Contable

Front 1

Wide Angle lens

Back 1

A lens of shorter focal length thhat afffects a scene;s perspective by distorting the distance between the foreground and background

Front 2

Normal Lens

Back 2

a lens that shows objects without exaggerating or reducing the depth of the scene's plane

Front 3

Telephoto lens

Back 3

a lens of long focal length that affects a scene's perspective by enlarging distant planes and making them seem close to the foreground planes.

Front 4

Changing Frames per second

Back 4

determines how smoothly an action plays, Conforming can change the synchronization of visual footage that has an audio track, because

Front 5

aspect ratio

Back 5

the relationshop of the frames sidth to its height

Front 6

deep focus

Back 6

a use of the camera lens and lighting that keeps objects in both close and distant planes in sharp focus

Front 7

an iris

Back 7

a round moving maks that can close down to end a scene(iris out), or emphasize a detail, or that can open to beginin a scene(iris in) or to reveal more spacce around detail

Front 8

point of view shot

Back 8

a shot taken with the camera approximately where the characters eyes would be, showing what the character would see, usually cut in before or after a shot of the character looking

Front 9

graphic match

Back 9

two successive shots joined so as to create a strong similarity of compositional element(color, shape)

Front 10

racking focus

Back 10

shifting the area of sharp focus from one plane to another during a shot: the effect on the screen is called rack-focus

Front 11

Rythmic Editing

Back 11

Rhythmic editing manipulates the length of time each shot remains on the screen. When the length of a series of shots (i.e. the pace and rhythm of the editing) is varied, different effects can be achieved or enhanced.

Front 12

Parallel editing

Back 12

the ability to make two separate actions happen at the same
time

Front 13

cross cutting

Back 13

is an editing technique most often used in films to establish action occurring at the same time in two different locations. In a cross-cut, the camera will cut away from one action to another action, which can suggest the simultaneity of these two actions but this is not always the case

Front 14

flashback

Back 14

an alteration of story order in which the plot moves back to show events that have taken placce earlier and than ones already shown

Front 15

flash-forward

Back 15

an alteration of story order in which the plot presentation moves forward to future events and then returns to the present

Front 16

elliptical ediitng

Back 16

shot transitions that omit parts of an event, causing an ellipses in the plot

Front 17

overlapping editing

Back 17

cuts that repeat part or all of an action, thus expaning its viewing time and plot duration

Front 18

180 rule

Back 18

basic guideline in film making that states that two characters (or other elements) in the same scene should always have the same left/right relationship to each other. If the camera passes over the imaginary axis connecting the two subjects, it is called crossing the line. The new shot, from the opposite side, is known as a reverse angle.

Front 19

establishing shot

Back 19

an establishing shot sets up, or "establishes", a scene's setting and/or its participants. Typically it is a shot at the beginning (or, occasionally, end) of a scene indicating where, and sometimes when, the remainder of the scene takes place

Front 20

shot/reverse shot

Back 20

one character is shown looking at another character (often off-screen), and then the other character is shown looking "back" at the first character.

Front 21

eyeline match

Back 21

is a popular editing technique associated with the continuity editing system. It is based on the premise that the audience will want to see what the character on-screen is seeing

Front 22

match on action

Back 22

technique used in film editing, is a cut that connects two different views of the same action at the same moment in the movement. By carefully matching the movement across the two shots, filmmakers make it seem that the motion continues uninterrupted. For a real match on action, the action should begin in the first shot and end in the second shot.

Front 23

montage

Back 23

montage sequences often combined numerous short shots with special optical effects (fades, dissolves, split screens, double and triple exposures) and music.

Front 24

non diegetic inset

Back 24

a scene that is outside the story world which is "inserted" into the story world

Front 25

iconography

Back 25

the traditional or conventional images or symbols associated with a subject and especially a religious or legendary subject