Welcome :)
I’m Lesley GONG.
This site gathers small pieces of my creative journey from arts2065.
Thank you for visiting.
PORTFOLIO
Vol.1
In Week 1, we created a short 30-second scene about two characters passing each other in a hallway and briefly recalling their shared past. We experimented with a quick flashback to show that moment of recognition. I also tried using an over-the-shoulder shot for the first time. While filming, I realised that we hadn’t properly planned every camera position, which made the shots less consistent and slowed us down on set. This exercise helped me understand the importance of detailed pre-visualization and clear blocking, and it showed me how much smoother shooting becomes when the angles are planned in advance.
Vol.2
In Week 2, our task was to create a scene that begins as a still, quiet image but is suddenly disrupted by movement and a shift in lighting. To build a slightly unsettling, almost horror-like atmosphere, I focused on the sound design during editing. Since we did not record audio on set and had no microphone available, I added all the sound effects manually in post-production, choosing textures that matched the visual tension. This exercise made me more aware of how sound can completely change the tone of a scene and how important careful audio selection is when shaping mood.
DON'T
forget
who
you
are
Vol.3
S
T
A
L
K
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In Week 3, our exercise explored the theme of stalking using a first-person handheld perspective. The shaky, close movement of the camera helped create a sense of following someone secretly. However, the twist was that this “stalking” was actually a reverse surveillance—the person being watched had already noticed. The moment he raised his phone to make a call became the turning point that shifted the entire narrative. This exercise taught me how camera perspective can shape audience expectations, and how a small action like lifting a phone can completely reframe the story.
Vol.4
In Week 4, the exercise required us to work with sound, creating contrast between two similar performances—one set in a noisy environment and the other in a quiet one. I was responsible for the recording.
Although the idea was to rely on the difference in background noise to highlight the emotional shift, the contrast ended up weaker than expected. The indoor space, which I assumed would be much quieter, still carried unexpected ambient sounds. This experience made me more aware of how challenging it is to control real-world audio and how important location scouting is when planning sound-focused scenes.