Design Workshop Reflective Journal by Tristan_W

Design Workshop Reflective Journal Tsun Fung, Wong 814229

CONTENT Week 1: INTRODUCTION

4 - 11

- Lecture

- Designing a Logo

Week 2: Designerly Thinker

12 - 17

- Lecture

- Architectural Photography Practice

Week 3: Architecture / Cinema

18 - 23

- Lecture

- Architecture in Cinema

Week 4-12: Cinematic Architecture

24 - 227

- Introduction to Atmospheric Rubric

- Cinematic Analysis

- In Class Filming Exercise

- MSD Filming

- Ideation

- Attempt 1

- Attempt 2

- Final Video

Reflection

228

Lecture 1: Introduction Greg Missingham

HOUSE MINERAL, TOKYO Atelier Tekuto, (2006)

Form Located near the center of Tokyo city, the House Mineral is surrounded by typical two or three stories japanese residential buildings. The liner geometrical form of the building resembles the reflection of minerals and making the building outstanding in the ordinary district. This building becomes my first choice in this exercise because of its condensed, urbanized site; it reminds me of my home city, Hong Kong. I always found that buildings in high population area are very facinating. The compacted district provides a sense of community. However, it could also be boring and repetitive sometimes. The House Mineral is a great example that it breaks the dull atmosphere of the district. Function Form follows function, a famous quote in Modern Archtiecture; Function is always the first cosideration in architecture. The funcitonality of buildings in urban environment is especially important as space is the biggest constrain. The garage in House Mineral carves into the building. This design not only saves space, but it is also very convenient as it links to the crossroad next to the building. Although safty issue could be a problem, this design is generally very novel and suitable for an urban environment like Tokyo.

LANXI CURTILAGE, CHENGDU ARCHI-UNION ARCHITECTS, (2011)

Culture As high rise building starting to dominate the urban city, the cultural aspect in architecture is gradually fading. Typical highrises are designed ‘brainlessly’; archtiects start to abuse the advantages of new technology and materials. ‘ Good’ buildings are designed for the sake of unique forms. To a certain extend, architecture has became artwork instead of design. I personally believe that a good architectural design not only present the beauty of a building, but also demonstrate the details of a culture. Lanxi Curtilage is a clubhouse located at the International Intangeble Cultural Heritage Park in Chungdu. The design of the architecture is the interpretation of traditional Chinese architecture through modern technology. The digital-fabricated brickwork resembles the water element in Chinese metaphysics. The classical chinese architectural form is built upon modern material and technology. The combination between traditional arhcitectural and modern technology is a great way to prevent the lose of culture in architecture, and this is what I want to achieve in my design.

IN BAMBOO, CHENGDU

ARCHI-UNION ARCHITECTS, (2011)

Materiality Materiality is one of the important element in architectural design. It determines the structural performance, form, and also texture of the architecuture. In Bamboo is another building in Chengdu designed by the Archi-Union. As its named, a lot of elements in this architecture is integrated with bamboos. Bamboo is a great

HOMEWORK 1: LOGO DESIGN Group In the first studio, students were asked to design an logo for an architectural firm as a group. My group came up the name GEOR Architects which stands for Geometry and Rationality, which are the two important aspects that we think architecture should have. We decide to present the two aspects in our logo; hence, we use simple lines and geometries to design our logo.

Individual After having the group design, I have a clearer idea of what aspects of design do I value. Simplicity, rational and clean design is what I pursue for. It is elegant, effecient and effective. Therefore, I used my initial as the name of the architectural firm, as it is the most straight forward way to present my company.

Lecture 2: Designerly Thinking Greg Missingham Knowing Yourself Write down as dot points what you consider the ingredients of how you think about design and about your designing. This purpose of this exercise is to help me to understand myself about the process of designing and to find out areas that I can improve.

Reflection

I notice that I value concept and presentation a lot. Concept is the soul of a project. Without a clear concept, a project loses itâ&#x20AC;&#x2122;s purpose. Presentation is another important element in a design process. Design is always for the client; hence, a good presentation is the most critical element for others to decide whether a project is successful. This reminds me that I am sometimes shy and inconfident. I could still have a huge improvement for my presentational skill. I probably should focus on practising the skill to speak in front of a crowd of people.

Inspiration

Thoughts

Concept Creativity

Ideation Brainstorm

Imagination

Quick Design

Detailing

Images

Exploration Adjustments

Communication

Refinements

Diagrams

Presentation

HOMEWORK 2: Architecture Photography This practise is mainly develop our photography mindset when taking architecture photographies. Planning before photographing helps to clearify the purpose and concept of the photo. It leads us to think about the atmosphere and story that we want to present through the photo.

The focus of this photography is to present the beauty and depth of one-point-perspective. In an one-point-perspective composition, direction is extremly clear and simple. Therefore, a people walking would be a great media to lead viewerâ&#x20AC;&#x2122;s attention into the picture. Also, I notice that shodows in architecture is critical to show the sense of space in a picture as it lays out all the relationship between every element in the picture. One of the thing i can change is that I should focus on the edge of the picture to make sure every element is related to the main concept of the photography. 14

The focus of this photography is to present the elegance of the architecture. Hence, use low angle to demonstrate the grandeur of the building. Moreover, the street light add a bit of dynamism into the picture, and it frames the subject and leads viewerâ&#x20AC;&#x2122;s attention to the top of the architecture. There is a problem that I notice with the cinematic plan: the shooting angle cannot be specified. Therefore, we should combine cinematic plans and other methods to clearly present the scheme of the photography.

Same as the last photo, I took this one at a low angle. However, instead of showing the elegance of the architecture, I wanted to present the oppression of condensed high rises in an urban area. Shooting from a low angle creates a three-point-perspective composition, and it leads viewers attention to the top of the architecture.

I choose to take a picture with a larger scale as my last example in this practise. As Michael Angelo added, urban scale is one of the five most important scale in architectural design. It demonstrates the whole city scale which includes architectures with different function and purposes. It shows the bigger picture of the relationships between architectures.

Lecture 3: Architecture / Cinema Hamid

The lecture is about how film makers present architectures in movies. Architectures in movie can be a great medium to demonstrate space and atmosphere. For example, a home represents family and warmth, while high rises symbolize people with high priorities and status. Architectural elements are also good to define spaces. â&#x20AC;&#x153;You can make a film without a movie-camera but it is almost impossible to make a film without a window.â&#x20AC;? Bela Tarr I really like this quote as it demonstrates how important architectural elements is in film making. Window is an architecutural element that seperates two distinctive spaces, mostly one interior and one exterior. Placing an character next to the window emphasize the contradiction of his situation or even psychology.

HOMEWORK 3: Architecture in Cinema Brazil, 1985 (Atmosphere) Brazil (1985) is a dystopian science fiction film, narrating a sad story of Sam Lorry, the protagonist, persuing his love in a desparate city where the war between Government and Terrorist is tense. In this movie architecture serves as a media to present the atmosphere of the scene. Lighting, color, space, form, ornamentation and even services in the building are all used to depict the tone and mood of the scene and characters.

This is the office of Lorryâ&#x20AC;&#x2122;s new job. The dull lighting and the greyish concrete walls and columns give a sense of depression. White color lighting could represent the ruthless office.The narrow hallway presents the oppression of the working area. Also, the low angle shooting further builds up the oppressing atmosphere.

This is the lobby of the department. Contrastingly, a high angle is used in this scene to present the tininess each individual; everyone is just a cog in the system of this apartment. Same as the office, blue and greyish colors are used to present the sense of depression. The golden statue act as a frame to draw views sight to the reception, and also implies the luxurious and high-end statues of the department.

This is Lorryâ&#x20AC;&#x2122;s matherâ&#x20AC;&#x2122;s apartment. Different from the previous two examples, the lighting is more sufficient in this room, coming from both the window and dresser (the natural light from the window is emphasized). This demonstrates the difference of atmosphere and also Lorryâ&#x20AC;&#x2122;s psychology when he is in different enviornment. However, to bring back the uncanny theme of the movie, ornaments on the wall and the window are exaggerated. The red dresser provide a tone of excitment for the setting, but it also contradict the blue grey tone of the movie which further makes the scene uncanny.

This is the place where terrorist are interrogated. The tall wall surrounded the interrogation area, which provide the sense of oppression. the web around the interrogation area reminds me of a cage or a prison. It also allows poeple to notice that the interrogation space is at a certain height above the ground, which gives a sense of insecure. The over shoulder shot demonstrates that the interrogator is dominating and he is taking control of the situation. On the other hand, the wires and cables around the interrogation chair symbolise mess and chaos.

Introduction to Atmospheric Rubric The atmospheric rubric is a rubric that helps to define the filming settings of each scene or shot in a movie. It also helps to define which part of the film is outstanding in terms of presenting architectural atmosphere.

Sound/ Back- No sound/ Silent movie/ Sound recorded of the Various layers of sound With background music shoots surrounding environment ground music and environment sound

Depth/ Layers Plain shoot with only Frame created inside the framing shoots as well character and a back shoots frame. Simple van- as different layers posi 3-dimention roll ishing points tions of characters

Composition

Camera

Shooting focusing

Scale

TIME

Plain walls or plain furniture

Balancing symmetry

Strong compositionally composition between different objects

Moving long shoots Still shoots set the cam- Moving shoots in first-perfollowing the characte era at a single points spective. observing their mowith characters travel Imaging the feeling of tions& emotions as we surrounding the camera character inside the envias surrounding environ in & out the shoots frame ronment ment Focusing on the character itself

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Fast cut(s)

Normal Pace

Long Take

ds. c d

This is the subject row of the atmospheric rubric. It presents different aspect of the film that could possibly affect the demonstration of architectural atmosphere.

l i-

y n

Different description of the respective subject is stated in the each box. Highlighting the description means that it is relevant to the specific scene. A scene could related to more than one descriptions.

ell n-

s d

When the box is colored in yellow, it means that the specific scene has done an outstanding job in creating architectural atmosphere in terms of the respective aspect.

The Weeping Meadow (2004) Directed by Theo Angelopoulos

Introduction This Weeping Meadow tells a story about a suffering family in Greece. The story span from early 20th century to the end of World War II. The protagonist, Eleni, is an orphaned girl adopted by a refugee band which just got back to Greece after the Russian Revolution. The plot surrounds her marriage to her adoped brother Alexis. The movie mainly applies a darker tinged light setting to create an unpleasant and depressed atmosphere. The chosen scene depicts the helpless and panicky situation after World War II; the blueish cold tone reflects the tragic story at that period of time.

60 s M.C.U

C.U

17 s

15 s

16 s

52 s

M.C.U 10 s

31 s

11 s

36 s

25 s

M.S M.L.S 44 s

L.S E.L.S

Viewer

Obsticles

Background (Sea)

Cinematic Timeline From this cinematic timeline, we can see that the scene is going back and forth between medium shot and close up. This is becase everytime when the camera has moved pass a character, there will be a new obsticle (white cloth) that fills the frame. In this way, although there are not much layers in the scene, it still creates a sense of depth and space.

Cinematic Plan From the cinematic plan, we notice that the camera twists and turns along the movement. This demonstrates the

Layers and DoF This scene has a relatively plain layers. Only one or two layers are composed for the most of the time when the camera is going through the white cloths. More layers are generated when the group of people are moving to a wider area; however, the general composition is still relatively plain and simple.

Camera Angle: Eye Level

Camera Angle

The camera angle of this scene is mainly at eye level from the protagonist’s first M.C.U person perspective. First person point of view is a great way to help viewers to submerge into the charater’s feeling. Viewers observe from the charater’s M.C.U position and hence experience what the character feels.

C.U

M.S

In this case, the first person perspective shooting M.L.S is very successful as it helps viewers to experience the atmosphere when the character is in walking through the white cloth. It makes viewers to wonder what is E.L.S behind the cloth.

L.S

Optic

Lens

Tele

Depth of Field

Shallow

Optic Depth

Flat Normal

Focus

Fixed

Wide

Normal

DoF Normal

Optic Rubric

Zoom

This scene has a relatively simple, normal optic setting. The setting of lens, depth of field and optic depth are all normal, and the focus point is fixed. The simple settings could work as a part of the movie to present the numb feeling of the scene.

Deep

Deep Nr of Focus Points Nr of Changes

Chaging

Comp. Notes

Backward

Perspective

2VP

VP Outside Frame

1VP

VP in Frame

Forward

VP Outside Frame

Distorted

VP in Frame

N 1 2 3 4 5 6

Space Layers DoFâ&#x20AC;&#x2122;s length

Pan

Tripod-Camera Movement

Right

Tilt Down

Left

Rotate

Diagonal

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where

Pan

Camera/Movement

Hand-Held Camera Movement

Right Left

Up Tilt Down

Rotate

Diagonal

Clockwise Anti-Clockwise

Zoom

In Out

From Where to Where Horizontal

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Crane-shot

Up Down

Drone/Heli Shot

Horizontal

Right Left

Deep

Right Left

Forward Backward

Deep

Forward Backward

Diagonal

Up Down

North

South

West

East

Atmosphere Rubric Sound/ Back- No sound/ Silent movie/ Sound recorded of the Various layers of sounds. With background music shoots surrounding environment ground music and environment sound Depth/ Layers Plain shoot with only Frame created inside the framing shoots as well character and a back shoots frame. Simple van- as different layers posi3-dimention roll ishing points tions of characters

Composition

Camera

Shooting focusing

Scale

TIME

Material (lighting) Lighting

Form

Detail (organic factor)

Plain walls or plain furniture

Balancing symmetry

Strong compositionally composition between different objects

Moving long shoots Still shoots set the cam- Moving shoots in first-perfollowing the character spective. era at a single points observing their mowith characters travel Imaging the feeling of tions& emotions as well surrounding the camera character inside the envias surrounding environin & out the shoots frame ronment ment Focusing on the character itself

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Fast cut(s)

Normal Pace

Long Take

Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

Rough/ Edgy

Natural light

High key

Low key

Rectilinear

Curvy

Sharp and angled

No Country For Old Man (2007) Directed by Joel and Ethan Coen

Introduction The theme of the movie surrounds the idea of fate and conscience. The dark lighting setting of the scene and the warm tone creates a vintage and classic background for the film, which reflects the 1980s background of the story. It also create a mysterious atmosphere for the film that the man in the scene is trying to escape hitman Anton Chigurhâ&#x20AC;&#x2122;s hunt down. The absence of background music as well as the close up shots that demonstrates the characterâ&#x20AC;&#x2122;s expression create an extremly tense atmosphere for the scene.

Cinematic Plan

In this scene, different camera positions are used to present the same setting. This enhance the atmosphere of the scene by showing different details of the environment.

1. Side view (M.L.S) The Medium Long Shot on the side view frames the protagonist as well as the whole interior environment. This creates the tension between the character and the door he is facing.

2. Front View (C.U) The close up on the characterâ&#x20AC;&#x2122;s face clearly presents his facial expression and emotion. This helps viewers to submerge into the characterâ&#x20AC;&#x2122;s psychology, and thus to experience the atmosphere of the scene.

Reflection

3. Front View (C.U) The camera then frames a close up shot of the door. This demonstratesthe detail of the event happening outside the room.

4. Front View (C.U) Same as step 2, the camera frames a close up shot of the character again. This time, it shows the reaction of the character to the event presented in step 3, as well as the action he response.

Through the several different shots of the same environment setting, lots of details, including the relationship between elements in the scene, the events that is happening outside the main environment, the psychology and the action of the character, are shown in this scene. There is not much action in this 2 minutes scene, but the information it provides makes the scene extremly submersive.

Depth of Field

3 2 1

DoF

This scene has a normal depth of feild which three out of four layers are in focus. The focus point is on the character and his action, while the background is relatively blurred. The blurred dark background contrast with the table lamp that cast a strong shadow on the character which effectively enhance the mystrious atmosphere.

Camera Angle The camera angle that shows the character in this scene is mainly shoot at a low angle. Shooting from low angle enhance the sense of oppression, which further contributes to the gloomy tone of the scene.

Lens

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Optic Rubric

Zoom

Deep

Nr of Focus Points Fixed Chaging

Focus

Nr of Changes

Comp. Notes

Backward

Perspective

VP Outside Frame

2VP

VP Outside Frame VP in Frame

Distorted

Space Layers 1 2 3 4 5 6 DoF's length

Up Down Tilt Diagonal From Where to Where

Right Pan Left

Tripod-Camera Movement

Camera/ Movement

1VP

VP in Frame

Forward

This scene applied a lot of close ups that expose the expression as well as the emotion of the character. In this case, having extensive close ups is very successful in presenting the inner thoughts of the character and projecting it to the viewers.

Up Down Tilt Diagonal From Where to Where

Right Hand-Held Camera Movement Pan Left

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Crane-shot

Drone/Heli Shot

Down Up

Horizontal

Right Left

Deep

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Deep

Forward Backward

Diagonal

Down

North South West

East

Composition

Camera

Shooting focusing

Scale

TIME

Material (lighting) Lighting

Form

Detail (organic factor)

Plain walls or plain furniture

Balancing symmetry

Strong compositionally composition between different objects

Moving long shoots Still shoots set the cam- Moving shoots in first-perfollowing the character era at a single points spective. observing their mowith characters travel Imaging the feeling of tions& emotions as well surrounding the camera character inside the envias surrounding environin & out the shoots frame ronment ment Focusing on the character itself

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Fast cut(s)

Normal Pace

Long Take

Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

Rough/ Edgy

Natural light

High key

Low key

Rectilinear

Curvy

Sharp and angled

Stranger Things (2017) Directed by the Duffer Brothers

Introduction Stranger things is a science fiction horror series. The story line is about an investigation of a missing child in a laboratory. It is then linked to a series of supernatural events including a darker dimension as well as an unknown creature from that dimension. In the chosen scene is about the flashback of the detective which he reminds of the accident that happened to her daughter. The colourful and bright setting in the first part of the scene creates a huge contrast to the dark, depressed setting later in the scene when the detective is sitting in the staircase crying.

1 60 s M.C.U

C.U M.C.U

52 s 23s

M.S

10 s

11s

M.L.S

L.S

E.L.S

Telling Story

Crying

Cinematic Timeline From this cinematic timeline, we can see that the first half of the chosen scene mainly focus on demonstrating the interaction between detector Jim Hopper and his daughter. The camera slowly move from medium close up to close up to emphasize the emotion and the relationship of the characters. The color and tone of first half of the scene is more fresh and bright. However, the setting suddenly changed to a dark staircase where the detective is crying helplessly. The tone of the scene is more dark and depressed. The camera also change from medium long shot to long shot which emphasize the vulnerability and powerlessness of the character.

Layers / DoF

DoF

Camera Angle: High Angle

There are totally two layers in this scene: the book as the foreground and the characters as the background. The book mainly gives an idea of the setting and the activity of the scene. It also frames the face of the character in the background which emphasize her facial expression.

Camera Angle The camera angle of the later part of the scene is shooted in high angle. High angle provides relatively more information about the surrounding of the scene. The setting of a dark, narrow staircase is emphasized in this case. This not only enchance the depress emotion of the character, but also depicts how little the character is compares to the surroundings.

Lens

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Optic Rubric

Zoom

Deep

Nr of Focus Points Fixed Chaging

Focus

Nr of Changes

Comp. Notes

Backward

Perspective

VP Outside Frame

2VP

VP Outside Frame VP in Frame

Distorted

Space Layers 1 2 3 4 5 6 DoF's length

Up Down Tilt Diagonal From Where to Where

Right Pan Left

Tripod-Camera Movement

Camera/ Movement

1VP

VP in Frame

Forward

This scene applied various lens in different situation. Firstly, normal and zoom lens are used for the close up of the interaction between detective and his daughter in the hospital to show details of the characters; however, wide lens is used for the long shot to present the contrast between the tilted environment and the character.

Up Down Tilt Diagonal From Where to Where

Right Hand-Held Camera Movement Pan Left

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Crane-shot

Drone/Heli Shot

Down Up

Horizontal

Right Left

Deep

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Deep

Forward Backward

Diagonal

Down

North South West

East

Composition

Camera

Shooting focusing

Scale

TIME

Material (lighting) Lighting

Form

Detail (organic factor)

Plain walls or plain furniture

Balancing symmetry

Strong compositionally composition between different objects

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Fast cut(s)

Normal Pace

Long Take

Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

Rough/ Edgy

Natural light

High key

Low key

Rectilinear

Curvy

Sharp and angled

Fantastic Mr. Fox (2009) Directed by Wes Anderson

Introduction Fantanstic Mr. Fox is a stop-motion animated comedy based on the children novel of the same name written by Roald Dahl. The stroy is about a fox who keep stealing food from three wealthy farmers. The conflict between the human and the animals than become the main focus of the movie. The pace of the movie generally approaches towards funny and comedic tone. However, the chosen scene is presented in darker, moody tone to project the tense atmosphere of the gun fire conflict. The main yellow color theme balances the heaviness of the scene and provide some liveliness to the plot.

20 s 4s

M.C.U

C.U

52 s

M.C.U

M.S

10 s

M.L.S

L.S

0.5s

E.L.S

Cinematic Timeline

Cinematic Plan From this cinematic timeline and the cinematic plan, we can see the camera keeps zooming into the character, gradually from long shot to extrem close up. This creates a dramatic effect for the animation which leads viewers to submerge into the facial expression and thus the thoughts and feelings of the character.

Layers / DoF

DoF

Camera Angle: Eye Level

There are totally 3 layers in this shot. The door serves as a tool that seperates the main gun fire venue and the place where the hound originally stays. Opening the door connects the two different setting and symbolizes a twist on the plot.

Camera Angle The camera angle of this scene is mainly at eye level from a third person perspective. Third person perspective shooting in eye level are usually used in movie when the story is narrated in a more objective manner. No specific contrast and proportion is emphasized.

Lens

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Optic Rubric

Zoom

Deep

Nr of Focus Points Fixed Chaging

Focus

Nr of Changes

Comp. Notes

Backward

Perspective

VP Outside Frame

2VP

VP Outside Frame VP in Frame

Distorted

Space Layers 1 2 3 4 5 6 DoF's length

Up Down Tilt Diagonal From Where to Where

Right Pan Left

Tripod-Camera Movement

Camera/ Movement

1VP

VP in Frame

Forward

This scene has a relatively less space layes (Mostly consist of 2 layers only). Firstly, this is because the movie is a stopmotion animation, which might limit the composition in the frame. Also, this movie focus on narrating the story instead of enhancing visual effects.

Up Down Tilt Diagonal From Where to Where

Right Hand-Held Camera Movement Pan Left

Tracking Shot(Dolly/steadycam/Gimbal)

Tracking Shot(Hand-held)

Crane-shot

Drone/Heli Shot

Down Up

Horizontal

Right Left

Deep

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Deep

Forward Backward

Diagonal

Down

North South West

East

Composition

Camera

Shooting focusing

Scale

TIME

Material (lighting) Lighting

Form

Detail (organic factor)

Plain walls or plain furniture

Balancing symmetry

Strong compositionally composition between different objects

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Fast cut(s)

Normal Pace

Long Take

Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

Rough/ Edgy

Natural light

High key

Low key

Rectilinear

Curvy

Sharp and angled

Psycho (1960)

Directed by Alfred Hitchcock

Introduction Psycho is a famous American psychological horror movie filmed in 1960. The whole movie is filmed in black and white. The story plot is about the conflict between Marion, a secretary who steal money from her company and escape to a motel, and Norman, the owner of the motel who has psychological problems. This film is now considered as one of Hitchcockâ&#x20AC;&#x2122;s best film; hence, the analysis part will break into 8 parts to discuss about the details of the scene which Lila search Normalâ&#x20AC;&#x2122;s house.

Shot 1: This shot demonstrates how Lila sneaks into Normalâ&#x20AC;&#x2122;s house. The shooting is in third person perspective, and the camera angle is at eye level. This means the viewers are recieving the narrative in a more objective way. Also, the character is backing the camera. This not only creates a sense of voyeurism for the viewers, but also has the effect of emphasizing the enviornment.

Shot 2: This shot presents the moment when Lila enters the master bedroom of Normanâ&#x20AC;&#x2122;s House. The setting of this shot is similar to the previous shot: Third person perpective at eye level, while the character is backing the camera. This is another exmaple that demonstrate how viewersâ&#x20AC;&#x2122; attention is drawn to the environment instead of the character herself.

Shot 3: This shot presents the transition of the character from backing the camera to facing it. This sudden transition draws viewers attention to the facial expression and hence the emotion of the character. This effectively project the characterâ&#x20AC;&#x2122;s feeling to the viewers. Also, the mirror in this shot contributes to the uncanny atmosphere.

Shot 4: This shot is shot from a low angle. This camera angle stimulate that the viewers are submerged into the scene and observing the character from downstairs. The turning of the character almost feel like she can sense the presence of the observing viewers. This generates an intimidating and tense atmosphere.

Shot 5: This shot is an eye level still shot that demonstrates the side view of the character when she enters the room. From the cinematic plan, we can see this shot stimulates that viewers are observing from an objectâ&#x20AC;&#x2122;s perspective that it sits at the corner of the room. The character did not notice the presence of the camera. Again, this create a sense of voyeurism.

Shot 6: From the cinematic plan, we can see that the camera is hidden in the side of the corridor, observing how the character enters the house at a low angle. This gives a clear demonstration of his action and facial expression.

Shot 7: Again, we can see from the cinematic plan that the camera is hidden behind the staircase, obersving how Lila enters the basement. Similar to Shot 5, the camera is at a position of an object that sits in the enviornment. Viewers observe through the object while the character did not notice it.

Shot 8: This is the last shot of the scene. It narrates how Lila discovers the Normanâ&#x20AC;&#x2122;s dead mother. Through the cinematic plan, we can see the camera is actually set at the position where the corpse is sitting. Similar to previous shots, viewers observe the characterâ&#x20AC;&#x2122;s action in third person perspective.

IN CLASS FILMING EXERCISE: In this in class exercise, we worked out a story plot together as a class and film it with two different angle. Through this exercise, I notice that using different angle to narrate a story could generate different effect and atmosphere. Also, I practice the technique of changing focus point during filming.

Attempt 1:

Attempt 2:

FILMING EXERCISE: MSD BUILDING In this exercise, students are seperated into groups to produce a short video (Around 5 to 8 minutes) presenting an architecture in all its elegance.

Our group is allocated to film the Melbourne School of Design. The Melbourne School of Design is designed by John Wardle Architects. Located in the Parkville Campus of University of Melbourne, the construction of the architecture is completed in 2014. The building is an educational building which is mainly in service for design students such as architecture, landscape architecture and urban planning majors. Hence, one of the main theme of the architecture is to provide an pleasant, inspirational space for students to explore and study. With many inventive designs, the building is a great learning tool for students and staff.

IDEATION 1: SERVICES The Melbourne School of Design has a large amount of unique services, such as lasercutting and foam cutter in the fabrication laboratory. This is one of the special characteristic of this architecture compares to other education buildings. Hence, we would like to present such advantages of the building, yet criticize its lack of administration at the same time. We want to demonstrates every advance services and designs in the building, which includes:

- The Fabrication Laboratory - The Computer Laboratories - The MSD Library - The Atrium - The Scultural Room in the Centre of the Atrium - Different Study Areas

Feedbacks: The theme is too functional, which could be ineffective to present architectural atmosphere.

IDEATION 2: TIME & LIGHTING After recieving the feedback of Ideation 1, we tried to figure out a theme that could be effective in contributing to architectural atmosphere. At last, we came up with Time and Lighting. We want to present how students spend a day in the building. As students tends to use the building differently depends on various time of the day, we would like to demonstrate student participating in different activities in different time of the day, and present the change of time with different lighting. Feedbacks: Time could be a very abstract theme to work on. Lighting could be a part of the video; however, we should focus more on the architectural elements such as transitional space, openings and concentration stage.

FINAL IDEATION: CORRIDORS AND OPENINGS After the group discussion based on feedbacks we recieved, we decided that we do not want to withdraw the previous idea of time and lighting; intead, we would like to integrate it in our video as a secondary theme. At the same time, our primary theme will be focus more on the architectural elements. We then decide to choose Corridors and Openings as our theme because it could suit for the story plot that we came up in Ideation 2. The character in our video will lead the viewers travel through the Melbourne School of Design by walking through the corridors. Viewers will be able to experience the MSD building in different time of day with our video. Openings of the building, including different doors and windows, will be emphasized throughout the film.

ATTEMPT 1: Attempt 1 is mainly small experience that we do to test out camera movement, camera angle, composition, filming location and ideas. It includes pictures and short videos. This gives us an idea of what could be use and what should be avoid in the future filming.

Zooming: We tested out the change of focal length of the lens. Firstly, we realise that the tilting of the image increase as the focal length decrease. Hence, we should use longer focal length in our film if possible. Also, we notice that the depth of field would decrease when focal length increase.

Symmetry: We notice that with our 24-70mm focal length lens, it is difficult to create an effective symmetry scene as the tilting of the image would affect the general composition. Therefore, we decide to decrease the application of symmetry in our film as much as possible.

White Balance: We realise that white balance and color correction could affect the whole tone and atmosphere of the film. We decide to use a cooler tone for morning and night time and a warmer tone for dusk during sunset.

Ceiling: We found the openings on the ceiling of the MSD building quite fascinating. The light and shadow casting on the timber ceiling could be a great way to enhance the architectural atmosphere in the film, so we decide to give it some close ups to show the ceiling details in our video.

Focus Point: We found out that setting the focus point before every shot is extremly important (especially while shooting in long focal length with shallow depth of field). Also, this experiment gives us the idea of changing focus point in our furture video.

Movement: We realised that moving shots are extremly difficult without professional tools. The outcome is not only very unstable, but also blurry sometimes due to the unwanted camera movements. Therefore, we decide not to use any moving shots in our video.

ATTEMPT 2: Attempt 2 is the beginning of our film. This step includes designing settings, composition as well as duration, and then start filming. We decided that there will be 11 scenes in total. We lasercut the floor plans of the MSD building and create diagrams for each scene. Each scene focuses on different location with different time and settings. A lot of unexpected filming and editing problems are discovered in this stage. We then came up with a scheme: Scene 1: MSD Whole View (07:30am)

Scene 2: Atrium Staircase to 2nd Floor (07:45 am)

Scene 3: 2nd Floor Bridge to Side Corridor (11:00 am)

Scene 4: Escape Stair to 4th Floor (12:00 pm)

Scene 5: Full View (Camera Panning) From 4th Floor (12:30 pm)

Scene 6: Mains stair of 4th floor to the Window of 4th Floor (1:00 pm)

Scene 7: Timelapse

Scene 8: Elevator to G/F (3:00 pm)

Scene 9: Library (4:00 pm)

Scene 10: Basement (6:00 pm)

Scene 11: Leaving MSD (7:00 pm)

Scene 1 Shot 1

Scene 1 Shot 2

Scene 1: Scene 1 is the introduction of our film. No characters is introduced yet in the first shot; instead, a long still shot of the MSD building will be used. The character is introduced in Scene 1 Shot 2. She will use the exterior staircase of MSD to go arrive the first floor. Feedbacks: - Add an introduction Scene (Black background with title) - Scale (Characters on Cinematic Plan are too big) - Do not use black Arrow - Show Camera Range

Scene 2 Shot 1

Scene 2 Shot 2

Scene 2: Scene 2 introduce how the character walk through the atrium on first floor and arrive second floor through the atrium staircase. In Scene 2 shot 1, the cameraâ&#x20AC;&#x2122;s rotation follows the character movement and then keep going further to present the whole environment of the atrium. In Scene 2 shot 2, a symmetry composition is used when the character is going upstairs. Scene 2 Shot 1 Feedbacks: - Movement of the camera is too fast. - Light and Shadow is quite effective. - Seperate the shot into 2 shots instead of panning the camera. Scene 2 Shot 2 Feedbacks: - Do not start with the character standing in the middle of the staircase. - Have the character move from the door will make the shot more natural.

Scene 3 Shot 1

Scene 3 Shot 2

Scene 3: Scene 3 shows how the character interacts with the bridge and the corridors on 2nd floor. Scene 3 shot 1 shows how the character walks through the bridge. Scene 3 shot 2 shows how the character walks through the corridor outside the computer lab. There are 2 attempts for scene 3 shot 2. The first approach uses a symmetry composition, while the second approach uses a angled perspective. Scene 3 Shot 1 Feedbacks: - the shot is generally not effective. Scene 3 Shot 2 Feedbacks: - the second approach is better due to the mirror reflection.

Scene 4 Shot 1

Scene 4 Shot 2

Scene 4 Shot 3

Scene 4: The main focus of scene 4 is the details of the fire staircase. Scene 4 shot 1 shows detail on the transparent door of the staircase. Scene 4 shot 2 demonstrates the window in the fire staircase. Scene 4 shot 3 emphasize the acoustic quality of the staircase. Scene 4 Shot 1 Feedbacks: - The shot is angled. - Try to shot in a front view, that the camera is parallel to the door. Scene 4 Shot 2 Feedbacks: - The demonstration of materiality of the wall is effective. - The ambiguity created by darkness makes the scene more emersive. - The form of the staircase is more interesting when it is combined with lighting. - Left part of the shot is weak - Design multiple layers

Scene 5 Shot 1

Scene 5: Scene 5 is a long moving shot that span through the whole corridor on 4th floor. The camera slowly tilts up towards the ceiling since halfway of the shot. Scene 5 Feedbacks: - Good movement - Need to consider how to connect the shot with other shots.

Scene 6 Shot 1

Scene 6 Shot 2

Scene 6 Shot 3

Scene 6: Scene 6 is the transition from morning to afternoon; hence, there is a switch of character in our film. This scene mainly shows the staircase and the balcony on 4th floor. Scene 6 shot 1 start with a high angle that shoots the ceiling which helps to connect the previous scene; it then slowly tilts down to the main staircase on 4th floor. Scene 6 shot 2 shows the switch of character. Scene 6 shot 3 shows the interaction between the character and the sunlight from the glass window. Scene 6 Shot 1 Feedbacks: - The light setting changes. - Do not film in automatic aperture mode - Wait for 5 seconds before moving. - Movement is not good. - The connection idea is good.

Scene 7 Shot 1

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Scene 7: Scene 7 is a timelapse that shows how students use the lobby on ground floor. We design this scene to represent the pass of time. Scene 7 Feedbacks: - Try and test it.

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Scene 8 Shot 1

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Scene 8 Shot 2

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Scene 8 Shot 3

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Scene 8: Scene 8 is film is dusk time when the sun is setting. It demonstrate how the character leaves 4th floor and travel to first floor. Scene 8 shot 1 is a still shot that shows the character going throught the corridor. Change of focus point is used in this scene to emphasize the layers and also the ambiguity of the light created by sunset. Scene 8 shot 2 is a panning of camera that shows the character enters the elevator. Scene 8 shot 3 shows that the character exits the elevator on ground floor. Scene 8 shot 1 Feedbacks: - Lighting, contrast, change of focus are all very good. - A good shot. Scene 8 shot 2 Feedbacks: - The composition is a bit tilted.

Scene 8 Shot 3

- Set the horizontal line while filming. - Starting point of the movement is shaking. Scene 8 shot 3 Feedbacks: - Movement is too fast. - Use move cut instead of camera movement. - The film is lack of a climax.

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Scene 10 Shot 1

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Scene 10 Shot 3

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Scene 10 Shot 4

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Scene 10: Scene 10 mainly focus on presenting the basement of MSD Building. The character exits the building from the basement of the build, and this scene demonstrates how she interacts with the environment. Scene 10 shot 1 Feedbacks: - A close up maybe more interesting. - Avoid rubbish bin in the film. - Connection between shots are very important. - Character should interact with openings more. - No wide lens. Scene 10 shot 3 Feedbacks: - Can be used. Scene 10 shot 4 Feedbacks: - The background is too noisy. Scene 10 shot 5 Feedbacks: - Good shot. - Combining Long Shot and Close up needs a Medium Shot.

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Scene 11 Shot 1

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Scene 11: Scene 11 shows how the character leaves the building. It is similar to Scene 1 which the film starts with a Long Shot. The character then leaves the frame and the camera pans to the facade of the building where the MSD logo is lightened up. Scene 10 shot 1 Feedbacks: - ISO is too high. - need to be re-designed.

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CONCLUSION OF ATTEMPT 2: Although scene 1 and scene 9 have not been test out in attempt 2, we have a general idea of what and how we should edit, adjust and redesign for the final video based on the feedbacks. General feedbacks from attempt 2 includes: - Scale and Presentation in the Cinematic Plans. - Smoother movement of the camera. - Seperate moving cuts instead of long panning shots. - Make sure the subject is in focus. - Connections between shots are important. - Make sure the composition is not tilted. - Make sure the ISO is correct. - Make sure the setting is consistant throughout the film.

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Final Filming The final version of our film. We re-designed scene 7 and scene 11, and retake scene 1, scene 2, scene 3, scene 4, scene 6, scene 8 and scene 10 based on the feedbacks that we recieved. More diagrams including cinematic plans, cinematic timelines, optic rubrics and atmospheric rubrics are created for the film. The following part of the journal will be breaking down each scene and discuss about what we changed.

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Cinematic Timeline

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Atmospheric Rubric Sound/ Back- No sound/ Silent movie/ Sound recorded of the Various layers of sounds. With background music shoots surrounding environment ground music and environment sound Depth/ Layers Plain shoot with only Frame created inside the framing shoots as well character and a back shoots frame. Simple van- as different layers posi3-dimention roll ishing points tions of characters

Composition

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Plain walls or plain furniture

Balancing symmetry

Strong compositionally composition between different objects

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Fast cut(s)

Normal Pace

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Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

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Scene 1: - The theme of Scene 1 is to introduce the outlook of MSD building - Scene 1 is composed of 2 shots.

Shot 1: A still long shot that demonstrates the facade of the building

Shot 2: A still medium shot that shows how the character enters the building

Things that we have changed: - We substitute the original soundtrack with another recording with birds sound. - We add an opening scene which introduce the our film and starring. - We add a fading effect to both the sound and the image at the beginning. - We add a subtle background music to connect the whole film

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Sound/ Back- No sound/ Silent movie/ Sound recorded of the Various layers of sounds. With background music shoots surrounding environment ground music and environment sound Depth/ Layers Plain shoot with only Frame created inside the framing shoots as well character and a back shoots frame. Simple van- as different layers posi3-dimention roll ishing points tions of characters

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Plain walls or plain furniture

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Peripheral vision

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Fast cut(s)

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Covered in dust/Rusty

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Scene 2: - The theme of Scene 2 is to introduce atrium and the atrium staircase - Scene 1 is composed of 3 shots. Shot 1: A still medium shot that shows the character enters the building Shot 2: A still fast moving cut to show the character walking pass the atrium. Shot 3: A still shot with symmetry composition to show the character walking up the staircase. Things that we have changed: - We substitute long panning shot with 2 moving cuts. - Character begins from the door while taking shot 3 to make the whole shot more natural.

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Pan

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Tracking Shot(Dolly/steadycam/Gimbal)

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Plain walls or plain furniture

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Strong compositionally composition between different objects

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Fast cut(s)

Normal Pace

Long Take

Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

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Natural light

High key

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Curvy

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Scene 3: - The theme of Scene 3 is to introduce the narrow corridor between the classrooms on 2nd floor. - The playing of reflection in this scene is important. - Scene 1 is composed of 1 shot.

Shot 1: A still shot that shows the character walking pass the corridor.

Things that we have changed: - We remove the original first shot (character walking pass the bridge) because the lighting in the environment is not effective.

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Tracking Shot(Dolly/steadycam/Gimbal)

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Sound/ Back- No sound/ Silent movie/ Sound recorded of the Various layers of sounds. With background music surrounding environment shoots ground music and environment sound Depth/ Layers Plain shoot with only Frame created inside the framing shoots as well character and a back shoots frame. Simple van- as different layers posi3-dimention roll ishing points tions of characters

Composition

Camera

Shooting focusing

Scale

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Material (lighting) Lighting

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Plain walls or plain furniture

Balancing symmetry

Strong compositionally composition between different objects

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Fast cut(s)

Normal Pace

Long Take

Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

Rough/ Edgy

Natural light

High key

Low key

Rectilinear

Curvy

Sharp and angled

Scene 4: - The theme of Scene 4 is to introduce the fire staircase. - The entrance, the light and shadow quality, the materiality and the acoustic quality of the space are all emphasized in this scene. - Scene 1 is composed of 3 shots. Shot 1: A still close up shot that shows the transparent door opened and closed. Shot 2: A still shot with symmetry composition to show the character walking up the staircase. Shot 3: A still medium-close up shot that shows the character walking pass. A ringtone is played to present the acoustic quality of the space. Things that we have changed: - We shoot the first shot parallel to the door so the composition does not look tilted. - We adjust the composition of the second shot so the left part is stronger.

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Plain walls or plain furniture

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Strong compositionally composition between different objects

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Fast cut(s)

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Long Take

Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

Rough/ Edgy

Natural light

High key

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Rectilinear

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Scene 5: - The theme of Scene 5 is to introduce atrium and the ceiling from a higher level. - Scene 1 is composed of 1 shot. Shot 1: A long panning shot that span through the corridor of 4th floor. The camera starts to tilt up since half way though the shot to show the openings on the ceiling. Things that we have changed: - We add a fading effect at the beginning so the transition of scene is more fluent. - We discard the first bit of the shot to match the camera angle of the previous shot.

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Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

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Scene 6: - The theme of Scene 6 is to introduce the staircase and the window on 4th floor. - Light and shadow effect from the openings is emphasize in this scene. - Scene 6 is composed of 3 shots. Shot 1: A moving shot that begins from the ceiling to match the previous shot. The camera then tilted downward to show the character walking down the main stair. Shot 2: A still shot that shows the switching of characters. The new character walking upstairs. Shot 3: A panning shot that shows the character sitting down next to the window. Things that we have changed: - We retake the first shot to get a smoother camera movement.

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Composition

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Plain walls or plain furniture

Balancing symmetry

Strong compositionally composition between different objects

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Fast cut(s)

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Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

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Natural light

High key

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Rectilinear

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Scene 7: - The theme of Scene 7 is to show a series of interesting close up details of the building. This is also the climax of the film. - This represents the moving of time. - Changing of focus point is vastly applied in this scene. - We discard the original timelapse idea because it was not work well. - Scene 7 is composed of 8 shots. Shot 1: A still close up shot that shows the materiality of the wall on 4th floor.

Shot 2: A still close up shot that shows the sculture in the basement.

Shot 3: A still close up shot that shows the handrail of the main staircase. Shot 4: A still close up shot that shows the 3rd floor main staircase from a higher level. Shot 5: A still close up shot that shows the light of the boxed room on 4th floor. Shot 6: A still close up shot that shows the patterns and details underneath the stair case. Shot 7: A still close up shot that shows the lights and openings on the ceiling. Shot 8: A still close up shot that shows the opening of elevator on ground floor which represents the movement of character.

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Tracking Shot(Dolly/steadycam/Gimbal)

Crane-shot

Drone/Heli Shot

Down Up

Up Down Tilt Diagonal From Where to Where

Right Left

Hand-Held Camera Movement Pan

Tracking Shot(Hand-held)

Up Down Tilt Diagonal From Where to Where

Horizontal

Right Left

Deep

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Deep

Forward Backward

Diagonal

Down

North South West

East

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Composition

Camera

Shooting focusing

Scale

TIME

Material (lighting) Lighting

Form

Detail (organic factor)

192

Plain walls or plain furniture

Balancing symmetry

Strong compositionally composition between different objects

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Fast cut(s)

Normal Pace

Long Take

Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

Rough/ Edgy

Natural light

High key

Low key

Rectilinear

Curvy

Sharp and angled

Scene 8: - The theme of Scene 8 is to introduce corridor on 4th floor during sunset. - The lighting and shadow effect created by sunset is emphasized in this scene. - We keep the original first shot because it is very well shoted. Color, lighting, composition and changing of focus point are all emphasized effectively. - Scene 8 is composed of 2 shots. Shot 1: A still shot that shows the character walking through the corridor.

Shot 2: A still shot that shows the character enters the elevator.

Things that we have changed: - We substitute the panning shot with a still shot. - We color correct the second shot so it has the same sunset effect.

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10 s E.C.U

C.U

52 s

M.C.U

M.S

M.L.S

L.S E.L.S

204

10s

Lens

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Deep

Nr of Focus Points Fixed Chaging

Focus

Nr of Changes

Comp. Notes

Backward

Perspective

VP Outside Frame

2VP

VP in Frame

VP Outside Frame VP in Frame

Distorted

Space Layers 1 2 3 4 5 6 DoF's length

Tripod-Camera Movement

Camera/ Movement

1VP

Forward

Pan

Right Left

Tracking Shot(Dolly/steadycam/Gimbal)

Crane-shot

Drone/Heli Shot

Down Up

Up Down Tilt Diagonal From Where to Where

Right Left

Hand-Held Camera Movement Pan

Tracking Shot(Hand-held)

Up Down Tilt Diagonal From Where to Where

Horizontal

Right Left

Deep

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Deep

Forward Backward

Diagonal

Down

North South West

East

205

Composition

Camera

Shooting focusing

Scale

TIME

Material (lighting) Lighting

Form

Detail (organic factor)

206

Plain walls or plain furniture

Balancing symmetry

Strong compositionally composition between different objects

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Fast cut(s)

Normal Pace

Long Take

Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

Rough/ Edgy

Natural light

High key

Low key

Rectilinear

Curvy

Sharp and angled

Scene 9: - The theme of Scene 9 is to introduce library. - This scene has a relatively colder tone compares to the last scene, to show the quiet atmosphere of library. - Scene 9 is composed of 4 shots.

Shot 1: A still long shot that shows the character enters the library.

Shot 2: A still long shot with high angle that shows the character walking through the staircase. Shot 3: A still shot that shows the character arrive the basement of the library. Shot 4: A tilting shot that changes the subject from the character to the ceiling of the library. Things that we have changed: - We edit the tilting shot so the camera movement is more smooth.

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10 s E.C.U

C.U

52 s

M.C.U

M.S

M.L.S

L.S E.L.S

216

12s

Lens

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Deep

Nr of Focus Points Fixed Chaging

Focus

Nr of Changes

Comp. Notes

Backward

Perspective

VP Outside Frame

2VP

VP in Frame

VP Outside Frame VP in Frame

Distorted

Space Layers 1 2 3 4 5 6 DoF's length

Tripod-Camera Movement

Camera/ Movement

1VP

Forward

Pan

Right Left

Tracking Shot(Dolly/steadycam/Gimbal)

Crane-shot

Drone/Heli Shot

Down Up

Up Down Tilt Diagonal From Where to Where

Right Left

Hand-Held Camera Movement Pan

Tracking Shot(Hand-held)

Up Down Tilt Diagonal From Where to Where

Horizontal

Right Left

Deep

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Deep

Forward Backward

Diagonal

Down

North South West

East

217

Composition

Camera

Shooting focusing

Scale

TIME

Material (lighting) Lighting

Form

Detail (organic factor)

218

Plain walls or plain furniture

Balancing symmetry

Strong compositionally composition between different objects

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Fast cut(s)

Normal Pace

Long Take

Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

Rough/ Edgy

Natural light

High key

Low key

Rectilinear

Curvy

Sharp and angled

Scene 10: - The theme of Scene 10 is to introduce basement of MSD building. - Change of scale is applied vastly in this scene to show the details of the basement . - Scene 10 is composed of 4 shots. Shot 1: A still shot that shows the character approach the blue wall outside the lecture.

Shot 2: A still close up shot that show the details of the blue wall.

Shot 3: A still long shot that shows the character walking up the staircase. Shot 4: A still medium and close up shot that shows the side view of character walking upstair. Things that we have changed: - We change the camera angle of the first shot to so it looks more natural. - We edit people talking soundtrack into the extrem close up shot of the blue wall to stimulate noise from the lecture room. - We add a close up detail before shot 3 so it can match and transit from the previous shot. - We color correct the scene so the tone is more natural.

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1 10 s E.C.U

C.U

52 s

M.C.U

M.S 10s

M.L.S

L.S E.L.S

224

Lens

Tele Wide DoF

Depth of Field

Optic

Normal

Shallow Normal

Optic Depth

Flat

Normal

Zoom

Deep

Nr of Focus Points Fixed Chaging

Focus

Nr of Changes

Comp. Notes

Backward

Perspective

VP Outside Frame

2VP

VP in Frame

VP Outside Frame VP in Frame

Distorted

Space Layers

DoF's length

Tripod-Camera Movement

Camera/ Movement

1VP

Forward

Pan

Right Left

Tracking Shot(Dolly/steadycam/Gimbal)

Crane-shot

Drone/Heli Shot

Down Up

Up Down Tilt Diagonal From Where to Where

Right Left

Hand-Held Camera Movement Pan

Tracking Shot(Hand-held)

Up Down Tilt Diagonal From Where to Where

Horizontal

Right Left

Deep

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Rotate

Clockwise Anti-Clockwise

Zoom

In Out

Deep

Forward Backward

Diagonal

Down

North South West

East

225

Composition

Camera

Shooting focusing

Scale

TIME

Material (lighting) Lighting

Form

Detail (organic factor)

226

Plain walls or plain furniture

Balancing symmetry

Strong compositionally composition between different objects

Peripheral vision

Reflection on windows and mirrors to expand the environment that can be put inside a shoot frame

Fast cut(s)

Normal Pace

Long Take

Clean/Caressing Glossy/Neat Soft/Polished

Covered in dust/Rusty

Rough/ Edgy

Natural light

High key

Low key

Rectilinear

Curvy

Sharp and angled

Scene 11: - The theme of Scene 11 is to conclude the film with exterior shots of MSD building. - We redesign the whole scene. - The scene is shot in the evening. This represents the character has spent a whole day in the building. - We use a medium long shot for shot 1 to echo the introduction scene. - Two quiet still shots are used in this scene to provide a peaceful atmosphere to the ending of the video. - Scene 11 is composed of 2 shots.

Shot 1: A still shot that shows the the exterior of MSD building.

Shot 2: A still close up shot that show the MSD logo on the facade of the building to end the video. Things that we have changed: - We discard the original design due to the high ISO of the shot. We tested it three seperate times but there was no improvement, so we decide that the original shot was not effective. - We add a ending scene at the end of the film. - We add a fading effect at the end of the scene.

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Reflection of the Semester The cinematic architecture course really fascinates me. I personally am really interested in photographing. Since I had my own camera 2 years ago, I started to read book and watch tutorials about how to be a better photographer. Although I had a grasp of the basic techniques and terminology of photographing, I had never had a teacher who trains and improves me. Through this semester, I have had plenty of exercises that helps me to get better in my photographing game. The photo designing exercise in the beginning of the course help me to understand the application of cinematic plan. The movie analysis teaches me how to build an atmosphere in my photography. And the architecture filming task not only improves my filming and photographing skill, but also trains me to plan and think before taking each shot. The course is thoroughly intriguing and interesting. The task not only suits my interests, but also allow me to work with my groupmates. My groupmates are being very supportive throughout the semester. Our interaction pushes us to further improve our skills on both photographing, modeling and software application. It also improves my communication and leadership skill during our group discussion. Last but not least, I want to thank our tutor, Hamid. He has been a huge support for us throughout the whole semester. I have learn a lot, not only about photographing, but also about architect as a career, form him. He is a mentor that I really appreciate and respect. To sum up, I am really glad that I chose this class for my Design Workshop Course, as I have gained a lot from it. I believe that I would be a better photographer, student and architect after this course, and wish that everyone else from the course has a brighter future.

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