Video & Sound Production Project 2
Video & Production Sound - Exercises
21/04/2025- /0/2025 / Week 1 – Week 14
Valenz Jycee Primadi / 0373407
Video & Production Sound /Creative Media/ The School of
design
Exercises
TABLE OF CONTENTS
1. Lectures
2. Instructions
3. Project 2
4.Feedback
5. Reflection
Week 5 : Mise en scène
The term mise en scène comes from French, literally meaning to "place on stage." It refers to any and every visual design and composition of a film or scene. Mise en scène includes everything visible with the camera.
Mise en scene elements include:
- Sets
- Props
- Lighting
- Costumes
- Actor blocking
- Shot composition
1. How Location Affects the Scene
Pro tip: Never treat setting as an afterthought. A two-person conversation will feel completely different at a fast-food restaurant or at church. Where a scene takes place reveals character, tension, mood, and meaning—without saying any words.
2. Pick the Right Color
Color isn’t just decoration — it’s a storytelling tool. Filmmakers who ignore it miss a huge part of mise en scène. The right color sets mood, shapes emotion, and adds depth. Just look at Kubrick — every frame is a masterclass in color with purpose.
3. Your Set Establishes Your World
Mise en scène translates to "staging," and the first piece of mise en scène is your set. Whether it's a simple bench in Forrest Gump or Hogwarts in Harry Potter, it establishes the world you're creating and grounds your story.
4. Props Importance
Props are commonly treated as part of a category of mise en scène that includes set or wardrobe. This makes some sense, but it is important to think of props separately.
5. Costumes Make The Difference
Wardrobe isn't only about fashion, it's storytelling. What a character wears tells us about their personality, their standing and status, their emotional disposition, and their reality. Costumes create first impressions, so pay attention to them early on.
6. Hair and Makeup
Costumes aren’t the only way to bring characters to life. Hair and makeup also provide characteristics to characters.
7. Lighting Sets The Tone
Lighting is the invisible force influencing how we feel. It also affects mood, behavior, and the overall feeling or emotion in the visual world. Whether subtle or bold, lighting is the last stroke of paint in your mise en scène.
8. The Medium-Film vs. Video
Your medium—film or digital— influences the look and feel of your story. Each offers its own texture, tone, and mood. Your mise en scène starts with how you record the image. Choose wisely.
9. Picking The Camera
The camera is your way to capture the scene, but it is also your way to define the scene. Everything about your equipment matters - from the lens you use to the type of sensor in the camera - those details affect the mood, texture, and tone of your film. The camera is an important component of mise en scène, equally important as the set, costume, or light.
10. Camera Placement
No, it is not "what" camera you are using - it's "where." The exact placement of a camera guides emotional sentiment, emphasis, and context. When this is done well, the audience won't even see it... they will just feel it!
11. Speeding up or slowing down film
Filmmakers control time—slowing down to extend moments, or speeding up to create momentum and energy. By manipulating film speed, you are influencing how your world feels and your story progresses.
12. Comprehending Composition
Composition defines every frame, sometimes directing (but never controlling) the viewer's eye and the storytelling. While there are generally accepted "rules," exploring the possibilities of framing can open up limitless possibilities for meaning, and meaning making.
- A scientific, explanatory principle about how color hues and saturations are made.
- A creative discipline, that looks at how creative people use color to create emotional effect in visual art.
- Color Wheel
- Color Context
- Color Harmony
Mastering the movie color palette
Every visual artist uses color differently. Some prefer to play with complementary colors… others stick to tetradic themes.
- David Fincher : Fincher is known for a cold, muted recent blue-gray color style.
- Stanley Kubrick : Kubrick had an extraordinary use of expressive color and typically utilized saturated reds and blues as a way to evoke emotional and thematic moments; he was a master of the bold and deliberate frame. His colors are very dramatic, yet stylistically self-contained and symbolic.
- Zack Snyder : Snyder's color schemes are mostly monochrome with complementary highlights in order to create a graphic novel style—and films like 300.
- Guillermo del Toro : Del Toro's color is quite diverse but often favors triadic color schemes, such as the "yellow/red/purple".
- Akira Kurosawa : Early in his career, Kurosawa was known for his monochrome greyscale films, yet color grew in importance notably in Throne of Blood, and later Dreams, with deep reds as well as complex, complementary/triadic palettes. His early use of monochrome gives him emotional and symbolic depth as well.
- Wes Anderson : Anderson typically is known for, and embraces bright, audacious color, and he inserts films that can be whimsical and hyper-stylized, with his use of symmetry and pastel colors seems to transforms images into illustrative pages from children's storybooks.
When making films and taking pictures, you will want to achieve and maintain accurate colors. A color checker is a card that has a grid in which the patches of color on that card are all standards of colors representing a full tonal range, neutral grays to saturated colors – everything a color can be. Once captured in a frame, filmmakers can then adjust colors in post-production to get to those true, consistent tones helping us hit that “perfect color” every time.
Video color grading vs. color correction
When you shoot footage on a smartphone or digital camera, the colors you find are often not true to life as you see them. This is where correction and grading come in.
- Correction is the process of correcting inaccuracies in your footage, and essentially this means correcting, exposure, white balance, and hues to make the colors as natural and true to life.
- Grading is the more creative process and the way you show your storytelling through mood, style and emotion by manipulating the colors, contrast and saturation to visually convey your look in a video.
Both correction and grading can help bridge the gap between what your camera has captured as footage, and the storytelling emotions you want your audience to feel.
- Color Correction is about "fixing" colors—making sure everything looks normal, balanced, natural, and true to life. It is the technical step to get colors "right".
- Color Grading is about "styling" colors—changing the mood, tone, and atmosphere, by creatively adjusting the hues, contrast, and saturation. This is where your film gets its own unique "look".
What Is Color Correction?
How to Color Correct in 5 Basic Steps:
Normalize your footage as much as possible.
Fix saturation first—tone down or boost colors evenly.
Adjust brightness and contrast to get clear light and dark levels.
Set the correct white balance to make whites look pure.
Double-check skin tones to ensure they look natural.
This basic process helps beginners quickly balance footage before moving on to creative grading.
What Is Color Grading?
Color grading is the creative step after correction that sets the mood and style of your video. It transforms natural footage into a visual story, enhancing emotion and tone.
What Are LUTs?
LUTs (Look-Up Tables) are presets that quickly apply specific color looks. They save time but work best when you know how to adjust them for your footage.
How to Color Grade in 5 Steps:
Normalize your footage.
Finish color correction.
Pick your desired look.
Adjust colors in your editing software.
Check skin tones and use a vectorscope.
Grading begins only after correction, letting you creatively shape your film’s visual feel.
Top programs for grading and correction include:
Adobe Premiere Pro
Final Cut Pro
Blackmagic DaVinci Resolve
Magic Bullet Colorista
Fylm.ai
The first three are full editing suites, while others focus specifically on color. Choose what fits your needs and dive deeper into color work!
When in Sir Martin's class, we watched an advertisement about Lalin. After that, Sir Martin assigned us to edit footage of Lalin that had been done by seniors. What we had to do was cut, insert graphics, and arrange the video into 35-second video clips.
We were told by Sir martin to do Lalin – Color Correction & Grading Instructions.
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Color Correct: Apply color correction to all shots using basic correction tools (exposure, white balance, contrast, saturation).
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Color Grade: Create one Adjustment Layer on Video Track 3 for entire timeline. Apply grading here.
Production Shoot – Trailer Grading
Instructions
Color grade using a
combination of the following
looks
(as per final slide):
-
Teal & Orange
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Bluish (cold)
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Greenish (cold)
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Brownish (warm)
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Desaturation (50%–70%)
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Black & White, High Contrast
Use adjustment layers or Lumetri to blend and balance these styles as needed. First I opened the Lalin project file, and I started to do color correction on the video.
During our recent session, Mr. Martin provided us with a detailed briefing regarding the production shoot for our project. This briefing covered essential elements that will guide our filming, editing, and post-production workflow. Below is a structured breakdown of the key instructions and resources shared.
Storyboard Reference
Mr. Martin has supplied us with a complete storyboard, which outlines the visual flow and sequence of shots intended for the final production. This storyboard serves as our visual blueprint and must be followed closely to ensure consistency with the original concept and direction.
Reference Clips Provided
In addition to the storyboard, Mr. Martin has also provided sample clips to serve as visual and stylistic references.
Mr. Martin has divided the class into two production groups, each functioning as an independent film crew. Along with the group division, he provided a Production Crew List detailing the assigned roles for each member in their respective teams. These roles are structured to reflect a professional on-set environment.
Crew roles include:
- Producer
- Director
- Assist. D. 1
- Assist. D. 2
- D.O.P
- Assist. Camera
- Lighting crew 1
- Lighting crew 2
- Art Director
- Location Sound
- Boom Operator
- Main actors
- Extra
During the week of the shoot, the process was full of enthusiasm and focus, as each team member fully carried out their assigned role. From setting up the equipment to directing and performing.
There was a lot of laughter and stress during the shoot but overall it was a very enjoyable experience. The process was efficient, and although the shoot was demanding, the team dynamics made it productive and enjoyable. Collaboration, creativity and shared enthusiasm really defined the atmosphere on set.
Post Production, Trailer editing & Color Grading
- hey u said i was the wrong one
- husband breathing (v.o: i’ve been watching you)
- director name
- “hard to explain” scene
- wife flashing scene
- wife actor name
- no need to explain
- husband light flashing (v.o you were incredible)
- trus fight scene
- husband actor name
- wife dying
- hand bag (Bag Sound Effect)
- Tittle
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cold, bluish tone to create a somber atmosphere
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Desaturated by 50–70% for a muted, drained emotion
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Teal & Orange to bring a cinematic and vibrant contrast
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A greenish cold tint to emphasize unease and tension
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Warm brownish tones to evoke comfort and nostalgia
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Black & White with high contrast for dramatic intensity
Each color treatment was carefully chosen to support the narrative and emotional tone of its respective scene.
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