The document provides an overview of Jonathan Mak's research portfolio. It includes sections on codes and conventions, primary research, pre-production documentation, production techniques, and post-production techniques. The codes and conventions section explores inspiration from Wong Fu Productions web series, how to create a pilot episode, and YouTube monetization. The primary research section discusses conducting audience research to better understand the target demographic. The pre-production documentation section examines the format of scripts, line scripting, and creating shot lists and storyboards.

1. RESEARCH PORTFOLIO
By Jonathan Mak

2. 1. Codes And Conventions
a) Inspiration
b) Creating A Pilot Episode
c) The Depth
2. Primary Research
a) Audience Research
3. Pre-Production Documentation
a) Format Of A Script
b) Line Scripting
c) Shot List And Storyboard
4. Production Techniques
5. Post-Production Techniques
6. Bibliography
CONTENTS

3. CODES AND CONVENTIONS
Wong Fu Productions - Inspiration
7 web series have been produced by
WFP:
Away We Happened (May 2012)
When It Counts (November 2012)
Offline (July 2015)
Single By 30 (2016)
Just Another Nice Guy (August 2017)
Yappie (June 2018)
Dating After College (April 2019)
Away We Happened (May 2012)
Description
The story follows two main characters, “Daniel”
and “Jean”. After a brief event at a coffee shop,
they accidentally swapped suitcases and have to
communicate with each other from different
countries in order to face their everyday lives.
Thus forming a relationship.
This unique production is a light hearted romantic-
comedy web series. Totalling to six parts.
The durations of the episodes ranges from five
minutes to fifteen minutes.
For this production, WFP had teamed up with
AT&T, the world’s largest telecommunications
company, to produce this series. Product
placements can be seen throughout the series to
promote AT&T’s services.
Unique Selling Point
In each episode, the viewers are given the
opportunity to choose the outcome of the main
characters decision, by voting on a website.
Creating an interaction between the storytellers
and the audience, as it allows them to take control
of the plot.
When It Counts (November 2012)
Description
The story follows four friends that are
apart of a college dance team. The bonds
between them starts to change when
certain peoples feelings starts to be
revealed.
Duration of each episode ranges from six
to thirteen minutes.
Unique Selling Point
Viewers are given the opportunity to
interact with the main character “Tammy”,
to provide responses and advices to her
dilemmas through a website, given at the
end of the episode. The reaction and
responses from “Tammy” are given in the
form of video type blogs.
Just Another Nice Guy (August 2017)
Description
The story follows “Derek”, who struggles to
understand what being a nice guy means, thinking
that he is entitled to being in a relationship with a
person he was being “nice” to.
This production is supposedly a sequel to a 3 part
series that WFP had made in 2007, titled “Just A Nice
Guy”. That follows a similar plot line.
This meant that viewers who had watched this series
had something to look forward to, in the form of a
sequel.
Unique Selling Point
The series also featured Motoki Maxted, as a cast
member. Who has been famous for his viral lip sync
videos such as “Another Car Ride with Motoki”, that
has over seventeen million views (May 2019), and the
web series “Anime Crimes Division” (November
2017). This acts as “star appeal” (Richard Dyer, 1979),
meaning the use of a “star”, to bring in more
attention and audience towards the web series.
How This Will Help Me
The research helps me identify the different
ways in which I can make my web series more
unique, and attractive to the audience.

4. How This Will Help Me
This helps me understand the purpose of a pilot, why a pilot
for a web series is better compared with a TV show, and to
help me determine what type of pilot I want to produce if
the pilot were to be successful.
CODES AND CONVENTIONS
Creating A Pilot Episode
What Is A Pilot?
Typically, a pilot acts as a “prototype” before the
concept is approved to continue and agreed upon
by investors, whether it is for a TV network; such
as HBO or Fox, or Brands such as Google or
Samsung. Or from audience approval on a
streaming platform; such as YouTube or Netflix.
Types of Pilots
In order to create a pilot, we first need to know
where it will go in the future. Whether it be:
▪ Serial, in where the major plot point is
spanned within the duration of the show.
▪ Episodic, in which previous episode’s events
do not impact new episodes unless it’s a long
term change such as a character leaving the
show.
▪ Anthology, is when each new season or
episode, introduces a new plot or set of
characters, set in the same universe.
▪ Or limited, in which the story is told in one
“season”, without the promise of a
continuation of more episodes. Majority of the
plot lines are closed within the final episode of
the “season”.
Premise Episode Or Episodic Pilot
The choice between a premise or episodic pilot
will change the way the story is told and how
engaging it would be to the audience.
▪ A premise pilot, is similar to how feature films
might start, with the main focus being on the
incident established in the beginning, told in
the first episode.
▪ An episodic pilot tries to emulate a “day in the
life” of the characters that are within the
show. It also tends to jump straight into the
middle of the story, without the requirement
of a beginning.
Outlining Plots
Ensuring that the screenplay isn’t side-tracked,
outlining the main story of the show would be
suitable to keep it on track and not confuse the
audience about the plot. After establishing the
main story, it will open up the option to establish
new side stories and link them together. A good
example that shows this is “Game of Thrones”,
with various amounts of sub plots that
interweave with each other.
Why Produce A Web Series Opposed To TV?
▪ As opposed to a TV series, creators of the
web series can choose when and how to
market their show to how it benefits them.
From below the line, low budget marketing,
such as promotion on social media sites
which can address a more niche audience.
To above the line, high budget marketing
such as billboard, TV or radio ads, which
addresses a wider audience.
▪ Web series are open to being more
culturally rich. Opposed to TV shows, they
need to focus on creating shows that are
able to appeal to a large audience, which
sometimes makes it lose it fresh and
authentic feel, in addition to making it
difficult for networks to broadcast shows.

5. How This Will Help Me
This helps me understand the codes and conventions of the
narrative structure of a pilot, the drama genre and also
helping me understand how YouTube monetisation would
affect the flow of my story
CODES AND CONVENTIONS
The Depth
Monetisation and Ad Breaks
When uploading any content onto YouTube, advertisements are displayed within
the video. There are two types that are most common within videos:
▪ Banner ads that show at the bottom centre of the video
▪ In-video overlay ads that plays in the video
For shorter episodes like “Offline” (2015) that average around 4 minutes in length,
a single in-video overlay ads play near the beginning of the video, or ad banners
pop up once it hits the yellow mark on the timeline.
For longer episodes like “Yappie” (2018) that average around 16 minutes long, one
ad shows near the beginning, and another nearer to the end.
The problem ads is that it interrupts the flow of the story, as viewers have their
attention directed to something else. Fortunately, YouTube allows users who can
monetise their videos to choose what type of in-video ads they can opt out of.
Codes And Conventions Of A Drama
A drama, as the name implies, have serious
representations of real life, showing more of
the thoughts and emotions that a certain
character has.
▪ The protagonist in dramas, are usually the
ones who have an emotional backstory
that impacted the way in which they
portray themselves, making it easier for
the audience to sympathise and relate
with.
▪ The genre also gives the audience
satisfaction and relief by showing the
protagonist overcome their difficulties
later in the show.
Narrative Structure
The 3 act structure consists of:
1. Act 1, which sets up and establishes the “incident” of the pilot
2. Act 2, that shows the complications and obstacles that the
character goes through
3. Act 3, when the overarching “incident” or plot is resolved
Act 1 is the beginning of the pilot, establishing the protagonist and
their background, and setting up what their main need is
throughout the story. This helps provide the audience with enough
information to understand what the story is about and determine
whether it is what they want to invest in. Furthermore, the absence
of act one will negatively impact on the way that the story is told,
as it provides no context to the audience.
Act 2 looks upon the obstacles that occur when the protagonist
find approaches to combat the “incident”. These obstacles could be
anything that is preventing the protagonist from achieving their
goals, nearer the middle of act 2 is the midpoint. This is when the
obstacles start to develop and become more complicated than
what it first appeared to be, adding onto the urgency of solving the
overarching “incident” shown in act 1. Near the end of act 2, when
the story has established more obstacles for the protagonist, the
protagonist is given the ultimatum on whether they should quit, or
proceed onto the resolution, also known as act 3.
Act 3 is when the incident established in act 1 is resolved, and what
the protagonist has learned from it.
Web Series Average Duration
Per Episode
(Minutes)
Away We
Happened (May
2012)
7
When It Counts
(November 2012)
8
Offline (July 2015) 4
Just Another Nice
Guy (August 2017)
14
Yappie (June 2018) 16
Dating After
College (April 2019)
10

6. PRIMARY RESEARCH
Audience Research
How This Will Help Me
Conducting research about my audience will help me
establish the needs and wants that could help make my pilot
become more relatable and appealing to my audience.
Questions And Speculations
From questions 1-3, I have established basic
demographic data about my audience’s age, race and
gender. This enables me to gain a better
understanding of my audience and to help me narrow
down the way in which I can tell my story in my pilot.
Establishing my audience’s demographic opens up
the option for me to include details within the pilot,
that could potentially relate to or appeal to them.
0
2
4
6
Have Siblings No Siblings Watches TV Series Watches Web Series Gamers Non-Gamers
Cross Tabulation (Figure 1)
16 - 17 Male 16-17 Female 18 - 19 Male 18 - 19 Female 20 - 21 Male 20 - 21 Female >22 Male >22 Female
In question 4 (figure 1), I had asked my audience
whether they have siblings or not, the majority of my
audience said that they have siblings, with the most
being 18 – 19 year old females. This was done in
order to influence the characters that would be
featured in the pilot, which is whether the
protagonist should have a sibling that my audience
could relate to.
In question 5 (figure 1), I had asked my audience
whether they preferred watching TV series or
web series. The results show that my audience
prefers watching web series as opposed to TV
series. This influences the way in which I will
choose to distribute my pilot in order to appeal
to my audience. In addition to this, it will result
in me having to research the differences
between TV series and web series in order for it
to fit the codes and conventions.
In question 6 (figure 1), I had asked my audience
whether they play games or not, majority of
which had said that they do. This helps me open
up ways in which I can make the pilot more
engaging and appealing to that audience, by
including things like pop culture references.

7. DOCUMENTATION
Format Of A Script
Action
This shows the description of an event that
takes place within the scene.
Indent: Left: 0.0" Right: 0.0" Width: 6.0"
Transition
Film editing instructions.
Indent: Left: 4.0" Right:
0.0" Width: 2.0"
Other Screenplay Elements:
▪ Parenthetical - This is a direction for the
character in the scene, whether it is their
attitude or their action.
Indent: Left: 1.5" Right: 2.0" Width:
2.5"
▪ Subheader - Used when the location of a
scene is changed, but a new scene is not
needed.
Indent: Left: 0.0" Right: 0.0" Width:
6.0"
▪ Mores and Continueds - Used to indicate
that the same character is speaking
between pages.
▪ Page Number - An indication on the
number of the page of a screenplay.
▪ Intercut - Film editing instructions to
signify a series of quick cuts between
two locations.
Character’s First Appearance
Description of how the character looks.
Character Name
Name of the character.
Indent: Left: 2.0" Right: 0.0" Width: 4.0"
Dialogue
Lines the character say.
Indent: Left: 1.0" Right: 1.5" Width: 3.5"
Extension
A note indicating how the name is pronounced,
or how it should be heard onscreen.
1st page from the
“Whiplash” (2014)
screenplay
Scene Heading
Description of the scenes location, time
whether it’s indoors or outdoors.
Indent: Left: 0.0" Right: 0.0" Width: 6.0"
Additional information
▪ Screenplays are written in the Courier font, sized 12pt on a white piece of paper. This is
due to the fact that a full script page roughly equates to one minute of screen time. For
example 60 script pages would roughly equate to an hour.
▪ The Action element to a screenplay should only be used to indicate anything that can
either be seen or heard by the viewer.
▪ The Character’s Name should always be capatilised and listed above their dialogue to
clearly indicate what they either saying or doing.
How This Will Help Me
This research will help me identify various elements that
goes into a screenplay document and how it should be laid
out. In addition to this, this gets me prepared in making a
line script, and having the script ready for cast and crew
members.

8. DOCUMENTATION
Line Scripting
How This Will Help Me
This research helps me understand what a line script is for and
the types of information it should include. This helps me
identify what shots to use and put on my shot list, and also
help the editor as to what shots could be used in the scene.
Shot type
Shot Angle
How the scene will be
framed, typically using the
abbreviated shot name.
Shot Number
A number used to
identify the shot.
Shot Duration
The duration of the
shot, with a horizontal
line to signify the end
of a shot.
Character Name
The name of the
character. To allow us
to know who the shot
should be focusing on.
What Is A Line Script?
Line scripts act as a visual representation of what type of shots
could be used for the scene. In addition to this, it also acts as a
form of a checklist for the Director to know what shots they
have done or not. In addition to this, it gives the Editors a
visual representation of what shots they could possibly use for
the scene.
The length of the line determines the duration of the shot,
using the specified shot type and subject.
Typically, the lines go from left to right in shooting order, with
the shot number labelled.
Hashmark
The hashmark is used to signify that there are off-screen dialogue, or non-
diegetic sound in the scene, such as voice overs.
This also shows what the camera is not required to capture for the scene

9. DOCUMENTATION
Shot List And Storyboard
How This Will Help Me
This research helps me understand the importance of shot
lists and storyboards, and how much it benefits cast and
crew in preparation for the production and post-production.
Scene Number
A number used to
identify the shot.
Shot Angle
How the scene will be
framed, typically using the
abbreviated shot name.
What Is A Shot List?
Shot lists are a document that details the
shots of a scene of a film.
It also serves as the order of the shots
that should take place to form the story
of the scene.
Creating a shot list is easier when using a
Line Script, as it creates a visual
representation for people to easily
identify what shots are needed in what
scene.
The shot list comprises of:
▪ Scene Number
▪ Shot Number
▪ Interior/Exterior – Whether it should
be filmed inside or outside
respectively.
▪ Camera Angle – The type of framing
that’s needed
▪ Camera Movement – The type of
movement that’s required from the
camera, whether static, or tracking.
▪ Audio – What type of audio would be
playing, whether diegetic or non-
diegetic sound.
▪ Subject – What is focused in the frame,
whether it’s an actor, or object.
▪ Description of the shot – Detail what is
happening in the frame.
Scene Number
Background
The mise-en-
scene of the shot.
Drawings
The way the shot
should look like in
the form of a sketch.
Description
Details of the
scene.
What Is A Storyboard?
A plan of drawings of how each scene should look like for: TV,
movie production, or animation.
This is usually used to help envision what the story of the piece is
like through the drawings, before investing huge amounts of work
into the production and post-production.
It also allows Editors to know what the final piece should look like
and replicate it into post-production.

10. PRODUCTION TECHNIQUES
The Use Of Pull Focus
Pull focus is a camera technique in which
the camera operator or assistant changes
the focus from one subject to another,
when filming a shot.
This method is used to direct the
audience’s attention from one area of the
scene to another, creating context for the
scene and making it more appealing to the
audience watching.
Mise-En-Scene
▪ The location and the appearance of the shot helps add and give context
to the scene and character. For example, a messy bedroom could
represent a stressed out individual.
▪ Props and decoration within a shot can provide the audience with more
context within a shot. For example, a colour of an object could give off
deeper connotations.
▪ Lighting impacts the audience’s thoughts and feelings, helping
compliment the scene to emphasise the mood that the scene is meant to
portray. With poor lighting, it could ruin the entire mood that the scene
is meant to portray and even stop the audience from watching.
▪ Depth of space is determined by the distance between the subjects on
screen to the background, whether it is scenery, people or objects. This
adds more detail into the scene, making it more appealing for the
audience to watch. Furthermore, cinematographers allow for “deep
focus” (Kane) by keeping the subject in focus and the surroundings not.
▪ Costumes and makeup helps provide the audience with context about
the subject and the overall theme of the video, whether it’s the time that
the scene is meant to represent or the thoughts and feelings a character
is meant to show.
Pull focus (Figure 1)
The Use Of B-Roll
The use of b-roll is to add additional video
content to the video storyline. This addition
adds more detail and information for the
viewer, sometimes showing crucial
information that could impact the storyline,
or just to add some context to the scene.
Furthermore, b-roll makes the story or
scenes more engaging, allowing the
audience to connect subjects or stories
together.
How This Will Help Me
This research helps me gain a better understanding into the
use of different camera techniques, in order to make my
shots more appealing and help put emphasis on the
thoughts and feelings I want to portray through my shots.
B-Roll (Figure 1)
The Use Of Pan
The use of a pan adds more appeal to the
scene through the camera movement. This
is because it helps establish the mise-en-
scene, providing detail and context for the
audience.
Panning (Figure 1)

11. POST-PRODUCTIONTECHNIQUES
Muffled Audio (Lowpass Effect)
Written in one of my scenes, it mentions how there is an
ongoing argument between the “Mum” and the “Dad”,
away from the protagonist’s room.
How To Do It
In order to show that, I used the audio effect named
“Lowpass” in Adobe Premiere Pro, to muffle any audio
track. In order to do that, I needed to drag the effect from
the dropdown menu and onto the audio track that has the
dialogue, from there, I needed to adjust the level that the
effect gives. The higher the level, the more the track sounds
muffled, and vice versa.
Lowpass (Figure 1) Lowpass (Figure 2)
Colour Grading (Figure 1)
Scene Temperature (Colour Grading)
To keep a consistency of colour in a
combination of scenes, I needed to change the
temperature in order to match the time of day
it is meant to represent in the pilot. For
example, in colour grading (figure 1), in order
to give a warmer tone to the scene to replicate
the evening, I had moved the temperature
slider to the right, which resulted in making it
more orange. Furthermore, the change in
colour helps provide the audience about the
time that the scene takes place and since the
temperature is consistent throughout the
scene, so does the passage of time.
Colour grading also helps accentuate the mood
that the scene is meant to give off to the
audience, whilst also adding more depth to a
shot through the appearances things like darker
shadows.
Transitions (Masking)
To make transitions more appealing and exciting
for my audience, I’ve utilised the masking tool in
order to track the characters position in the
scene and replace the selected the area with a
different shot, yet still in the same location to
show a passage of time.
How To Do It
In order to mask, first select the preferred video
track, then using the pen tool, select the area
within the video to mask it out, this will make the
area around it turn black, to change this, select
the invert button. Then continue masking new
areas in the next few frames. Once that is done,
place a clip below, in order for it to be shown in
the masked area.
Masking (Figure 1)
How This Will Help Me
This research helps me learn about new ways to approach
my post production in order to make it more appealing and
exciting for my audience.

12. Codes And Conventions | Inspiration
▪ IMDb. (2019). Away We Happened (TV Mini-Series 2012– ) - IMDb. [online] Available at: https://www.imdb.com/title/tt2314962/ [Accessed 11 Jun. 2019].
▪ IMDb. (2019). Dating After College (TV Mini-Series 2019– ) - IMDb. [online] Available at: https://www.imdb.com/title/tt10121288/ [Accessed 11 Jun. 2019].
▪ Dyer, R. and McDonald, P. (1998). Stars. BFI Publishing, p.38.
▪ Scribd. (2019). Richard Dyer Star Theory | Target Audience (2.2K views). [online] Available at: https://www.scribd.com/presentation/316231128/Richard-Dyer-Star-Theory [Accessed 11
Jun. 2019].
▪ IMDb. (2019). Single by 30 (TV Mini-Series 2016– ) - IMDb. [online] Available at: https://www.imdb.com/title/tt5699822/ [Accessed 11 Jun. 2019].
▪ IMDb. (2019). When It Counts (TV Mini-Series 2012– ) - IMDb. [online] Available at: https://www.imdb.com/title/tt3731556/ [Accessed 11 Jun. 2019].
▪ IMDb. (2019). Yappie (TV Mini-Series 2018) - IMDb. [online] Available at: https://www.imdb.com/title/tt8614270/ [Accessed 11 Jun. 2019].
Codes And Conventions | Creating A Pilot Episode
▪ Script Magazine. (2019). How to Make a Web Series and Why It's Important. [online] Available at: https://www.scriptmag.com/create-a-web-series [Accessed 11 Jun. 2019].
▪ E.M. Welsh. (2019). How to Write a TV Pilot. [online] Available at: https://www.emwelsh.com/blog/tv-pilot-writing [Accessed 11 Jun. 2019].
▪ Rodda, B. (2014). 7 Things to Consider Before Launching Your Web Series. [online] IndieWire. Available at: https://www.indiewire.com/2014/11/7-things-to-consider-before-launching-
your-web-series-68244/ [Accessed 11 Jun. 2019].
▪ The Verge. (2017). Web series becoming TV pilots is the new normal. [online] Available at: https://www.theverge.com/2017/10/27/16145498/insecure-broad-city-high-maintenance-
web-series-hbo-comedy-central [Accessed 11 Jun. 2019].
▪ Movies & TV Stack Exchange. (2016). Why is the first episode of a TV show called 'Pilot'?. [online] Available at: https://movies.stackexchange.com/questions/46181/why-is-the-first-
episode-of-a-tv-show-called-pilot [Accessed 11 Jun. 2019].
Codes And Conventions | The Depth
▪ Giordano, L. (2016). How to Write a TV Pilot, pt. 3: Structure. [online] Medium. Available at: https://medium.com/sitcom-world/how-to-write-a-tv-pilot-pt-3-structure-314253c72b82
[Accessed 11 Jun. 2019].
▪ Kim, L. (2018). YouTube Advertising Guide: How to Advertise in YouTube Videos. [Blog] Available at: https://www.wordstream.com/blog/ws/2012/11/27/youtube-advertising [Accessed
11 Jun. 2019].
▪ Upton-Dance, H. (2012). Drama as a Genre : Codes and Conventions. [online] prezi. Available at: https://prezi.com/rb5k_semwcvg/drama-as-a-genre-codes-and-conventions/ [Accessed
11 Jun. 2019].
Pre-Production Documentation | Format Of A Script
▪ Whiplash. (2014). [Scrreenplay] Written by D. Chazelle. United States: Sony Pictures Classics.
▪ O.Moreno, M. and Tuxford, K. (2019). 50 Of The Best Screenplays To Read And Download In Every Genre. [online] Script Reader Pro. Available at: https://www.scriptreaderpro.com/best-
screenplays-to-read/ [Accessed 11 Jun. 2019].
BIBLIOGRPAHY

13. Pre-Production Documentation | Line Scripting
▪ Clarke, A. (2016). How to Line a Film Script. [online] Amy Clarke Films. Available at: https://www.amyclarkefilms.com/blog/how-to-line-a-film-script [Accessed 11 Jun. 2019].
▪ Dellario, F. (2017). How to Make a Lined Script and Save Your Shot List. [online] StudioBinder. Available at: https://www.studiobinder.com/blog/lined-script-shot-list/ [Accessed 11 Jun.
2019].
Pre-Production Documentation | Shot List And Storyboard
▪ Beck, D. (2011). Pre-Production. [Blog] Making a shot list. Available at: https://vimeo.com/blog/post/making-a-shot-list/ [Accessed 11 Jun. 2019].
▪ Canfi, N. (2019). What is a Storyboard?. [online] The Flying Animator. Available at: https://www.the-flying-animator.com/what-is-a-storyboard.html [Accessed 11 Jun. 2019].
▪ McGregor, L. (2016). How to Break a Script Down Into a Shot List. [online] The Beat: A Blog by PremiumBeat. Available at: https://www.premiumbeat.com/blog/break-a-script-down-
into-a-shot-list/ [Accessed 11 Jun. 2019].
▪ Simon, J. (2019). How to Write A Shot List That Will Transform Your Video | Blog | TechSmith. [online] Welcome to the TechSmith Blog. Available at:
https://www.techsmith.com/blog/shot-list/ [Accessed 11 Jun. 2019].
▪ En.wikipedia.org. (2019). Storyboard. [online] Available at: https://en.wikipedia.org/wiki/Storyboard [Accessed 11 Jun. 2019].
▪ Vyond.com. (2018). What Is A Storyboard And Why Do You Need One? | Vyond. [online] Available at: https://www.vyond.com/resources/what-is-a-storyboard-and-why-do-you-need-
one/ [Accessed 11 Jun. 2019].
Production Techniques
▪ ALTER (2019). Horror Short Film "The Blue Door" | ALTER Exclusive | BAFTA nominee. [video] Available at: https://www.youtube.com/watch?v=vVvoJfuDuSg [Accessed 11 Jun. 2019].
▪ Ebert, R. (2004). A Viewer's Companion to 'Citizen Kane' | Roger Ebert's Journal | Roger Ebert. [online] Rogerebert.com. Available at: https://www.rogerebert.com/rogers-journal/a-
viewers-companion-to-citizen-kane [Accessed 11 Jun. 2019].
▪ Lazarov, T. (2017). The Importance of B-Roll Footage for Creating Engaging Videos. [online] Fstoppers. Available at: https://fstoppers.com/education/importance-b-roll-footage-creating-
engaging-videos-164477 [Accessed 11 Jun. 2019].
▪ McGrail, L. (2019). 5 Essential Elements of Successful Mise en Scène in Film. [Blog] Light Film School. Available at: https://www.lightsfilmschool.com/blog/mise-en-scene-in-film-afk
[Accessed 11 Jun. 2019].
▪ McKinnon, P. (2017). 5 ways to INSTANTLY make BETTER VIDEOS!. [video] Available at: https://www.youtube.com/watch?v=vjtt-bMonpc [Accessed 11 Jun. 2019].
▪ McKinnon, P. (2017). Step up your Filmmaking : The Importance Of B-Roll. [online] YouTube. Available at: https://www.youtube.com/watch?v=TXzLvYN-HSc [Accessed 11 Jun. 2019].
▪ Pull Focus. (2016). [Blog] Blogger. Available at: http://joeblogs100.blogspot.com/2016/10/pull-focus.html [Accessed 11 Jun. 2019].
▪ Mediacollege.com. (2019). The Focus Pull. [online] Available at: https://www.mediacollege.com/video/camera/focus/pull.html [Accessed 11 Jun. 2019].
Post-Production Techniques
▪ Geffin, D. (2015). The Power Of Color Grading And The Benefit It Can Have On Your Work Summarized In Two Minutes. [online] Fstoppers. Available at:
https://fstoppers.com/originals/power-color-grading-and-benefit-it-can-have-your-work-summarized-two-minutes-54438 [Accessed 11 Jun. 2019].
▪ McKinnon, P. (2017). Make your footage look Cinematic FAST! Premiere Pro Tutorial. [video] Available at: https://www.youtube.com/watch?v=GYud_W7Ou9E [Accessed 11 Jun. 2019].
▪ McKinnon, P. (2017). Awesome TRANSITIONS to make your videos BETTER!! Premiere Pro Tutorial. [video] Available at: https://www.youtube.com/watch?v=oF0tfqIx4cc [Accessed 11
Jun. 2019].
BIBLIOGRPAHY