Design workshop

DESIGN WORKSHOP ARDALAN EDDIE MASTOORI

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REFLECTION on REFLECTION PA RT A.1

The points I made for the previous submission about my way of design thinking was right but it has a lack of content. I guess my thinking was formed based on my background where everything is limited and you cannot think outside the box and if you do, you will need to find the shortcuts to apply your very own thinking.

I have been using my own learning strategy which was under the learning condition and education system I was taught. And I believe this learning strategy has made me

be

an

independent

knower

looking to arguments as well as contextual knower.

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Sergei Eisenstein

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https://kishan84.files.wordpress.com/2014/11/sergei_eisenstein_03.jpg

ARCHITECTURE & CINEMA 5

ARCHITECT AND FILMMAKER

CREATIVITY

SIMILARITIES

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COMMUNICATION

FILM AND ARCHITECTURE

VISION

PROBLEM SOLVER

AMBITIOUS

COMMONALITIES

LECTURE 5

At the beginning of the lecture, we were asked to film the lecture theatre to show the architectural qualities and based what we learnt, film another video at the end to show our understanding of content.

It was interesting to see many internationally recognised architects such as Rem Koolhaas were filmmakers at their early career. I suppose, as a filmmaker, they had to have a good observation to see many qualities that normal people cannot observe. Human behaviour, anticipation or special look at the details are just a couple of them. This is the feature that every architect should possess.

The most interesting part of the lecture was the theory of filmmaker Sergei Eisenstein and the idea of creating an intellectual cinema. I think, his argument of abstract concept by composing a series of image layers for viewer applies directly to architecture. Self-referential is an important concept in some of my university works such as my latest studio. I created a series of layers of raw concrete and placed them for smooth circulation for user interpretation.

The ending exercise was very beneficial as now we understand there must an idea or thought behind every shot as well as it is necessary to think of the layers particularly to show architectural quality. When designing, we also need to have the commonalities between architecture and film because I believe it will help to understand the space and programs needed.

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EXC RCISE

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In the lecture excrcise, in my first attempt, I tried to show most of the architectural elements as well as spatial quality such as circulation. In second attempt, with application of the knowledge we gained during the lecture, I tried to incoprate some fimmaking principle to better show the elemnts and quality. I guess, one of the important fact was to make the lecture short-movie from my eye-level.

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D E SIGN A FACADE F O R A D IRE CTO R The cinema of Michelangelo Antonioni is the depiction of the pop-culture especially in the film ‘Blow-up’. I created a facade made of different colourful cubes which demonstrate high interest in this culture. Another aspect of his filmography is sex and drug. The facade could be interpreted as someone who used a drug and can view the colour brighter than a normal person.

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https://s-media-cache-ak0.pinimg. com/originals/72/bb/8a/72bb8ac6e17dd8022724cf26d6cca94f. jpg

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LECTURE 6 RE FL EC T I N G O N D E S IG N THI N K I N G / P R O C E S S ST UD I O E A R T H

My latest project at uni was Studio Earth and interestingly, I took the first-year subject in my last year and obviously it supposed to be easier for me to demonstrate the content but it was not!

The design process started with in-class exercises throughout the semester to better demonstrate the content of the subject. My design process for the last project started by reading and studying some precedents. The issue with precedent is that there is a possibility you stock to one specific precedent and apply its design to your context. If that ends up learning from the precedent for future projects, I think, It is totally a good approach.

After precedents, I usually start sketching the precedents as well as some random but more applicable to my context. I guess that would give you more possibility options and would open a new perspective to view the finished project.

My next move is to find the form (in this instance) by different form finding methodology. In this instance, I used the language of deconstructivism and try to find the best possible option in Rhino.

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P RE CEDE NT

l e cture F r iend’s ad vice O pen optio ns p o ssibilitie s A nalysis

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TRA CI NG SK ETCHI NG

Tracin g wor k s New s k et c h e s Feedb a c k diff ere n t s c a le s

F O RM F I NDI NG

Sk et c h Dig it al M o d e l m ak ing

D E S IGN

Fo r m fi n d i n g D e ta i l s p r e s e n ta ti o n te c h n i q u e s

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RE FL EC T I N G O N D E S IG N THI N K I N G / P R O C E S S ST UD I O F I R E

The capstone studio where you should apply all you have learnt throughout your degree could be a challenge. The design process started similar to a design process in architectural firms.

Analysis of precedents, learning from approaches, and going through different elements of the buildings were only some of the starting points in our design decisions. Jumping and overtaking each step would probably leave a big gap into the project but it is important to learn from mistakes.Throughout this studio, I used different techniques such as making different basic study models study the form to overcome the form-finding challenge.

There was one issue which could have been really effective in the design. Architects and designer are always under pressure to meet the deadlines and sometimes this will screw and affect the entire project. to be accurate, when you expect so much from yourself, this will impact your design process and put you under stress and pressure which made you decide poorly.

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LECTURE 7 WH AT TO D O WH E N S T U C K !

I have been doing so many mistakes during my

One of the things impacting my design process

studies at university, and no doubt that I constant-

in the environment I work in and push my ideas.

ly learn from my fault. Often I am stuck in the

When I work at MSD, I do not usually sit in one

design process and this could be related to a set

spot for a long time (more than two-three days)

of concepts or even making decisions between a

as I found it distracting to stay at the same spot.

few facade systems.

It might sound strange but I think it goes back to the psychology of each person. I believe this is an

The main reason I got stuck is losing my con-

everchanging habit as I used to be someone who

centration by bypassing to different methods or

does not like the crowds at MSD but now, fewer

different ways. When this happens, I usually go

people around me, makes my day less efficient!

outside my work area and do an unrelated thing or even watching stupid shows. But is it effective?

To be honest I have not found a fixing method to concentrate on my work and that could be a good thing because of different process and a different situation I was in.

Walking or getting the sun, having a light meal were sometimes effective indirectly to my design process. When I was doing my studio fire, I was under pressure which exercises helped me a lot in managing my time and affecting on being more efficient.

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Source: Jo h n H o r n er Ph o t o g r ap h y

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THE ARCHITECTURE OF IMAGE: EXISTENTIAL SPACE IN CINEMA

By Juhani Pallasmaa

As someone new to study architectural quality in films, I enjoyed reading the book especially because I watched two of the films already.

What

is

interesting

is

when you watch them, you notice a quality but you are not sure if it is an architectural quality of filming technique.

But, as someone who is interested in Pallasma’s book particularly his approach towards architecture and phenomenology, I think by reading the very first few pages, I found a fresh perspective on the architectural quality these directors have to offer. Take a deeper look at the content and based on the famous

“A n

art director must have a wide knowledge of understanding of architecture.” _ Alfred Hitchcock 20

Hitchcock’s quate below, we can demonstrate the essential architectural quality in each film. I think he was the master in layering out the film and captures them in appropriate timing.

By ‘Alfred Hitchcock’

This is a film full of narrative and architectural quality. Framings have been done which give you this feeling that you are watching the all the events through Jeff ’s eyes. I think framing is not the only thing we can learn from ‘Rear Window’, even it can be demonstrated that the distance between the object and camera make so much differentce in delivering the intension and story.

REAR WINDOW

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TUTORIAL _1 RIGHT BUILDING? Tutor has made this decision that a film based on a building with specific features such as spatial quality, ineteresting facade as well historical aspects can be made for MSDx. The project started with consideing

and

investigating

different

buildings. A few buildings such as

_

Heide Musuem, Robin Boyd foundation were sugested but due to the vareity of resquest from authorities, we decided to film a more contemporary project with mentioned qualities without needing permission.

After a two-days discussion with the group ACCA (Australian Centre for Contemporary Art) was chosen.

F

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w

f

e

c

a

o

T

F

s

f

a

w

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t

p

_2 TI ME F R AME/SITE VISIT

F or next step, we decided to assign the specific

responsbilites to each one of the team member

with deadlines. Second was to program the time -

frame based on the filming technique we were giv -

e n. From this point, the i nitial design decisions was

con sidered by watching a few precedents as well

a s techniques. In addition, the initial brainstorming

o ccured to have a primary idea of the workload.

Two site visits were suggested in the meeting.

F irst visit was more to exprience the site and its

spa ce as a v isitor and second one was more from a

filimng point of view. After first site visit, site plans

a nd plans were prepared to start the site analysis

with having the initial suggestion in mind. During

the second visit, a few ideas were suggested to

p ropose to other members.

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_3

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MEETING

T IME FRAME DIAGRAM

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SITE ANALYSIS VCA Red Brick ARM SEAN GODSELL

VCA Red Brick NE

W

SITE RY TO

CK

I BR

100KM/H TOLL RD

PEOPLE FLOW

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TRAM LINE TRAM STOP

D

OL

C FA

W

_4 FINDINGS

The analysis shows that people flow happen more in morning and afternoon on weekdays and noon on weekends which to us, was important elements to show the movement as well as having a human scale in all stage of filming. There is close by tram stop which has noise as well that I think we can incorporate that into the film as part of our circulation or experiencing the site.

DE

VE

LO

In addition, the important sector which

PM

EN

T

has helped us to form our concept based on phenomenology was the context of the site. At the very initial discussion, there were ideas around the integration of greenery and building was proposed but then with considering the context of old brick buildings around the site as well as brick-adjoining building (Old beer factory) the initial idea turned 180 degrees to a very contextual based theme film.

Considering all these mentioned points, the group decision was made based on the concept of phenomenology to give the experience of visiting ACCA to someone who has not visited at MSDx.

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Color Light Time

By Steven Holl + Jordi Safont-Tria and Sanford Kwinter

Since starting this collabration, I have started reading ‘Color Light Time’ and I think It has been beneficial to better apprehend the topic of time in architecture.

One of the critical aspects of our

video that we are so keen to exprience, is time. I suppose, we will not be successfull without allowing the viewes/audience/visitors to exprience and grasp the visual perception.

So, we should reflect poetic of s pace, light, time and smell as well as materials .

http://www.stevenholl.com/media/files/Articles/Color_cover-WVER.jpg

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TIMELINE WK6

WK7

BREAK

WK8

WK9

WK10

W K 11

WK12

BUILDING SITE VISIT ANALYSIS TIMEFRAME BRAINSTORM TEST IDEA PLAN DIAGRAM STORYBOARDING CIRUCLATION PLANS RECORDING GROUP SCREEN

EDITE PHASE MSDX

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PLAN CIRCULATION This Idea was approved by everyone to start capturing from a playground close to ACCA which has a very perspective to show the context as well as building.

Also, the timing was defined for each shot based on its position and the importance of the view. we decided to have one of team members to walk along the pedestrian crossing towards building to show the movement as well as the scale of the work. Also, while depicting the human scale,

we intend

to show a short shot of CBD (context) by shifting the view from ACCA to CBD’s High rise buildings from the narrow street beside. Then, we come back to the main rout, beside the yellow installation to follow the journey.

As a reflection, I think, up to this stage we have learnt a lot about the organisation and planning behind a video and despite having a boring process of diagraming and planning, the filming process would be smoother and more interesting. Also, it will take much lesser with more comprehensive content.

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PRECEDENT I Politecnico Workshop

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ANALYSIS REFLECTION THINGS TO CONSIDER

Watching this student-work video was very beneficial for our team ina sense that our project is intended to show architectural quality. What we can learn from this video is to tell the narrative to our audience within sound, circulation, and activities.

Although I was not there, I can totally imagine myself in this space where there was an old car factory.

SHOTS LAYERS ARCHITECTURAL QUALITY

The video starts with introducing the context by capturing the Close shot, medium shot and long shot and even a very close shot of the dominant texture (Steel). I think we should apply the same principle to our film as we have a rich context consisting old brick texture and known architects’ work. Then, it continues with a human scale ( the main character) which he was involved with this site for a long time as a factory worker. The shot has a 1p perspective which I think it was the best way to welcome the character after some distorted perspective shots.

Some of the qualities that we intend to depict are tectonic. In this video, some of the were truly shown such as balustrade representing point and line with the pedestrian lifted way picturing planes.

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PRECEDENT I Politecnico Workshop

MOVEMENT ACTIVITY HUMAN ABANDONED FACTORY? Our site is not an abandoned space or eighter a very busy site, so one of the challenges for the video would be activities, movement, and human scale. the two site visits proved that the gallery itself is not very popular so we decided to choose a fixed character and have stranger ’s activity happening during the film.

This is exactly what was the intention in this student work.

The strength of the video is the continues shot and have 5-8 seconds short shots of activity/ space quality in between as well as when they activities syncs to the previous movement/ function/activities of the old factory. There was an idea to have the chosen character as an artist who had an exhibition or working experience in this gallery.

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... and LAST COMPOSITION COMPOSITION COMPOSITION AND COMPOSITION Compare to our project, we can also apply some of the composition, such as the sharp edges of ACCA, the Cor-ten tiling, angles, highrised developement of CBD , positione and negetive space of the interior space.

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PRECEDENT II Politecnico Workshop

Thre are many ways to describe and visualise a landscape words,

actions,

stories,

sounds and images...

This could be exactly our project with different locations. This video can teach us how to lead the audience

through the sit e and

give them this experience that

they are actually visiting the place. Another Aspect of filming that we can learn from this is the use of different

distance

shots

as

well as how to appropriately focus and unfocus to not disturb the content.

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P RECEDENT III

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Casa Cattaneo a Cernobbio un’architettura in movimento

If I did not google this building, I would of not have any idea with watching this video and that is just a personal idea. Beautifully detailed elements including staircase, openings but I suppose the focused elements were too many.

It does not take an audience through the project and not transferring the experience whereas the previous two were very narrative. But what it teaches me is to not overwhelm the video with so many details unless the brief asks me. Also, there were a few interesting shots from details (on left) that I think, could have been elaborated on.

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P RECEDENT IV [Russian Ark] Russkiy kovcheg 2002

Despite the film itself was boring, Rus-

There is no doubt that this film could

sian Ark was a really new approach

be named as a masterpiece in a con-

and method in filmography. One hour

tinuous shot film. it is a one-off event

and a half continuous shot consisting

so I assume if someone makes a mis-

a wide range of shots (from long shots

take, the film needs to be done from

to close shot) made the film more in-

the very first. The film can be com-

teresting.

pared to Rope by Hitchcock where the black background was joining the

He has created a cinematic journey

continuous shot. I enjoyed watching

through both time and architecture, a

Rope more than this film as it gives

cinematic approach to the theatre or a

you time to think about the time.

theatrical approach to cinema. There is also an ambiguity and a sense of curiosity of the next location of the

APPLICATION

film and in some part, it surprises you

We

started

filming

ACCA

before

with the unexpected events. In some

watching this film and during the film-

parts, it gets really confusing as there

ing, we experienced the continuous

is juxtaposition of two voices as well

shot. We learnt that film needs to en-

as architectural quality in the film.

gage you with the events within the site and attempts to take you through

My interpretation is that the film could

the journey. In our initial filming, lack

have been more refined to not con-

of planning in continuous shots where

fuse the viewer by keeping the image

obvious so we needed to do a single

layers in some part more organised or

continuous shot in many attempts. In

simple. For instance, in a few parts

addition, our juxtaposition of charac-

of the film, the crowds running from

ter, light and site did not match in en-

a staircase, left to right, with the jux-

tire continuous shots.

taposition of to voices in the background.

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APPLICATION #FADE # QUALITY It is about learning from mistakes. In a few shots, our intention to capture the architectural qualities and the main character went wrong. The reason was the exposed light and not having the focus on both elements.Also, our perspectives (Frame) from architectur e quality (Buildings) were wrong which several attempts, we managed to get the shots.

#L IGHT #S HADOW #E M O T I O NS The entire film has a very dark theme but he uses light and shadow witihin layer to express the feelings. These layers sometimes reach to 10 layers that keeping the frames in a countinues shots could be a real challenge that he overcame it very well. This technique is applicable to our film specially interior shots where we do not benefit from natural light and lack of ariticial light is obvious.

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3 2 1

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P RECEDENT V [Film de Amor] JĂşlio Bressane 2003

SEX AND

The film

cations

a single

journey

delive space. ferent

(below) related

acterist

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XUALITY D SPA CE

What can be learnt from this prece-

We have applied another technique

dent is that sometimes the angel of

taken from this film as well. The tech-

the camera need to changes to give a

nique was appr opriately merging three

m starts with three different lo -

different emotion. Also, It is important

different shots taken from three differ-

s with three characters to form

to have a correct frame. In the photos

ent locations. In the beginning of our

e shot in one place. During this

below, it can be seen that the fixed

short movie, character starts walking

y, the attempt is to depict and

building with the sharp edge the point

from park to ACCA which we capture

er the movie’s theme through

ing out to the middle of the frame and

her movement through different loca-

These shots are taken in dif -

moving character passing the frame.

tions and distance which give the film

an d

angle

It is so applicable to out the film as we

more senses of movement or journey.

) and I am guessing it m ight be

also have a building with many sharp

to the actual role of the char -

edges and I guess, but not changing

sometimes

tics in the film.

weird

the angle, the film for the audience would be boring.

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[ENTER] [EXIT] [FRAME]

Framing in photography and film is my

even the exit point could potential-

favourite part. It is critical for a pho-

ly change the intention meant to be

to or film to form the frame with dif-

delivered. We used this technique in

ferent qualities, particularly in a film

most of our continuous shots where

about depicting architectural quality.

we could show an architectural quality

As it can be seen in these photos, the

in the background.

beginning of the film, director forms different successful compositions. In

We applied the last sets of photos

the first one, one-point-perspective

directly to our short movie. Our vid-

with a tree give you an indication of

eo finishes with four different shots

the scale of the buildings .

switching every 5 seconds from long shot to a very close shot of the tex-

In addition, it shows the atmosphere

ture (with character ’s shadow on it)

of the site (city) by depicting different

with the character walking along the

building and flooring texture. It begins

ACCA. The last sets of photos are

with a very long shot ŘŒ parallel to the

also all about the depicting the tex-

perspective line (left) and ends with

ture behind the character.

the character leaving the scene from the right bottom end.

It is so applicable to our project as choosing the wrong perspective or

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[ SUPER EXPOSED ] 48

We experienced and learnt though this last shot that every shot needs to be planned carefully. In this shot, we planed to apply our learning from the last present but we failed to control the light. Also, I believe the frame could have been better in the composition of the cladding, the gap, ground texture and the character. By watching this part for several times, I would say different camera positions could have been replaced with these shots to depict the entire building (large scale) to a close-up of the texture. This could have been a better ending for an architectural filming.

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P RECEDENT VI

[SEXUAL [SPACE] [LEARNI [APPLIC

An Erotic Melodr

The film is a depi

phy of love in the

rio with interestin

film is in black-an

with both soft an

which makes it a

journey. In additi preted as a relat

man sexuality and

The principles co

ently to apply to o

days of shooting,

emotion especial of our character. taken has proven

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LI TY] ] ING] CATION]

rama ...

iction of the philoso -

incorporate

different

emotions

by

e city of Rio de Jane -

movement. The suggestions were de-

ng compositi ons. The

picting different contradictory feeling

nd- white- and colour

such as happiness and sadnessin the

nd aggressive shots

film. In additon, We realised that by

a good contradictory

capturing a scene in different distanc-

ion, It can be inter -

es, we can deliver different emotions.

ionship between hu -

d p lace and space.

ould be taken differ -

out video. In our first

, th ere was a lack of

lly in the movement Watching the videos me that we can

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P RECEDENT VII

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PEDRO COSTA [HORSE MONEY] 2014

[LIGHT] [LIGHT] [NATURAL LIGHT]

I could call a challenge! This film is all

Natural light for pur purpose was

about how to use natural light or any

ext eremly

source of light to express feelings.

ext raordinory

moments

For instance, In one part of the movie

bination

shadow

which is my favourite part, the charac-

on

tor is confused and lost and director

which

planned to depict this feeling by show-

them.

ing different light effects in the day.

days that whether it was raint or

Another example could be the large

cloudy that postponed our shooting.

the

important. of

texture

of

There

are

of

com-

and

light

the

buildings

we

successfully

captured

The

challenge

was

those

photo on the left where the people are about ti give an important massage to someone else. I am not quiet sure what is the terminalogy but the frame is darker and there is source of light which makes the charactors silhouette.

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P RECEDENT VIII [The Weeping Mead ow] Theo Angelopoulos 2004

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In The Weeping Meadow, Angelopou-

The

landscape

plays

a

significant

los likewise his other movies deliber-

role in most of Angelopoulos’s films

ately avoid explaining certain things.

and makes them poetic. I realised, he

His attempts to deliver the content of

tries to transfer the moment of pow-

the film with all emotions by filmogra-

erful feeling (such as this photo) by

phy techniques. Simplistic black and

shooting slowly from the distance to

white background, a foggy landscape

depict the moment within the context

or letting the sense play from the dis-

and gradually reach the moment by

tance.

shooting close-up.

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This extraordinary poetic moment of the film is another powerful technique used for the film. Angelopoulos used Slow-panning with the character walking slowly towards the event while people are running or walking fast to join the event. What can be learnt from this shot which we might be able to apply it to our video is to where to position the character or main element and how to pan so it does not look awkward. It is critical to capture the moment in a long take and tracking shot.In addition, he uses colour, sounds, music and image to depict the political and social context which in this film, is the idea of life and death.

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[PANNING] [MOVEMENT] [PLAN]

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The architecture of the moment, the compositon and jaxaposition of the shot as well as the tranferring the emotion without dialouge have made this movie a precedent for our work. There are a big weakpoint which is hidden between so many powerful shots. Angelopolous applied these techniques over and over again which I belive it makes it a bit overwhelmed. We should learn to avoid it, particularly in a film where the spatial and architectural quality are depicted.

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P RECEDENT IX [Blow-up] Michelangelo Antonioni 1966

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In this film, Antonioni tells narrative uas-

There are a lot to learn from The Blow-up

ing different methods in filmography.

but a fascinating one is the exciting co-

Using black spaces (Images) and long

lourful images without any exposed light.

silence as a blank image, he tries to get

In a few scenes, we tried to capture the

us into the feeling. Medium shots, mov-

protagonist with CBD background as well

ing slowly and no interruptions between

as part of ACCA, they came out very ex-

the extended shots with significant use

posed with exaggeration of the colours.

of colour and vibrant images are only a few technical features of Blow-up.

Overal, his films are sometimes very complicated and with my knowledge right

He had a sort of modern style cinema-

now, they cannot be interedpted deeply!

tography back in 1966 with this film

But ... anyways!

where he depicted an open-ended narrative with exaggeration of the graphic with sexual content.

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P RECEDENT X [Rashomon] [Seven S]

DIFFERENT GESTURE FOR DIFFE CHARACTO

Akira Kurosawa

In most Kurosawa’s fi acter has their own ge

small movement of th

body to move a huge n

ple, Kurosawa tries to

cinematic images. Thi well as balance, meeti

en ratio, shapes and co

composition, are all par age.

We tried to apply this

ture) to our film by aski

ter to jump on top of th park) and walk without

can combine the movem

body (walking) within t special gesture.

We also decided that has different gesture (i to Kurosawa) to give

tions and feeling throug

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T

RENT OR

MOVEMENT OF THE CAMERA

ilm, T he char -

In all his films, there is some sort of

sture.From the

movements such az weather or exag-

he character ’s

gerated movement of the body. But

number of peo -

camera movement is undoubtedly an

o create good

important part of his films.

is feature, as ng lines, gold -

They go from a close-up to a full-shot

olours and their

to an over-the-shoulder in a single un-

rt of a good im -

broken take. But what make his camera movement extraordinary, is that each shot has its beginning, middle

principle (ges -

and end.

ing our charac -

he kerbs (in the

We

designed

the

interior

filming

balance so we

based on this point where with cam-

ment the entire

era movement we capture a close-up,

the character ’s

medium shot, long shot, medium shot and at the end a very close-up shot inside the gallery.

out character n c ontradiction different emo -

ghout the film.

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SWITCHING THE RHYTHM Kurosawa’s film mostly flows which means he finishes his shots by switching to a compeletly different rhythm.

He loves switching between static to an extreme movement.

We did not use this method as our intension was more to have journey and introduces ACCA.

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CAMERA MOVEMENT AGAIN !

In shis shot, there are three different shots from long shot of the group and samurai, the next shot is showing the group of leaders on top of the hill and the third shot showing the samurai and his influence on the group of people by reversing to the first long shot.

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SHOTS + TIMING

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INTERIOR + EXTERIOR

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S TORY BOARDING S KETCH

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REFLE CTION

[ SUBMISSION II ] Overal, I think because it was our very first exprience, it takes time to adopt ourselves to this method and, I believe, we should definitely spped up the process. Up to this stage, I have learn how to observe , how to take note andhow to analyse a architectural film as welll as how to systematically program for a project.

BUT, sometimes, I think for making an architectural film, there is no need to plan ahead! but I am sure whoever does that, he/she has to have a fairly good knowledge of film-making plus architectural understanding.

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STORY + BOARDING [ D I A GR A M + R E F L E C T ION]

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M.C.U

C.U M.C.U

M.S M.L.S

L.S E.L.S 77

1 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

78

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

79

80

REFLE CTION The journey could be sometimes boring so we need split shots between the continuous shots to both introduce the context as well as giving a short break to the audience.

81

2 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

82

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

83

84

REFLE CTION Context, content and movement. these are the qualities we captured in this shot. showing the building in the background with bikes in front of ACCA as well as 4 seconds of the tram passing in front of the frame. Again, it introduces the site to the audience as well as it can be counted as a split shot.

85

3 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

86

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

87

88

REFLE CTION My suggestion to capture this shot was due to the importance of the juxtaposition of the ACCA and the larger context which is CBD as well as depicting emotion (happiness, curiosity and playfulness) by movement of the character.

89

4 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

90

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

91

92

REFLE CTION Again! context. Showing the high rise building as newly development area near ACCA.

93

5 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

94

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

95

96

REFLE CTION Showing the remarkable sign of the city and its distance to our site. I t was very important to us the depict the context with first shots.

97

98

M.C.U

C.U M.C.U

M.S M.L.S

L.S E.L.S 99

6 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

100

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

101

102

REFLE CTION Introducing the site by showing public transport, the scale of the building, cars and adjoining buildings.

103

7 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

104

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

105

106

REFLE CTION Introducing the site by showing public transport, the scale of the building, cars and adjoining buildings.

107

8 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

108

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

109

110

NO REFLE CTION

111

9 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

112

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

113

114

NO REFLE CTION

115

10 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

116

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

117

118

REFLE CTION My favourite shot, showing many elements within different layers in only 5 seconds. Background CBD with two familiar buildings for Melbournian, showing old brick works of VCA and character passing in front of the camera in the long shot.

119

120

M.C.U

C.U M.C.U

M.S M.L.S

L.S E.L.S 121

11 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

122

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

123

124

NO REFLE CTION

125

12 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

126

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

127

128

REFLE CTION One of our best shots ...

This shots taken in the medium shot has a lot of qualities. Light and shadow, compositions of the geometry, scale texture as well as positive and negative space.

129

13 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

130

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

131

132

REFLE CTION The Same reflection as above can be used.

133

14 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

134

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

135

136

REFLE CTION Composition - light and shadow - scale and showing the entire building.

137

15 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

138

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

139

140

NO REFLE CTION

141

142

M.C.U

C.U M.C.U

M.S M.L.S

L.S E.L.S 143

16 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

144

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

145

146

REFLE CTION This shot was already discussed.

147

17 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

148

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

149

150

REFLE CTION This shot was already discussed.

151

18 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

152

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

153

154

REFLE CTION Composition

of

cladding

material

and the the pure blue sky with the shadow.

155

19 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

156

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

157

158

REFLE CTION One of our split shots, showing the corrosion on corten cladding as well as showing the connection that been framed very well.

159

20 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

160

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

161

162

REFLE CTION A solid and simple shot but full of contrasts. This shot is not about the texture, it is more about the exciting colours and their contrast.

163

164

M.C.U

C.U M.C.U

M.S M.L.S

L.S E.L.S 165

21 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

166

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

167

168

REFLE CTION This was a challenging shot for us as our decision was to capture a silhouette with a moving layer behind and a small taste of the context. The challenge was more technical related to light exposure.

169

22 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

170

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

171

172

REFLE CTION The

reflection

of

the

movement

could potentially create a layer but what is important is capturing some qualities before the reflection such as texture in this close-shot.

173

23 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

174

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

175

176

REFLE CTION In my opinion, this is not a goos shot due to a couple of reasons. The most noticeable one is that it is a cliche.

Unfocusing the main character on the behind layer and putting another site character in front !? The second reason is the lack of quality in this photo. No context, cannot call it street furniture and a standard movement at the back. We could have done this shot better by only one thing. giving a different movement (enter or exit) to the character.

177

24 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

178

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

179

180

REFLE CTION We were interested in the phenomenology in architecture, capturing texture, deliver an emotion as well as smell and touch. This shot was one of my favourite ones that we successfully transferred the sense of touching a rough corten surface.

181

25 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

182

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

183

184

REFLE CTION I was not really sure about this shot but when you are working for ina group, it is a role to respect to other ’s opinion. you might not be happy withe idea and you try to convince your groupmates but ...! Good experience!

185

186

M.C.U

C.U M.C.U

M.S M.L.S

L.S E.L.S 187

26 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

188

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

189

190

REFLE CTION

We have learnt a lot from out tutor.

One of the principles was to how to form your frames in one shot.

191

27 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

192

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

193

194

REFLE CTION Again, our interior is about framing the frames. There are more than five different frames with different qualities in shot shots which made it a good shot.

195

28 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

196

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

197

198

REFLE CTION

Take a closer look ...

This is a very rich shot full of qualities. artificial and natural light with its juxaposition with shadow, good framing, texture , scale, different lines and planes.

199

29 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

200

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

201

202

REFLE CTION A closer shot of the previous one.

203

30 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

204

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

205

206

REFLE CTION The shot itself can be the reflection for this frame.

207

208

M.C.U

C.U M.C.U

M.S M.L.S

L.S E.L.S 209

31 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

210

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

211

212

NO REFLE CTION

213

32 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

214

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

215

216

NO REFLE CTION

217

33 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

218

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

219

220

NO REFLE CTION

221

34 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

222

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

223

224

REFLE CTION [Please refer to precedent study]

225

35 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

226

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

227

228

REFLE CTION [Please refer to precedent study]

229

36 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

230

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

231

232

REFLE CTION [Please refer to precedent study]

233

37 Optic

Storyboard

Lens

Tele Wide Normal Zoom

Diaphragm

Open In-btw Close

Optic Depth

Flat Normal Deep

DoF Shallow Normal Deep

How Long

Nr of Focus Points

Focus

Nr of Changes

Fixed Chaging

Screen/Space

Backward Forward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

VP Outside Frame

N

Space Layers

1 2 3 4 5 6

How Long

Scale Composition

Sub-human

Tripod-Camera Movement

Pan

human

Camera/Movement

Hand-Held Camera Movement

Architectural

Landscape

Up

Right

Tilt Down

Left

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Pan

Right Left

Up Tilt Down

Rotate

Diagonal

How Long

Clockwise Anti-Clockwise

Horizontal

Right Left

Deep

Forward Backward

How Long Horizontal

Right Left

Deep

How Long

Crane-shot

Up Down Diagonal

Drone/Heli Shot How Long

Up Down

In Out

Zoom

From Where to Where

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Zoom

From Where to Where

How Long

234

Distorted

VP in Frame

North South West East

Forward Backward

Diagonal

Diagonal

In Out

235

236

REFLE CTION on REFLE CTION Throughout my degree, I have not had any experience such as this before. A nearly 100% practical topic to work on. From the first day of choosing the building to the last day of editing, we learn so many value and qualities. Working in a multicultural group with different ideas to learning software to edit the film.

Twice a week filming for more than three hours in different weather conditions and reviewing the shots twice a week to decide was entirely a good learning experience. Not only we learnt the process of filming as well as how to analyse and recognise a good film, we also learnt the most effective way in which we can present our work throughout our degree as well as our future career.

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