Investigate movies visually

Missions

• CameraFind four frames and name the position, distance, height and likely duration of each.0/4 collected
• EditingFind four cuts where the second shot changes the meaning of the first.0/4 collected
• DirectingFind four frames and name whose film each one belongs to, and how you know.0/4 collected
• CompositionFind four frames where something important is deliberately kept out of shot.0/4 collected
• CinematographyFind four frames from four genres and list the visual cues that make the promise.0/4 collected
• CompositionFind five frames where negative space communicates loneliness.0/5 collected
• CompositionFind five frames where the foreground changes who the viewer is.0/5 collected
• BlockingFind five frames where you know the relationship before anyone speaks.0/5 collected
• CinematographyFind three close-ups that make you uncomfortable.0/3 collected
• LightingFind five night scenes using different approaches to motivated lighting.0/5 collected
• CompositionFind compositions where the main character occupies less than 20% of the frame.0/4 collected
• BlockingFind three frames that communicate power without dialogue.0/3 collected
• DirectingFind three to five moments where a scene changes direction.0/4 collected
• DirectingFind a frame you love and recreate its composition using completely different subject matter.0/1 collected
• CameraMake an observation board with exactly three original stills: before the action, the action, after it. Label them as moments from one planned shot, not three cuts. Beneath each, write what the viewer knows at that moment. This board helps you plan duration but cannot demonstrate it.0/3 collected
• EditingPhotograph a hand, a closed box and an empty tabletop. Arrange thumbnails in different orders. Before writing a story, list what each image actually shows. Keep that list separate from possible connections.0/3 collected
• DirectingCreate a three-column knowledge map: viewer knows, character knows, still unknown. Fill it for the box example. Move a single reveal earlier and update the map; the object itself has not changed, but access has.0/3 collected
• CompositionDraw three rectangles around a rough sketch of that desk. Label what each crop gains and loses. Use original diagrams or your own photo; do not copy a film frame into the product as an unlicensed asset.0/3 collected
• StorytellingMake two reference boards labeled “expectation” and “evidence.” Under every mood word, list a visible choice you could actually make. Replace “creepy” with a testable proposal such as “withhold the source until frame 3.”0/3 collected
• ScreenwritingMake a three-beat plan: attempt, obstruction, changed action. For each beat, name one object or movement that carries information. No reference image is required.0/3 collected
• ScreenwritingWrite a tactic beside each line: test, evade, press, offer. Then remove the labels from the dialogue. Can the words and action still support those possibilities?0/3 collected
• DirectingCreate an action bank of six verbs: persuade, distract, reassure, challenge, delay, invite. Pair each with a specific recipient and goal. “Invite Sol to sit” is more testable than “be inviting.”0/3 collected
• DirectingWrite three columns: beat, information needed, proposed view. Delete any view whose only purpose is “coverage.” Replace that label with the particular editorial option it provides.0/3 collected
• CameraDraw a top-down diagram with camera A, camera B, mug and chair. Record approximate distances using floor tiles or paces; precision is less important than documenting which variable changed.0/3 collected
• LightingMake a top-down source/subject/camera sketch for two setups. Label the intended bright area and visible shadow. Use a cool lamp or daylight; never cover a hot bulb or improvise electrical equipment.0/3 collected
• SoundDraw a room map marking speaker, recorder and two noise sources. Plan a short route for moving the recorder without changing the performance position. The map is planning evidence, not an acoustic measurement.0/3 collected
• Production designMake a before/after plan with three purposeful changes. Label each “action,” “information” or “texture.” An item may serve more than one role, but every addition must earn its place.0/3 collected
• EditingCreate a paper edit with one card per recorded action. Mark “essential,” “optional” or “uncertain,” and write a reason beside every essential card. This is an editable hypothesis.0/3 collected
• EditingDraw a duration strip with one block per shot and annotate the information available at its start and end. The strip helps plan timing; it does not substitute for watching.0/3 collected
• Sound designDraw a sound map: visible room, adjacent area and distant exterior. Place three proposed sounds and mark which source, if any, the viewer will see. Use a diagram, not a generated acoustic simulation.0/3 collected
• Sound designMake a three-row priority chart: foreground, support, occasional accent. Place each sound in a row at a specific moment; priorities may change over the scene.0/3 collected
• ColourCreate labeled versions: original, baseline, look. Write the purpose beneath each. Never allow an unlabeled adjustment to overwrite the source image.0/3 collected
• FinishingMake an original title card with title, creator and generous spacing. Preview small. Ask which information is essential now and which belongs in the end credits.0/3 collected
• VoiceSelect five observations from your own notebook or work. For each write: what is present, what repeats, what remains a question. Do not build a board of other filmmakers' images and call it evidence of your own practice.0/3 collected
• PracticeCreate an experiment card: question, main variable, held conditions, predicted effect, evidence, confounds, next test. Fill it before making the alternate version.0/3 collected
• AuthorshipBuild a five-column ledger: asset, creator/source, role in project, permission/license status, required credit/disclosure. “Unknown” is an honest temporary status, not approval to publish.0/3 collected
• AuthorshipMake a workflow card: input, task, constraints, expected output, verification method, disclosure. Use a short fictional scene so the comparison is reproducible.0/3 collected
• ProducingCreate a resource map with “confirmed,” “uncertain” and “replaceable.” Put every location, performer, prop and special process in a category. A hope is not a confirmed resource.0/3 collected
• ProducingMake a release decision card: intended audience, desired outcome, destination, current requirements, cost cap, unresolved question, next action. Keep “submit” separate from “research.”0/3 collected

Nothing collected yet. Start with the active mission — five frames is a good evening.