Video Production by- Nihal Ghosarwade- points covered- Ideating a video, characters, conflict, resolution, communicate your ideas, camera angles, level shots, Aerial shots, Mise-en-scene, lights, green room, chroma keying, studio lights, color temperature, depth of field. Hope it will help you out.

1. Video Production
by- Nihal Ghosarwade

2. Module 3

3. Ideating a video
What Do You Want to Communicate and Why?
• Finding your key message - Deciding on your
key message, concentrate your ideas down to
one or two sentences.
• Knowing why your message is important -
Examine why your message is important, in
relation to what you want to say.

4. “Ideation is the mode of the design process in which you
concentrate on idea generation. Mentally it represents a
process of ‘going wide’ in terms of concepts and
outcomes. Ideation provides both the fuel and also the
source material for building prototypes and getting
innovative solutions into the hands of your users.”
– d.school, An Introduction to Design Thinking PROCESS
GUIDE

5. Characters: people involved
Conflict: how the character transforms through challenge
Resolution: how did the character(s) change?

6. How Do You Communicate?
• Know your audience - Define your audience, they may be divided by
where they live, their income, or culture.
• Know what your audience needs to understand the message - Does your
audience understand the issue as you see it?
• Informyour audience - You will lose the audience’s attention if you bore
them with what they already know.
• Tailor your message - Once you know your audience use the appropriate
style that will persuade them.
• Enable your audience - Once your audience is aware of the issue they may
need to know what to do about it.
• Know when you are successful. - Plan how you will measure your
effectiveness.

7. How Will Video Communicate Your Idea?
• Understand the language of film - We all have an
understanding of film language. Using it will vastly
enhance your message.
• Use Signs and Symbols - Anything that has a
significance beyond its usual function or meaning is a
sign or symbol.

8. Language of the film
Elements of a Film or visual project:
• Narrative (character, world, events)
• Cinematography (camera and light)
• Sound (sound effects, dialogs, music)
• Mise-en-scene (what does your frame communicates?)
• Editing (putting the whole project together in order)

9. STORY WRITING
Fabula and syuzhet
 Narrativeconstruction
 Russian Formalism school of literary criticism, 1910s-20s
 The ‘fabula’refers to the chronologicalorder in which the events of a story take
place: the timeline, in other words. (The raw reality or plainevents)
 The ‘syuzhet’ refers to the sequence in which the authorchooses to relate those
events, which we could describe as the storylineor the plot. (The creative
representation)
Eg: In SatyajitRay’s Apu Trilogy, the Fabula is the story of Apu’s life and the events
that it had.
Syuzhet is the storyteller take on the chronology and representationof those life
events. (Durga stealing the pearl necklace)

10. • Theme:
Idea, belief,moral, lesson or insight. It’s the central argument that the authoris
trying to make the reader understand.The theme is the “why” of the story.
• Setting:
Where and when is the story set? Setting represents both the physicallocationbut
also the time (i.e. past, present, future) and the social and cultural conditionsin
which the charactersexist.
• Character:
A person or animalor really anything personified.There can be one main character
or many, and often there are secondary characters, but not always.
• Plot:
The plot consists of the events that happen in the story. In a plot you typicallyfind
an introduction,rising action, a climax, the fallingaction, and a resolution.Plot is
often represented as an arc.
• Conflict:
Every story must have a conflict, i.e. a challenge or problem around which the
plot is based. Without conflict, the story will have no purpose or trajectory.
Basic elements of a story:

12. WRITING FOR ADVERTISEMENT!
Ethos, Logos, Pathos –
Ethos is the appeal to ethics. It convinces the audience of the
credibility of the writer. The writer’s expertise on his or her subject
matter lends to such credibility.
Logos is the appeal to logic and reason. It is the most commonly
accepted mode in persuasion because it aims to be scientific in its
approach to argumentation. In writing, facts are presented in a
logical manner, and faulty logic is avoided.
Pathos is the appeal to emotion. This aims to convince the
audience by appealing to human emotions. Emotions such as
sympathy, anger, and sadness motivate humans; using pathos will
then get the audience to be emotionally invested in the subject of
the writing.

13. Writing for Television vs. Film
FILM TELEVISION
Plot Format Uniform structure Two or three distinct structures at
play
Character Arcs Characterarcs restricted by time There’s no time factor effecting
the character arcs
TargetAudiences Compromising in audience
satisfactiondue to restrictive
content policies for age groups
Zero censorship/high censorship
depending upon the media. Highly
specified TG
Pitching the
content
Script and names involved arethe
basis of approval
A lot of focus is on making the
Pilot
Writing in a
collaborative
team
The Writer has the hold on the
overallnarrative.Rarely
collaborative
Given the vast structure and
spread out characters, the writer
has to work with the team
dedicatedto writing and
developingthe screenplay and
episodes.

14. IDEATION/CONCEPTUALISATION EXERCISE

15. Forms of Screenwriting
• Fiction
• Non Fiction
• Documentary
• Travelogue
• Product ads/Demos/Commercial
• Teasers
• EducationalVideos

16. Format of a Screenplay
Mostly involvescamera angels etc.

17. Characterization
7 Character Roles in Stories
• Protagonist: The main characterof the story is the protagonist.
• Antagonist: The villainof the story is the antagonist. (not to be confused with anti-
heroes like joker or moryarty or Walter white.
• Love interest: The love interest is the protagonist’sobject of desire.
• Confidant: The best friend or sidekick of the protagonist
• Deuteragonists: These characters often overlapwith confidants. A deuteragonistis
close to the main character, but the story’s main plot does not directly correspond
with their own characterarc. Eg-Mark Antony,
• Foil: A foil character primarilyexists to bring the protagonist’squalitiesinto sharper
relief.

18. Building Real Characters
“When writing a novel a writer should create living people; people not characters. A
character is a caricature.” –Ernest Hemingway
1. Give them flaws: Imperfections, bad habits, weakness, self contradictorybehavioror
skewed opposites, dark secrets and ad decision making.
2. Don’t make things black and white for them: Pure evil does not exist! Antagonistsmay
indulge in some good deeds out of personal interest & protagonistmay give in to their
egos.
Same goes with Anti heroes who do bad things but not completelybecause of evil
intentions.
3. Give them unique appearances: Signature outfits, symbolic accessories, can also
demonstrate change of personalityor a lager story arc.
4. Let them talk like actual people: occasionalpauses, stammers, senseless conversations,
casual behaviorscan make them look more real. Eg- Short film-Rogan Josh/Chutney
5. Give them traits from real people: Typicalbehaviorof a student/faculty/shopkeeper/
psycho/doctor/engineer/bachelor/communists/rightwingers/liberals

20. Practice Exercise
Let us develop a unique character inspiredfrom our day to day life.
Take help of the below pointers-
• Justify the character’s reason for existence by establishingthe character's story goal and
motivation
• Make sure the character has both strengths and flaws
• Give the character an external and internalconflict
• Decide whether the character is static or dynamic
• Give the character a back story
• Develop the character's external characteristics to make them distinguishable
• Make the character stand out with distinctivemannerisms
• Do your research to make the character believable
• Steer clear the biggest character developmentmistake

21. Module 4

22. Camera and Lights

23. Compositions and Frame Designing
ELEMENTS OF VISUAL COMPOSITION
Combiningdifferent types of shots, angles and camera movements, the filmmakers are able to
emphasize specific emotions, ideas and movement for each scene.
A SHOT
A series of frames that are shot uninterruptedfrom the moment the camera starts rollinguntil it
stops.
CAMERAANGLES
A scene may be shot simultaneouslyfrom multiple camera angles to amplify the cinematic
effect and the emotions. It affects the way the viewer perceives the scene.
CAMERAMOVEMENT

24. SHOTS

26. Extreme Long Shot or Extreme Wide Shot
Makes your subject appear small against their location.
You can use an extreme long shot to make your subject feel distantor unfamiliar.
Makes your subject feel overwhelmed by its location.
Consider using the extreme long shot when you need to emphasize the locationor isolation.
Extreme Wide Shot Examplein Mad Max: Fury Road

27. Long Shot or Wide Shot
If your subject is a person then his or her whole body will be in view but not filling the shot.
There should be a good deal of space aboveand below your subject.
Keeps your subject in plainview amidst grander surroundings.
Will make any big moment more cinematic.
Gives us a better idea of the scene setting and how the character fits into the area.
Wide Shot Example in The Martian

28. Full Shot
Camera shots that let your subject fill the frame while keeping emphasis on scenery
Technically,this shot begins in a wide shot, moves to full shot.
Full shots can be used to feature multiplecharacters in a single shot.
Full shot from Guardiansof the Galaxy

29. Medium Wide Shot
Frames the subject from roughly the knees up.
It splits the difference between a full shot and a medium shot.
Medium Wide Camera Shot Example in The Usual Suspects

30. Cowboy Shot
Also calledCowboy Shot because it is used in Westerns to frame a gunslinger’s gun or holster on
his hip.
Frames the subject from roughly mid-thighs up.
Cowboy Shot Example in The King’s Speech. Thisshot is also called Three Shot.

31. Medium Shot
Reveals your subject in more detail.
Frames from roughly the waist up and through the torso.
Emphasizes more of your subject while keeping their surroundings visible.
It is the most standard camera shot around, but every shot size you choose will have distinct
effect on the viewer.
Can often be used as a buffer shot for dialoguescenes that have an importantmoment later
that will be shown in a close-up shot (Eg- Sherlock Holmes)
Medium Shot in X-Men: Days of Future Past

32. Medium Close Up Shot
Frames your subject from roughly the chest up.
Typicallyfavorsthe face, but still keeps the subject somewhat distant.
Focus on importantdialogs
Medium Close Up Shot Example in No Country for Old Men

33. Close Up
Reveals a subject’s emotions and reactions.
Fills your frame with a part of your subject. If your subject is a person, it is often their face
A close-up is perfect for important moments. (In follow up with Medium Shot)
Registers tiny emotions, but not so close that we lose visibility.
Close-Up Shot in The Usual Suspects

34. Extreme Close Up
Extreme close-up is the most you can fill a frame with your subject often shows eyes, mouth and
gun triggers.
Smaller objects get great detailand are the focal point.
Emphasizes a specific feature of your subject.
Extreme Close-Up Camera Shot in X-Men: First Class

35. Extreme Close-Up Example in Black Swan
Extreme Close Up in Little Miss Sunshine

36. TYPES OF CAMERA SHOT FRAMING
IN FILM

37. Single Shot
When your shot captures one subject it’s known as a single shot.
You can have an over-the-shoulder single, but that technicallyhas more than one person in the
frame, but the character in the foreground isn't featured
Over-The-Shoulder Shot in Armageddon

38. Two Shot or 2-Shot
A camera shot with two characters featured in the frame.
Often useful for allowingperformances to playout in a single take.
2-Shot in The MatrixReloaded

39. Three Shot or 3-Shot
Features three characters in the frame:
Important in adventurefilms, or really any film that has a group of characters
3-Shot in Harry Potter and the DeathlyHallows

40. Over-The-Shoulder Shot
Shows your subject from behind the shoulder of another character.
Since it emulates perspective, it’s common in conversation scenes.
It helps to provide orientation,and connect the characters on an emotionallevel.
Over-The-Shoulder Shot in the movie Westworld

41. Over-The-Hip Shot
The camera is placed with a character's hip in the foreground, and the focus subject in the plane
of acceptable focus.
It will often suggest a power imbalance.
Over-The-Hip Shot Example in Film: MinorityReport

42. Point of View Shot (POV)
Camera shots that show the point-of-view (or POV) of one of your characters.
Shows the viewer exactly what that character sees.
Can also invoke horror, buildup suspense.
A point of view shot (POV) is generallysandwiched between two other shots, a technique
called shot-reverse shot.
- A camera shot of a character lookingat something
- Cut to your (POV) point of view camera shot
- A camera shot showing the character's reaction
POV shot in movie
IngloriousBastards

43. CAMERA ANGLES

44. Eye Level Shot
When the subject is at eye-level they’re in a neutral perspective (not superior or inferior).
Eye Level Shot Example in Forrest Gump

45. Low Angle Shot
These camera shots most often emphasize power dynamics between characters.
A superior character with the upper hand is often framed from down low. This makes an inferior
feel like they are looking up to them.
Low Angle Shot Example in The Empire Strikes Back

46. High Angle Shot
The camera points down at your subject.
Usually creates a feeling of inferiority, or “looking down” on your subject.
Can vary depending its context.
High Angle Shot from film Shawshank Redemption.

47. Hip Level Shot
A hip level shot is when your camera is roughly waist-high.
Types of Camera Angles: Hip Level Shot Examplein Reservoir Dogs

48. Knee Level Shot
Camera height is about as low as your subject’s knees.
They can emphasize a character’s superiority, if paired with a low angle.
Knee Level Shot Example in Revenge of the Sith

49. Ground Level Shot
Camera’s height is on ground level with
your subject.
This shot captures what’s going on the
ground your subject stands on.
Ground Level Shot Example in Full Metal Jacket
Ground Level Shot Example in Star Wars VIII: The Last Jedi

50. Shoulder Level Shot
Camera is roughly as high as your subject’s shoulders.
Makes your actor seem shorter than reality.
Can maximize the feeling of superiority when paired with a low angle.
Shoulder Level Shot in No Country For Old Men

51. Dutch Angle or Dutch Tilt Shot
In Dutch angle (Dutch tilt), the camera is slanted to one side.
With the horizon lines tilted in this way, you can create a sense of disorientation.
Dutch Angle shot in film IngloriousBastards

52. Bird’s Eye View Shot or Overhead Shot
An overhead shot is from way up high, lookingdown on your subject and a good amountof the
scenery surrounding him or her.
Creates a great sense of scale and movement.
Conveys a sense of inferiority, or a feeling that something is amiss, while taking in the larger
scope of the world.
Bird’s eye view from movie Battle of the Bastards

53. Aerial Shot
Taken from a helicopter or drone.
It establishes a large expanse of scenery.
Aerial Shot in Blade Runner

54. Mise-en-scene
The elements of a mise-en-scene helps understanding the meaning of the
sequence and of the film as a whole
• Framing/CameraProxemics
• Performance (Where does the
eye follows?)
• Depth of Field (value of the
space in focus and out of focus)
• Staging position
• Character Proxemics
(distance betweentwo
characters
• Setting
• The Dominant Character
• Lighting
• Colour/Filters
• Props
• Space
• Positionof the camera

62. Key light is the main source of light for set.
It is direct and intense source of light.
The first light source to be set up and cinematographersuse it to cast light on the actor or
subject.
Avoidpositioningyour key light too close to your camera for extremely flat picturisation.
If your key light is placed at the back or side of your actor, it will cause the scene to look
dramatic and your image will look dark.
Key light
Fill light
Key lights create shadows and fill light is used to illuminatethese shadows.
Is positionedat the opposite end of your key light and is often not as bright as the key.
Place your fill light a little closer to the camera if you want it to create fewer shadows.
Can be created from reflectors if there are no other light sources availableimmediately.

63. Backlight
It is usuallyplaced behind the subject, but a little higher.
It separates the object of interest from a poorly lit background.I
t also helps to enhance an object’s shape and depth. Also enhances your object’s features and
prevent it from appearingas though it is 2D.
Sidelight
Sidelightis a light that hits the subject from one side.
Is used to create chiaroscuro(strong contrasts between light and dark ) or dramaticmood.
This was a common technique used by filmmakers during the film noir era of filmmaking.
To achieve a dramaticfeel with your sidelight, cast it without its fill or use a lower fill ratio, say, 1
to 8. A sidelight is the best choice when you wish to reveal texture.
Bounce light
Bounce light, or just ‘bounce,’ is reflected light.
Tools such as foam or silk boards can help you bounce light.
So to achieve a softer light, use foam board. They have a matte surface to help you create a soft
reflected light.
Bounce, from a reflector surface, is often versatile. It is possible to create fill, key, and backlight
to illuminatesubjects in a scene.

65. The process by which a specific colour element (chroma) is removed from a video scene and
replaced (keyed) with a different element.
Helps remove one backgroundand replace it with another.
Unlike other bright colours such as Yellow and Red, Blue and Green are not found within any
skin tone.
For effective Chroma Keying the distinctionbetween what you want to keep (the presenter) and
what you want to remove and replace (the green background) has to be made.
Powerful lights are needed to increase the intensityof the backdrop to give a strong consistent
colour to work with.
Those lights however can make the subject look very dark in comparison to the background, so
soft lighting aimed towards the subject is needed to overcome this reason why grey backdrops
are getting popular
Chroma Keying

66. Introduction to Studio Lights
The best lighting missesboth cool and warm to create an environmentand to get the color you
want out of an object or subject.
Light can be warm (yellow/orange) or cool (blue). Color temperature can even affect the tone
of your story.

67. .
Sources of Light/ Types of Light
UnderstandingCRI (Color Rendering Index)
The Color Rendering Index describes the abilityof a light source to reveal the color of an object,
as compared to the color a naturallight source would provide.The highest possible CRI is 100. A
CRI of 100 generallyrefers to a perfect black body, like a tungsten light source or the sun.
Tungsten Lights
Tungsten light or halogen/quartzlights operate at a high temperature, and thus have a higher
color temperature and are more luminous.
Often used to mimic daylightbecause they produce a warm light.
They usuallyhave open-faced light fixtures or Fresnel.
They can go up to 200kW and usuallyhave a dimmer switch to help you control direct light.
They produce a continuousspectrum of light from near ultravioletto infrared, producing near-
perfect color rendition.
If you want to change the color temperature, you need to use gels.
HMI lights (Hydrargyrum medium-arc iodide)
HMI lights are a metal-halidegas discharge medium arc-length lamp.
Capableto produce super high intensityof flicker free light (6000K color temperature light) to
match sunlight due to chemical reaction between mercury and electricity in the bulb.
Used when high output is required. They are also used to recreate sun shine
HMIs can light huge areas at once.

68. Fluorescent lights
Fluorescent lights are more efficient than incandescentlight.
They are capableof generating up to 100 lumens per watt, similarto the output of HMI.
The spectrum of light emitted can achieve a CRI up to 99.
The colortemperature of a fluorescent can vary also from 2700K to 6500K.
Is achievedby laying multipletubes next to each other, combining as many as you want for the
desired brightness.
You can choose your bulbsto either be warm or cool dependingon the scenario you're
shooting.
Fluorescent lighting is used to light interiorsand is more compact and cooler than tungsten or
HMI lighting.
LED lights
LED lights can reflect daylightand many have a variablecolor temperature.So you can
seamlessly switch color temperatureas needed. The CRI rating of LED lighting can be over 90.
LED’s are more and more common on film sets and can be powered by batteries.
Portable and sleek - no messy cabledneeded.
LED’s can also power Fresnel style lamp heads.