1> From your studio, reflect on an aspect of two other students/group’s media work on the website in terms of specific insights they produced about a key idea addressed by the studio? Immersive Sandbox Studio Website: https://www.mediafactory.org.au/2023-immersive-sandbox/Links to an external site.

Dreamscape – Jeremy Sta Ana, Alissandra Mariano, Alicia Herrera and Jennifer Tang 

Upon comparing this well-crafted short film and reflecting on our group’s work, I noticed certain similarities in terms of concept. However, they have effectively conveyed their narrative context in a cohesive manner, featuring a clear opening, development, and ending that encompassed a range of emotions, starting slowly and gradually building towards an exciting yet dramatic climax. I found myself completely immersed in this captivating cinematic experience. One of the elements that contributed to its success was the intriguing stylistic choice of contrasting two distinct perspectives from different realities. Upon reflecting on their presentation, I believe they have truly crafted a masterpiece and accomplished everything they set out to achieve. The contrast between the black-and-white and the colored perspectives, portrayed through the use of a headset, evoked a powerful and beneficial impact of Extended Reality in our lives, despite the protagonist’s frantic expression. Additionally, the utilization of a 4:3 aspect ratio effectively communicated the claustrophobic atmosphere of mundane and monotonous office life. As the screen expanded, that sense of confinement gradually dissipated, allowing the audience, along with the protagonist, to escape into a magical and fantastical world. It was executed in such a wonderful manner that it even spooked her out of it. Narratively speaking, it was a concise yet complete story—a challenging task to accomplish within the given time frame. This is something that both my group and I can learn from. Overall, this piece is truly fantastic and provided a delightful viewing experience.

The Kebab Van at the End of the Universe – Cem Bilici

This work initially captivated the audience by evoking a sense of positivity. The protagonist’s exciting interactions with holograms, combined with the fast-paced dialogue and the actress’s serious demeanor as she attempted to unravel her problems, had me reminded and compared it to an episode of Star Trek. However, as the film concluded, it became apparent that it was a profoundly sad and emotionally charged story about addiction. Had I not been present during Bilici’s pitch to the class, I would never have anticipated such a poignant ending. Therefore, his skill in conceptualising and translating that concept into a script that could surprise the audience deserves recognition. I admire his ability in writing, an area where I find myself lacking upon reflecting on my own work. The acting was exceptional, which made me think of an important lesson in Phil has recently taught me —good acting owes much to the director’s guidance. His ability to steer the talents of the actress, allowing her to embody Bilici’s imagination, results in an impactful portrayal on the camera lens. While the film delivered a touching and emotionally resonant narrative, it could have benefited from more attention to the audio aspect. In the latter half of the film, it became challenging to discern what the daughter was saying. I suspect that the time constraints of the assignment may have impacted the overall work as I failed to see the connection between the film’s title, “Kebab Van…,” and the narrative. However, I consider these to be minor nitpicks that Bilici would likely be fully aware of. Overall, this was yet another fantastic piece that effectively conveyed the benefits of Extended Reality through the medium of filmmaking, particularly evident in the impressive visual effects.

2> Choose one other studio from this list or see to the links below (we suggest selecting a studio that you would not normally be interested in). Then describe a key idea that you think the finished media/studio work communicated with reference to two specific examples (i.e. particular individual/group works)

Designing Drama – Episode 6 – Haiteng Chen

In a mere two-minute clip, I found myself intrigued by a story I stumbled upon without any prior context. Despite its brevity, this snippet effectively conveyed a narrative, offering a glimpse into a larger tale. Remarkably, this silent scene epitomized the power of “show, don’t tell,” leaving a lasting impression on me. It was as simple as witnessing the protagonist lose concentration while reading her book, eventually setting it aside to indulge in social media. The cinematography played a pivotal role in capturing the essence of the story, utilising a modest one-point light setup and a diverse range of camera angles that evoked profound but particular emotions. The slow zoom further intensified the impact of these emotions. I couldn’t help but notice a familiar stylistic flair reminiscent of my beloved director, Edgar Wright, particularly evident in the dynamic fast-cut sequence. However, it was not just the visuals that contributed to the impact of the work. The carefully crafted soundscape played a pivotal role, as it seamlessly complemented the aesthetic, enhancing the fast-cut sequence’s overall effectiveness. The ambient soundscape provided an atmospheric space through which to navigate the protagonist’s struggles. The resounding slam as she put down her phone reverberated throughout the scene, both startling and awakening her from what seemed like a personal nightmare. The enigmatic girl in the scene seemed to bear the weight of an unseen struggle—perhaps grappling with stress, depression, frustration, or even PTSD. Although only hinted at, the depth of her turmoil was perceptible, leaving room for interpretation. What astonished me most was how Chen, the creator, skillfully conveyed such complex and profound emotions through the simplest of motions, even in the absence of any contextual information or prior knowledge about the work’s intention or meaning for the audience. This work is a great demonstration of the power of visual storytelling, and what it can offer as a tool for filmmaking.

Poetic Video – Life in Plastic – Em Cox Isabella Cook

Among the remarkable final works I explored in Designing Drama, there was a recurring theme—a compelling ability to convey filmic messages through visual storytelling. Therefore, I took it upon myself to explore a different studio for a fresh perspective. The work that captured my attention was “Life in Plastic” by Em Cox and Isabella Cook from Poetic Video Studio. This piece exhibited meticulous craftsmanship through its visual interpretation and audio design. The nostalgic 90s voice of the narrator, coupled with the vintage filter on the visuals and the stylistic choice of editing cut-out words, evoked an aesthetic reminiscent of old analog TV commercials. It seemed to convey a poignant message—that the issue at hand is not new, but rather an ongoing problem persisting to this day: the direct harm inflicted by plastic on our environment. The intriguing editing technique employed further aligned with the core concept of plastic, as it exists in various sizes, forms, and colors, yet yields detrimental effects. A sequence featuring plastic pill covers, accompanied by heightened foley audio, evoked a sense of nostalgia juxtaposed with discomfort. As a whole, the creators succeeded in effectively communicating the idea of pollution and environmental degradation caused by plastic waste. Despite labeling it an experimental work, the intricacy of the editing and narration was evident, warranting appreciation for their efforts.

Heaven of Bronze and Iron

Heaven of Bronze and Iron from Media Factory on Vimeo.

Reflection:

In what ways do you hope your final work (whether individual or group produced) engages its audience and communicated a key concern of the studio?

Throughout this semester of “Immersive Sandbox,” I have embarked on a captivating journey delving into the realm of “Extended Reality” (XR) and its applications in the world of filmmaking. As a filmmaker passionate about creating visually stunning works, this class has been an invaluable experience, teaching me how to effectively utilise visual effects (VFX) to subtly enhance scenes and bring XR environments to life. One person who played a pivotal role in my learning process was Cat, who provided invaluable guidance during the first teaser assignment. With her assistance, I gained a deeper understanding of the profound impact of audio and how a simple change in music can completely transform a piece into something entirely new and different.

The focal point of Extended Reality lies in how technology can enrich our everyday lives. In recent times, the rise of Artificial Intelligence (AI) has sparked widespread discussions on its potential impact on our future. Consequently, this topic directly aligns with the concerns addressed in this studio, which is why all three of my works have centred around the effects of technological advancement and AI in some matters as well as their potential dangers. While both my teaser and trailer took a critical stance on the negative aspects of excessive reliance on technology, my final project, developed in collaboration with Spring and Phil, presented a slightly more optimistic viewpoint. We aimed to juxtapose the real-world struggles of Yumi with the vibrant and colourful futuristic world, highlighting the potential benefits of technology when used responsibly. Originally, our script followed a similar concept to my trailer, dwelling on a more pessimistic aspect revolving around interactions with a technological cult. However, due to various challenges encountered throughout the project, our vision gradually evolved and was redefined into its current form. My hope is that the audience will empathise with Yumi and her interpersonal battles so that when they witness the hopeful virtual environments that the AI entity (DIG1TAL_SAVI0UR) has to offer, they too will grapple with the dilemma of whether it is a desirable path to tread. By evoking Yumi’s hesitation towards the end of our short film, we aspire to stimulate contemplation among viewers about the real-world applications of AI and technology, thereby encouraging them to reflect on current events.

Imagine you are going to keep working on that media piece (e.g. to screen it somewhere else like a festival, or develop it into a different kind of work, and so on) – what would be the core things you want to improve and extend and why?

Overall, I am satisfied with the final piece, despite the setbacks and revisions we encountered along the way. Of course, it would be a dream come true to fully realise our original vision someday by returning to the drawing board, recruiting additional extras and talent, and breathing life into the initial script that delves into the intriguing world of a cult of technology worshippers. However, if I had the opportunity to continue refining the current version of the film, my focus would be on fine-tuning specific elements to ensure a seamless and immersive experience. There are no major changes I would make, but I would love to incorporate additional VFX shots within the garden sequence to infuse it with a more technological, dreamlike, and otherworldly ambience. Furthermore, I would polish the sound effects throughout and experiment with various music tracks to evoke different moods in distinct scenes. Since compressing our vision into a concise 7-minute timeframe proved challenging, I would consider extending the runtime slightly to give the shots more breathing room.

Production:

In terms of production, I had the privilege of being involved in every facet of the process, from inception to completion. We maintained a collaborative environment where decisions were made collectively, ensuring everyone had a voice at every step. During our brainstorming sessions, we explored several ideas encompassing holograms, artificial intelligence, and more. Ultimately, the team unanimously gravitated towards my concept from the second trailer assignment, prompting us to embark on the journey of fleshing out the idea through scriptwriting. Spring drafted the initial version, which Phil then refined, while I also provided input and helped shape the final script. As we moved into the shooting phase, I took charge of printing out scripts and providing support with both directorial and general crew responsibilities, including operating the camera, directing actors, planning shot compositions, and configuring lighting setups.

Website:

After the unexpected drop out of the extras, our initial concept of a cult had to undergo a transformation. We decided to reimagine it as an online support platform, which would require us to think strategically about how to craft an online website that felt genuine and resonated with viewers. To achieve this, we brainstormed and unanimously agreed on using the popular platform Reddit as the foundation for our narrative. By leveraging the familiarity of Reddit, we tapped into its existing reputation and user base, immediately establishing a sense of credibility and believability. Taking charge of this task, I set out to create a new page for the “Heaven of Bronze and Iron” community. With the assistance of Spring and Phil, we carefully created the comments and posts to reflect the community’s values and purpose, adding depth and authenticity to the virtual world we were constructing. This approach spared us the tedious process of building an entire website from scratch in AfterEffects. In post-production, my role extended beyond the creation of the community page. I combed through each frame, refining the details to enhance the illusion of authenticity. I paid close attention to every aspect, from the formatting of the text to the design of the user interface, ensuring that it aligned with Reddit’s style and functionality. By incorporating specific names, references, and even subtle easter eggs, I aimed to immerse the audience further into the world of the film, fostering a deeper connection with the narrative.

Website Link: Heaven Made of Bronze and Iron (reddit.com)

Post-Production:

In other aspects during the post-production phase, I assumed the responsibility of editing Act 2. Additionally, I worked on compositing and VFX for both Act 2 and Spring’s Act 1. To seamlessly create a glimpse of the future, I incorporated holographic elements into the scenes, showcasing futuristic advertisements and communication technologies. By animating opacity, scan lines, and other parameters, I transformed ordinary store signs into weathered, worn-down displays, infusing the environment with a distinctive aesthetic. Additionally, I employed a technique where text messages popped up in a visually captivating yet unconventional manner, prioritising the audience’s ability to grasp the message as a whole rather than adhering strictly to realism. To achieve this, I curated assets like “The Australian” and “The Herald Sun” and incorporated them into holographic elements using keyframes to control opacity, glow, and scan lines. Furthermore, I ensured that these holographic elements harmonised with the overall scene by matching colours and contrasts, creating a seamless and unified visual experience that would facilitate future colour grading without distracting the audience. However, I encountered challenges during the editing of Act 2. The abundance of content and events within the script posed a significant hurdle in condensing it to fit the three-minute time limit. Through multiple revisions and invaluable guidance from Spring and Phil, I managed to trim it down from the initial ten minutes to meet the time constraints. During the computer screen scene, we received valuable advice from Cat during a workshop, suggesting that we reduce the on-screen text elements to prevent overwhelming the audience with excessive reading. Implementing suggestions from the group, I adopted a technique that showcased snippets of important words rather than presenting a wall of text. This approach encouraged viewers to glean essential information rather than becoming overwhelmed by excessive reading. I believe this editing decision effectively resolved the initial challenge.

Throughout the entire post-production process, as we chose to edit each act separately, I actively supported Spring and Phil by offering my insights and suggestions regarding their work and providing input on cuts, colour grading, and audio. Collaborating closely with Spring, we worked to rectify initial issues with colour inconsistency in the footage. Spring’s adeptness and committed effort in colour grading breathed life and emotion into the original log footage, establishing evocative atmospheres within the scenes. Similarly, I proposed changes to the sound effects, additional background music, and ambient sounds, as Phil’s choices diverged slightly from the initial vision I had in mind. It was a learning experience to make these decisions retrospectively rather than working collectively from the outset. Looking back, I would advocate for all three of us to edit together in person, fostering a more unified and cohesive vision across the entire piece and transcending the boundaries imposed by dividing the editing process into three distinct parts. Despite this, our communication and decision-making processes remained effective, and it was refreshing to witness the team’s unwavering commitment to open and timely communication.

Poster:

In addition to my involvement in post-production, I also took on the responsibility of producing our poster. I utilised several photos that I composed on set and took on the task of experimenting with essential poster features. Once we settled on the most fitting photo, I explored different fonts, colours, and positions for our names. Initially, I enjoyed employing multiple fonts and colours to impart distinct feelings to each section of text. However, after collective deliberation, we realised that this approach appeared somewhat haphazard and lacked cohesiveness. Taking into account the suggestions from Spring and Phil, I opted for a more focused and cohesive design, refining the elements to ensure an impactful final result.

Collaboration:

As I reflect on my work and the collaborative process, I am content with my personal contributions and individual creative journey. However, the team dynamics presented their fair share of challenges. Each of us possesses filmmaking expertise and a deep passion for our projects, but at times, our strong ideas clashed, creating hurdles in reaching a consensus without someone feeling their ideas were being dismissed. Being a small team of three, it was challenging to strike a balance without a two-against-one scenario. Nonetheless, it was a valuable learning experience in collaborative work, teaching me the importance of constructive teamwork and the necessity of compromising on personal preferences when necessary. That being said, I also discovered the significance of valuing my own artistic vision and advocating for ideas that held personal importance. Overall, our communication and decision-making process remained strong, and I appreciated the open and honest exchanges that took place in a timely manner.

Looking back, there are a couple of aspects I would approach differently in future projects. Firstly, I would aim to establish more solid agreements with our extras, ensuring a more reliable commitment from actors and avoiding last-minute setbacks that can derail the original vision. Secondly, I would advocate more assertively for my artistic preferences instead of stepping back while under pressure. Despite these minor adjustments, our team worked well together, and I thoroughly enjoyed collaborating with these talented individuals to create a competent final product.

Screenshots:

Write one reflection on, or response to, the content of the Presentation in Week 9 by student work other than your own

When I watched the presentations from other groups, one particular group with Aliss, Jen, Jeremy, and Alicia caught my attention with their intriguing short film concept, tentatively titled “Dreamscape.” The title alone invoked a sense of curiosity and fascination, hinting at a world they intended to create—an ethereal, colourful realm that evokes nostalgia and wonder. However, what truly captivated me was the unexpected twist in their pitch, as they revealed the central themes of their film: isolation, loss, identity, and escapism. This shift transformed their initially vibrant and whimsical vision into a more serious and emotionally charged story, presenting a monotonous reality overshadowed by profound introspection.

The plot reminded me of a segment in a show called “Severence,” where individuals find themselves trapped in a tedious and mundane corporate existence. Building upon the core concept of our studio, Immersive Sandbox, these guys devised a compelling idea—an apparatus that transports the protagonist into a simulated world, offering her temporary solace. This notion stirs the imagination, leading us to contemplate a near future where technology can significantly enhance and enrich our lives. In their short film concept, this technological device serves as a means for the protagonist to cope with her tedious reality and seek refuge in a realm of magic and wonder.

The world they have constructed revolves around the concept of a liminal dreamscape, evoking a sense of eeriness, nostalgia, and apprehension among the audience. Instantly, I found myself immersed in this imaginative realm, thanks to the vivid descriptions and researched images they presented. As I embark on my own filmmaking journey, I realise the paramount importance of world-building. When watching both films and TV shows, I constantly seek and revel in the art of creating beautiful, romantic, intriguing, and awe-inspiring worlds, such as those found in The Lord of the Rings, the Marvel Universe, or Harry Potter.

This group has certainly excelled in this aspect, as they introduce surrealism into their world-building, providing their short film’s aesthetics with a symbolic, dream-like, and artistically captivating backdrop. From a technical standpoint, the group has meticulously planned the visual elements of their final work. In terms of cinematography, they envision two contrasting parts of their setting: the real world, reflecting the dullness and industrial nature of a monotonous work life, portrayed in black and white with a 4:3 aspect ratio, exuding a cold, claustrophobic, and depressing aesthetic. On the other hand, the dreamscape world emanates warmth, vibrancy, and atmosphere, employing a wider aspect ratio that enhances the sense of escapism. This aspect seamlessly aligns with our studio’s core concept of how extended reality applications can enrich and elevate our perception of reality.

In conclusion, this group has successfully brought their concept of the short film “Dreamscape” to life, constructing a remarkably creative and immersive reality while remaining true to our studio’s fundamental principles regarding the benefits of extended reality. Having witnessed the final product, I firmly believe that their meticulous pre-production process, evident in this captivating presentation, played a significant role in their achievements.

Reflection:

• What were you trying to achieve in terms of critically communicating about extended reality (XR) media and which method in the editing process was used to attempt this?

People in today’s society are so addicted and glued to their phones all the time, constantly immersing themselves in media for every possible moment throughout the day. Online shopping and work from home setups are becoming the norm, and more immersive technology is becoming accessible to the general public, such as the Meta Quest headsets or the Oculus Rift, which was particularly made for the enhancement of computer games and interactivities of reality in general (Schmalstieg and Höllerer 2016). We are rapidly approaching an era where humanity will be able to fully function from within the confines of our homes. We are becoming more and more reliant on technology to assist us with everyday fundamentals, such that it is easy to envision a world where people are so engrossed in the aid that technology provides that we worship it like gods. This is where my trailer attempts to shed light on a different ethical perspective about advanced technology and extended media by showing the dangers of our future society and trying to steer people away from that potential timeline. I used a lot of red light in my shots to emphasise warning and danger, and I put a green hue on several shots in my edit to make everything seem more computerised. This matches well with my prayer shot and my VFX city shot, both of which also support green as the colour for technology.

• How did your preproduction/production/post production process go and what would you do differently/improve next time? 

Unfortunately, due to being sick and focusing on several other assignments due at the same time, I did not have much time to do preproduction for this project before having to begin filming. I had brainstormed a rough outline of the story and prepared a vague shot list to go off of; however, it was definitely less preparation than I have done for any other project up to this point. This definitely led to a more hectic shooting schedule, which was exacerbated by having some of my actors become unavailable, resulting in a last-minute rework of the story. All of this meant that I did not get all the shots that I wanted to tell my full story, and I had to fill it in with random, unrelated shots I had taken for practise. All of this led to me having to fill in the blanks of my rearranged story with more post-production work, including ADR, narration, and using some stock footage. In the future, I will definitely try to do more pre-production, even if it means my shooting has to get pushed back, since I now fully appreciate the importance of having a script to shoot and the stress of trying to film without one.

[https://docs.google.com/spreadsheets/d/15WeMjtCRqLVuMUoL3Qy9JMOy4yzVcmdCEj22n62whIQ/edit?usp=sharing]

• What do you think the most and least successful parts of your Film Trailer were, and why so?

I believe the most successful part of my trailer is the colour grading of each shot. I spent a lot more time on this project on colour balance, colour correction, and colour grading, ensuring each shot matched the tone and feel of the last for a cohesive and complete look, and I believe it really takes my work to the next level. This is despite my underexposing my footage in some shots and struggling to adjust the brightness and contrast without adding extra noise to the scene. However, I am still improving with the way I handle my camera and have researched SLOG and colour theory, so I believe my next piece will be even more visually stunning. I am trying to get as much quality in the camera as possible by using good composition and lighting, so I have to do less correction and VFX in post before working on stylistic choices. My least favourite part of the trailer is definitely my acting. I am not great in front of the camera and a bit shy, so it was a shame that I left finding actors too late and couldn’t find anybody willing to help. In the future, I will make sure to source talent well in advance so I can stay behind the camera and not have to act while also adjusting the cinematography.

• What kind of creative storytelling and film techniques can you develop to explore Extended Reality (XR)?

As was mentioned in my last blog, I was interested in experimenting with integrating an AI text-to-image generation tool to create storyboards, but due to time constraints, I was unable to do so, and this is something I would like to do if given the opportunity. Another idea for utilising XR in filmmaking and creative storytelling that I am intrigued in attempting is using high-quality photo-scanning to map out locations via the NVIDIA application called NerF, which, when combined with Unreal Engine, I believe is such an excellent pair to have experimented with because it not only can be used as VFX elements in the film itself but could also provide such an effective approach for pre-production processes such as planning and blocking or set design. To simplify this, it is possible to compare this concept to the car mapping and navigation system, as both of these ideas use virtual capacities to explore and enhance real spaces (Schmalstieg and Höllerer 2016).

• In what ways will Extended Reality (XR) technology products or services change the way we live, work and play?

As I briefly explored above, I believe that the more immersive technology is introduced into daily life, the less we as a society will actually leave the house for things. With virtual reality headsets becoming cheaper, lighter, and more realistic, they will surely become more mainstream and less gamified. There are myriad applications for which VR and XR technology can be used to improve workflow both around the house and in the workplace, improve quality of life for people with various impairments, and generally enhance everyday activities. People will have no need to leave their homes for shopping, work, socialising, or play, as everything will be able to be done from the comfort of the couch. XR technology will simultaneously bring people together from across the globe as it will be immensely easy to connect with anyone instantly, but it will also push us away as a society while we lock ourselves away in our homes. As a result, XR technology will bring people together from all over the world since it will be so easy to interact with anyone instantly, but it will also push us away as a society as we shut ourselves away in our houses. Leads to decreased cognitive performance, social abilities deteriorate, and the risk of major depression increases (Oh et al. 2019). The quantity of interactions may increase, but the quality of those interactions would arguably decrease.

• What kind of filmmaking production techniques can you use to build excitement for the film trailer?

I went into this trailer with the goal of fully incorporating a three-act structure into it so that I could practise my storytelling techniques. I used the tried and true trailer methods of having a cold open and a final scene tease to build excitement for the trailer at the start and excitement for the movie at the end, directly after my call to action. In between, I tried to introduce the premise of the film with the start of the interview mentioning religion, followed by cult-like prayers and dark imagery beginning the conflict of the story, finishing with snippets of interesting narration over a frantic montage of different hero shots to build to the climactic finale. I believe that this structure flows really well to engage an audience and excite them to want to watch the full film.

Pre-Production:

[https://docs.google.com/document/d/1RkTis3KS0SemTIzwtf5c0gZI5Nh80Lx71kqQ7YjEbf8/edit?usp=sharing]

Post-Production:

References:

Oh C, Herrera F and Bailenson J (2019) ‘The Effects of Immersion and Real-World Distractions on Virtual Social Interactions’, Cyberpsychology, Behavior and Social Networking, 22(6):365-372, doi:10.1089/cyber.2018.0404.

Schmalstieg D and Höllerer T (2016) Augmented reality: Principles and Practice, Addison-Wesley, Boston.

Weekly Blogs:

Immersive Sandbox – Week 4 Blog

Immersive Sandbox – Week 5 Blog

Immersive Sandbox – Week 6 Blog

In the week 6’s workshop, I found myself resonating the most with lighting and colour grading components because this is what I’m most interested in studying and improving at the moment. Lighting and colour grading are such effective storytelling elements that easily express feelings and aesthetics for the image. And by doing so, it reveals to the audience such emotions and connections between the characters. I am often entranced by breathtaking shots in films, and I realise that it was painstakingly constructed by the artist on set, and I hope that one day I will be able to create such an image myself.

On to another topic, since last semester, I’ve been interested in and experimenting with generative text-to-image technologies. I believe that technology has advanced to the point where you can theoretically make anything using only your own imagination. Of course, it would be accompanied by precautions owing to misuse and overuse. But I’m not worried about it since it is what it is; we are in an industry that is constantly evolving, and the best thing we can do is appreciate the convenience that these technologies offer while adapting to the future.

Week 5 workshop is all about storytelling.  Unfortunately, I was unable to attend class that day, but based on the class note that I received, I now have a better understanding of how a three-act structure is such an industry-standard equation that is extremely beneficial when developing your art, even on things such as a trailer where you don’t want to throw in too much plot line. After conducting in-depth research to have a more thorough comprehension of how to put together a trailer with a three-act structure, as required by assignment 2, I discovered a formula on which I base my trailer script:

Cold Open – Hooks the audience’s attention

Act 1 – Introduces the premise

Act 2 – Introduces the conflict

Act 3 – Exciting climax

Button – One last tease

This definitely helps me clarify specific instances in terms of screenplay writing and coming up with ideas during the process. And after doing further research by watching many and many trailers for reference, I noticed that they all had a three-act structure when comparing the content to the formula I have acquired.

The class notes also provide an educational explanation regarding variable shots and composition. As I would like to dedicate myself to learning about camera techniques, I find it fascinating how a filmmaker/cinematographer can still tell a story using composition, angles, and mise en scene without using dialogue.

Our class gets introduced to the sound creative aspect of media-making in the week 4 session. Every day, I am becoming more aware of the necessity of high-quality audio and sound in the production process. While scrolling around Reddit, I frequently came across postings that underlined the importance of sound and audio as the most significant factors to take into account while creating video content. As a result of the class lesson and the experience of putting together assignment 1 – the teaser, I have learnt to pay much more attention to the audio side of it and have given it much more respect than I used to, I had to admit.

We were then instructed to undertake a brief exercise of producing our own monster sound after seeing how imaginative the sound effects of the dragons were developed in the House of Dragons. The construction noise from across the street was loud and rhythmic, and we discovered that it could be used and edited in unexpectedly interesting ways. Though the outcome was not particularly impressive, the activity allowed us to design engaging content in a creative manner using what we had at our disposal at the time.

In class this week we had a look at all our rough cuts and were getting ready for Assignment 1 submission. After watching all of my classmates’ preliminary edits I obtained valuable comments for my own rough cut from Cat, our studio leader, and Spring. Because of this feedback, I realised that my edit lacked the teaser elements required by the Assignment criteria, and instead just resembled an edit with music. I decided to rework my edit in order to create a better version that is more like a teaser. I’ve improved my usage of music, foley, and sound effects. I was able to make the editing much more engaging and intriguing by combining Boom, Braam, cymbal, and other sound effects, which aim to elicit excitement from the audience. I believe it now fits the requirement of the assignment criteria and appears. more like a teaser as well as more cinematic.

This week we learnt about Unreal Engine and Meta-Human. Unreal Engine provides a robust tool for smoothly combining virtual and augmented worlds with CGI and set footage. Utilizing Unreal for virtual production supports a more iterative filmmaking approach, allowing artists to create more. Before and during the filming of actors, studios might collaborate to plan out aesthetic aspects. Actors may even see what the end result would look like. This eliminates some of the uncertainty that previously hampered traditional filming. I found this topic very fascinating and as a result, I ended up having a deep dive down the rabbit hole with Unreal Engine and Meta-Human software. Upon the first time using the software, even though I had my tutorial on the second monitor screen, I often find myself lost in so many different functions and settings. As Unreal engine is also a game creator tool, not just for video production, there are different game and code terminology which makes it difficult to grasp or navigate within the programme. And There I thought After Effects was complicated.

Nonetheless, I was able to attach my phone and, using face cam mapping, successfully make the Meta-Human model that I made imitate my facial expression. which I thought was fantastic, and wow, it opens up new possibilities for creating things. At some point, I believe it will be able to replace all of the expensive equipment, such as motion capture suits, which cost thousands of dollars.

This week we learned about extended reality (XR) and its importance. XR includes Augmented Reality, VR, and any kind of reality that technologies can modify or enhance. I have come to realise that XR industries are becoming more and more widely adopted. Especially in the film industry, studios have been known to use these technologies in the production process. Cat also mentioned there is “The Volume” studio located in Melbourne, which is an extended LED screen that acts as the green-screen substitution used for providing a backdrop and background for the scene. This invention fascinates me since it allows actors/actresses to feel emotions and perform according to the fantasy provided by the writer because they can actually see the setting rather than imagining it like they would in a green screen studio. Additionally, it is also easier for the director or cinematographer to visualise their visions, as a result improving their craft.

We also experimented with the Polycam software, which is a scanner programme that allows you to photograph an object in real life and convert it into a virtual 3D model. This is a really handy programme that I have used many times and has spared me from having to create a 3D model out of thin air for several projects. Instead, I’ll just use my phone to snap pictures. In addition to playing with our phones, we headed to the green screen studio for a brief shot and edit. It was basic work, but it was a bit challenging because we had to come up with concepts, film, and edit in a limited period of time. Luckily, Cat did not ask us to show our video as it looked very unrealistic.