

Each shot size serves a different narrative purpose, from intimate emotional detail (close-ups) to conveying broader context or action (long shots).

Figure 1.0 Shot Size Cheatsheat

Over The Shoulder Shot (OTS): a camera angle used in filmmaking and photography where the camera is positioned behind one character, typically showing their shoulder and part of their head in the foreground, while focusing on what (or who) they are looking at in the background.
Key Characteristics:

Framing: The shot includes the back of one character's head and shoulder, and the other character (or object of focus) is in front of them.
Purpose: It’s often used in dialogue scenes to give the audience the perspective of one character looking at the other, helping to establish relationships or create intimacy.
Effect: It draws the viewer into the conversation by aligning the audience's viewpoint with that of one character.

Depth of Field

Foreground, middle ground, and background are terms used in visual arts and photography to describe different layers or planes in an image, giving it depth and perspective.

Foreground: The part of the image that is closest to the viewer. It contains the elements that appear the largest and most detailed.

Mid-ground: Located between the foreground and the background, the middle ground typically contains elements that are smaller and less detailed than those in the foreground. Most times, the main character will be situated here.

Background: The part of the image that is farthest from the viewer. It contains elements that are the smallest and least detailed.

Figure 1.1 Foreground, Mid-ground and Background in an image

Depth of field (DoF): the distance between the nearest and farthest objects in a photo that appear acceptably sharp. It determines how much of the scene is in focus.

Deep Depth of Field:

Only a small part of the image is in focus, while the rest is blurred.
Used to isolate a subject from its background and make it stand out, common in portraits or macro photography.
Achieved by using a larger aperture (small f-number, like f/1.8, f/2.8).

Narrow Depth of Field:

A large portion of the image, from the foreground to the background, remains in focus.
Useful for landscape photography where you want everything to appear sharp and clear.
Achieved by using a smaller aperture (large f-number, like f/11, f/16).

Figure 1.2 Shallow (Narrow) vs Deep Depth of Field

180 Degree Rule

180 Degree Rule: a fundamental guideline in filmmaking and photography that helps maintain spatial continuity when shooting a scene, especially during dialogue or interactions between characters.

How the 180-Degree Rule Works:

Imagine an invisible line, called the axis of action, running between two characters or along the path of motion in a scene.
The camera should stay on one side of this line, within a 180-degree arc, to ensure that the characters maintain consistent left-right spatial relationships in the shots.

Purpose:

It helps the audience understand the relative positions of the characters or objects in the scene, preventing confusion.
If the rule is broken (i.e., the camera crosses the axis), it can result in a "jump" in perspective, making characters appear to swap places or move in an inconsistent way.

Breaking the Rule:

Directors may intentionally break the 180-degree rule for creative effect, but it's usually done with care to avoid disorienting the audience.

Figure 1.3 180 Degree Rule Illustrated

Here is an image demonstrating the 180-degree rule. It shows how the camera remains on one side of the axis of action, ensuring that the characters maintain their left-right relationship. This rule helps maintain spatial continuity in scenes, especially during conversations.

Dynamic Screen Rule

Dynamic Screen Rule: Intentional and consistent movement or positioning of characters, objects, or the camera within the frame to guide the audience's understanding of where things are in relation to each other. It's used to create a sense of flow, direction, or movement in a scene and is particularly important when conveying action or interactions across multiple shots.

Key Elements:

Consistency: Characters or objects moving in a specific direction (e.g., left to right) should maintain that direction across shots. This ensures the audience isn't confused about the action.
Movement: Dynamic screen direction is often used in action scenes, chase sequences, or any time a scene needs to build momentum or excitement. The characters may move towards or away from the camera, creating tension or drawing the viewer into the scene.
Flow: The smooth transition between shots, where the direction of the movement remains constant, helps maintain spatial orientation and keep the audience engaged.

Breaking Screen Direction:

Sometimes, filmmakers break screen direction to disorient the audience intentionally, often for dramatic or unsettling effects.

Figure 1.4 Example of Dynamic Screen shots

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: Storyboarding

What is a Storyboard? The Fundamentals to Get You Started (studiobinder.com)

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.

Traditional storyboards are what we see above — basic pencil sketches that include detailed information like arrows for camera movement, characters, props, etc.

Figure 1.5 Example of (Traditional) Storyboard

Thumbnail style storyboards that don’t have any writing.

Figure 1.6 Example of Thumbnail Storyboard

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.

Week 4: Production

Production stages

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: Colour Correction & Colour grading

Colour Correction: refers to the process where every individual clip of a video footage is altered to match color temperature of multiple shots to a consistent technical standard of appearance.

It’s about balancing out your colors, making the whites actually appear white, and the blacks actually appear black, and that everything in between is nice and even.

RGB: An additive color model in which red, green, and blue light are added together in various ways to reproduce a broad array of colors.

The main purpose of the RGB color model is for the sensing, representation, and display of images in electronic systems, such as televisions and computers.

Before the electronic age, the RGB color model already had a solid theory behind it, based in human perception of colors.

Colour Grading: taking what you have done in color correction one step further, by altering an image for aesthetic and communicative purposes.

So once everything is looking nice and normal in your video, you are now empowered with the ability to further enhance your story by manipulating colors to create a new visual tone.

Week 6: Stage Placement

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

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.
Props and Objects:
- Items used by characters or present in the scene that can symbolize themes, indicate character traits, or advance the plot.
Costume and Makeup:
- Clothing and makeup that reflect a character’s personality, social status, occupation, or psychological state.
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.
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.
Performance and Acting:
- The actors’ physical movements, facial expressions, and interactions contribute significantly to the mise en scène, conveying emotions and subtext.
Color Palette:
- The selection of colors used in costumes, sets, and lighting can evoke specific emotions or symbolize thematic elements.
Spatial Relationships:

The distance and arrangement between characters and objects, which can indicate intimacy, conflict, or hierarchy.

Week 9: Sound Shaping

Frequency Range

Hertz(Hz) Human hearing: Frequency range from 20Hz to 20,000Hz. 7 subsets of frequencies used to help define the ranges.

Dynamic Range

Decibels (dB): The threshold of human hearing is measured as 0dB SPL (sound pressure level) and the threshold of pain 130dB SPL.

Space

Mono v.s Stereo

Mono sounds are recorded using single audio channel, while stereo sounds are recorded using two audio channels.

INSTRUCTIONS

EXERCISES

Exercise 1: In-class Editing

For week 1, we learned the simple basics of Adobe Premire Pro. Using the clips provided, we had to arrange them in order on the video editing application and export it as a finished video. These were the clips:

Figure 1.7 Google drive files to be edited, Week 1 (27/09/24)

I am already familiar with Premire Pro's software and interface, however I learnt the perks of switching workspaces. I usually work on an "Essentials" workspace, so learning how to use the "Editing" workspace in class was quite helpful.

Figure 1.8 Adobe InDesign Editing Workspace, Week 1 (27/09/24)

The video exercise was easy to do and was a good warm-up. This is the final result finished in class:

Figure 1.9 Exercise 1, Week 1 (27/09/24)

Exercise 2: Independent Editing

This task was to be done at home with the given video clips. The task was to not only arrange the clips in the desired order but to listen and observe which clips should be arranged in the correct sequence as each clip has been cut abruptly and renamed randomly.

Figure 2.0 Google drive files to be edited, Week 1 (27/09/24)

Using Adobe Premiere Pro wasn't so tedious for me, as I have had previous experience with it. However, it was arranging the clips in order through visual cues and sound that I found quite challenging.

Figure 2.1 Premiere Pro Interface for Dorito clips, Week 1 (29/09/24)

This is what my interface looked like. After learning how to drag and drop clips, I had to pay attention to the sound to get the right order. I was happy with the end result, and felt that it was edited accordingly.

Figure 2.2 Final Exercise 2 Video, Week 1(29/09/24)

Exercise 3: Shooting practice, shoot & editing

In Week 2, we learnt about different types of shots and angles (refer to "lecture" section). Using this information, we were required to get into groups of 2 and take video shots of each other following the given instructions in the right order:

Figure 2.3 List of shots to include, Week 2(04/10/24)

We used out phones in portrait mode to shoot the shots and get the right framing and angles. We had to collaborate and assist each other as we had to use the shots our partner takes of us for our final video. Because of this, we took multiple shots until we were happy it.

Figure 2.4 Screenshots of videos taken by teammate, Week 2(04/10/24)

Afterward, we were required to watch a video tutorial on adding captions and compiling and editing the video on Premiere Pro at home. We needed to shortlist and organize the clips in order, add captions, and a suitable soundtrack.

I started using the "Editing" workspace and put my clips in order:

Figure 2.5 Premiere Pro workspace, Week 2(07/10/24)

Afterwards, I watched the video tutorial on how to add captions and used the "Essential Graphics" panel to do this

Video Tutorial: https://www.youtube.com/watch?v=E00nZk_RMgc&feature=youtu.be

Figure 2.6 Adding captions on Premiere Pro, Week 2(07/10/24)

This is the final video with editing done. Taking the shots was quite awkward but my teammate was super co-operative and editing was a smooth process. I added in a song i felt was appropriate and not too disruptive to listen to called Crosses by José González.

Figure 2.7 Final Exercise 3 Video, Week 2(07/10/24)

Exercise 4: Editing Practice 1(Lalin)

For this exercise, we got clips of a few scenes from a short commercial called Lalin, however, the twist was that these were recorded by university students in an attempt to recreate the original. These clips were all included in a drive folder along with the graphics and sound effect we needed to include.

Figure 2.8 Drive folder with footage files, Week 3(11/10/24)

After looking through these and the storyboard (helps with ordering clips), I decided to watch the original video to use as a reference to the recreated version and remind myself of the storyline and order of texts.

Video Link: Short Film iklan thailand: LALIN

Figure 2.9 Screenshot of Short-Film reference, Week 3(11/10/24)

After that I watched the video tutorial on how to get started with the task. Using this I can better understand how to use the storyboard as a reference as well when editing.

Video Link: Video Production & Sound Premiere Pro tutorial 02

Figure 3.0 Screenshot of YouTube video tutorial, Week 3(11/10/24)

This is what the storyboard looked like:

Figure 3.1 Lalin Storyboard (PDF), Week 3(15/10/24)

I worked on the project following the instructions on Premire pro. For some of the clips, we had to implement a cross fade. We also had to include text message graphics to fade in and out on cue and play a text message sound provided to us.

Figure 3.2 Final Exercise 4 Video, Week 3(15/10/24)

Exercise 5: Understanding Storytelling

Now, give your knowledge on 3-act structure a run for the money.

By now you should have already watched:1. Lalin, 2. Everything, everywhere, all at once.

Figure 3.5 Lalin Poster

Figure 3.5 Everything, Everywhere, All At Once Poster

Based on each of the movies,

1. Which part is act 1, act 2, act 3 respectively? Describe each act with ONE paragraph only. Answer the questions twice, separately for 1. Lalin, 2. Everything, everywhere, all at once. Post it in your blog under exercises.

Lalin

Act 1 - Introduction of Lalin (MC) and her backstory. It shows her always wearing her mask and the story of how she moved to Japan due to lots of hate comments on her appearance. In Japan, she is free to wear the mask on the daily and her social media no longer receives hate.

Act 2 - The rise of her social media presence and how she edits herself to become an influencer. She meets a guy online called "Astronaut Nut" whom she starts developing feelings for. However, she refuses to send him pictures with her mask off and starts feeling more insecure about herself and her appearance. Astronaut Nut flies to Japan to come see her but she hides in the bathroom and changes her mind. She texts him asking to leave as she's ashamed. It is then revealed to us that Lalin has acne and has been hiding behind a fake online presence.

Act 3 - He finally agrees to leave but asks her to read the book he has left for her. Once she's alone she reads the book and realizes he has known her since they were younger and loved her for who she truly is. Flashback scenes are shown and Lalin comes to the realization that she must see him again. She runs to find him before he leaves, but he is already gone.

Everything, Everywhere, All At Once

Act 1 - The movie signifies the start of Act One by calling it "Part 1: Everything". In this act the character and their lives are established: a couple working at a laundromat struggling to pay taxes, on the brink of divorce, and their daughter who wants to be seen for who she is and constantly craves her mother's approval. As Evelyn (MC) goes to meet with the accountant, Waymond (2nd MC) switches into an alternate reality version of himself and tells Evelyn that she's in danger.

Act 2 - The second act, "Part 2: Everywhere" occurs when Evelyn truly understands her new-found abilities to fight and travel through alternate timelines with Waymond to discover herself and defeat antagonist "Jojo Tubaki" (who is in the form of her daughter, Joy). Through this revelation, Evelyn is even more determined than ever to fix things.

Act - The final act, "Part 3: All At Once" is when Evelyn confronts the antagonist and starts to understand the family dynamics. Waymond and her daughter, Joy, finally express their point of view and Evelyn sees them for who they truly are. The movie concludes with a happy ending and a family that tries their hardest to make the most of every passing moment.

2. What is the inciting incident in the movie?

Lalin

The inciting incident is when Lalin moves to Japan and grows her social media following.

Everything, Everywhere, All At Once

The inciting incident is when she meets alternate Waymond who gives her a set of instructions to follow and teaches her to jump timelines.

3. What is the midpoint scene in the movie?

Lalin

The midpoint is when Astronaut Nut shows up at a cafe to meet her and it is revealed that she has acne and has been faking her social media.

Everything, Everywhere, All At Once
The midpoint is when Evelyn refuses to kill her daughter and wishes to fix things the right way, feeling full control over her powers and knowing what she needs to do.

4. What is the Climax scene in the movie?

Lalin

The climax is when she reads the novel Astronaut Nut leaves for her and his true identity and their past is revealed to us. She then chases him at an attempt to catch him before he leaves.

Everything, Everywhere, All At Once

The Climax is when Evelyn jumps in almost every timeline to try to reach her fullest understanding and confronts her daughter Joy.

5.What is the theme of the movie?

Lalin

The themes include love, self-love, honesty, acceptance, social media, bullying

Everything, Everywhere, All At Once

The themes include mother daughter love, family, time, the multiverse, appreciating the little things

Exercise 6: Audio Shaping

Watching the video tutorial through the slides posted for Project 1 sound shaping. A few exercises were done in class to learn adobe audition and prepare ourselves for the project individually.

We start off by downloading the audio file provided in the folder:

As per the tutorial, the file "Audio 2_40" was to be downloaded and opened in Adobe Audition. Following the instructions, I practiced creating 5 different audios: a phone call, muffled, big stadium, underground cave and in the toilet. These techniques were then modified further when it came down to project 1.

Exercise 7: Colour correction

This exercise was once more, using the knowledge gained through lectures and quizzes, a practice before application to a Project, namely the colour correction required in Project 2.

Following the video instructions provided in the presentation slides, I edit the required clips provided on google drive:

Firstly, using Premire Pro, I ordered and cropped the video clips at their desired start point and end point and exported them as an orignal coppy with no colour correction/ grading.

I use the Lumetri scope and Lumetri Colour to do so, editing as per instruction, assesing through Waveform (RGB) to better understand the colour balance and white balance through the use of red, blue, and green in each scene, which I edit individually.

Using a comparison view, I edit the clips to fit the white balance of each scene, making use of the auto features whilst adjusting them manually.

After saving this, the video instructs to make a version with high contrast and to do this, I asses the RGB Curve through Lumetri Colour. This is used for professional looking scenes.

The last part was to include an adjustment layer - colour grade with a teal and orange to experiment with colour grading. These were my final edited video clips:

Exercise 8: Stop Motion Trial Shoot

For exercise 7, we were split into the same groups for Project 2 production shoot and had to work on two different stop motion videos: Clay animation or Paper cut out. This was the brief:

Filling the separate teams, I decided to work with the Clay-mation, as I wanted my final to be done with clay and needed practice to do so. The storyline is a simple love story between Teletubbies and Labubu. As an art director, I start working on the storyboard.

The storyboard was incredibly rough and simply an idea. I had misinterpreted the story as the brief says Teletubbies in plural form. However, we used this as a rough concept before working on the models for recording. The teams made its own Whatsapp groups and delegated a date and time to meet to buy supplies and work on the clay model before class.

We all met up and worked on it together as a team. The clay models were harder to make than expected but we pulled through.

We filmed the scenes in class. We took a few practice shots and started late before recording the final scenes.

This is how the final video turned out after importing the frames into Premire Pro:

Exercise 8: VFX Tutorial

For the last tutorial of week 10, we were supposed to use Adobe After Effects and learn how to create visual effects with simple footage.

Following the tutorial, I downloaded the footage and imported them onto After Effects.

The key elements of making these visual effects is the bule screen effect, and object tracing. This is the outcome of removing the blue screen to reveal the hand.

The hardest thing I struggled the most with was the jumping clip, as we had to trace and map along the object to make the background transparent.

This was the final outcome:

QUIZZES

Each week we had to take respective quizzes following what we learnt during lectures. These were my results:

Figure 2. Asynchronous class quiz result, Week 1 (27/09/24)

Figure 2. Asynchronous class quiz result, Week 2 (04/10/24)

Figure 2. Asynchronous class quiz result, Week 3 (11/10/24)

Figure 2. Asynchronous class quiz result, Week 4 (18/10/24)

Figure 2. Asynchronous class quiz result, Week 5 (25/10/24)

Figure 2. Asynchronous class quiz result, Week 6 (01/11/24)

Figure 2. Asynchronous class quiz result, Week 7 (08/11/24)

REFLECTIONS

Week 1: In week 1, I learned about camera angles and shots. I watched the necessary videos and took the quiz. I found this quite easy to digest as I watched it last semester for Digital Photography and Imaging.

Week 3: For week 3, I understood the crucial role of storyboarding in pre-production and the basics of how to make a storyboard.

Week 4: Week 4 was about the stages of production including summaries of pre-production, production, and post-production. This includes the roles of crew such as directors, editors, etc.

VSP - Lectures & Exercises

CONTENTS

LECTURES

Week 1: Briefing

Week 2: Framing & StoryBoard

Framing

Shot Size

Depth of Field

180 Degree Rule

Dynamic Screen Rule

Key Elements:

Breaking Screen Direction:

Understanding Storytelling

Week 3: Storyboarding

Week 4: Production

Week 5: Colour Correction & Colour grading

Week 6: Stage Placement

Key Components of Mise en Scène

Week 9: Sound Shaping

INSTRUCTIONS

EXERCISES

Exercise 1: In-class Editing

Figure 1.7 Google drive files to be edited, Week 1 (27/09/24)

Exercise 2: Independent Editing

Exercise 3: Shooting practice, shoot & editing

Exercise 4: Editing Practice 1(Lalin)

Exercise 5: Understanding Storytelling

1. Which part is act 1, act 2, act 3 respectively? Describe each act with ONE paragraph only. Answer the questions twice, separately for 1. Lalin, 2. Everything, everywhere, all at once. Post it in your blog under exercises.

2. What is the inciting incident in the movie?

3. What is the midpoint scene in the movie?

4. What is the Climax scene in the movie?

5.What is the theme of the movie?

Exercise 6: Audio Shaping

Exercise 7: Colour correction

Exercise 8: Stop Motion Trial Shoot

Exercise 8: VFX Tutorial

QUIZZES

REFLECTIONS

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