Emb210 Intro To Video: Single Camera Production -- Midterm Flashcards

Front 1

left to right movement (like a pivot); the camera remains stationary on a support system like a tripod and the tripod moves left or right

Back 1

pan

Front 2

up to down movement; the camera remains stationary on a support system like a tripod and the tripod moves (or “_____”) up or down

Back 2

tilt

Front 3

the camera is on a device that is actually mobile, and that support system like a tripod is on wheels and moves along this track.

Back 3

dolly/truck/track

Front 4

a flatboard with wheels

Back 4

dolly

Front 5

when the dolly is in the back of a vehicle

Back 5

truck

Front 6

looks like a railroad and laid where the camera needs to go, allowing for a smoother movement; usually reserved for high-end films

Back 6

track

Front 7

the camera physically moves forward or physically moves backward; to a beginner, watching this move on television looks like a zoom

Back 7

dolly/truck forward, dolly/truck backward

Front 8

a magnification of the lens in which the camera does not physically move; using this tends to make the image look flat, meaning getting physically close (instead of magnifying) provides better images

Back 8

zoom

Front 9

generally speaking, is it better to use the zoom feature or to get closer to your subject?

Back 9

get closer because it prevents the flat images that often occur when zooming

Front 10

something moves the camera physically up or down, but the camera itself remains in place

Back 10

pedestal up/pedestal down

Front 11

What are the four main pieces of a good tripod?

Back 11

(1) legs, (2.) spreader, (3.) panhead, and (4.) plate (PLSS tripod/tripod HEALZ PLSS!)

Front 12

allow you to lift or lower the camera to a desired height

Back 12

legs

Front 13

connects to the bottom of the legs or the middle of the tripod; holds the legs together so they do not fall apart; allows you to spread the legs out even further so you can lower the camera further down

Back 13

spreader

Front 14

the piece of a tripod that is connected to the legs and the plate

Back 14

spreader

Front 15

the part of the tripod that is connected to the bottom of the camera on one side and the panhead on the other side

Back 15

plate

Front 16

What are the four steps for using a professional tripod?

Back 16

(1.) LEVEL the tripod; (2.) BALANCE the tripod by adjusting the plate; (3.) FIND the pan and tilt locks; (4.) ADJUST the pan and tilt drags

Front 17

What are the four steps for using a professional tripod?

Back 17

(1.) LEVEL the tripod; (2.) BALANCE the tripod by adjusting the plate; (3.) FIND the pan and tilt locks; (4.) ADJUST the pan and tilt drags

Front 18

What are the seven steps for using a camera?

Back 18

(1.) set GAIN at zero, (2.) select correct COLOR FILTER in relation to color temperature present, (3.) set the WHITE BALANCE, (4.) adjust the brightness/IRIS and do not over-expose the shot, (5.) set anything you don't understand to ZERO/off, including shutter speeds, (6.) zoom in as tight as possible on subject/objects and set FOCUS, (7.) adjust FRAMING and hit record

Front 19

plays an electronical trick on the camera and opens the iris fully, allowing you to see more of the image in the dark at the expense of a reduction in video quality

Back 19

gain

Front 20

because light is the end product of something burning, the color put off by lights is different; this difference is known as

Back 20

color temperature (measured in Kelvin, or K)

Front 21

indoor/manmade lighting has a color temperature of

Back 21

3200 degrees Kelvin (K)

Front 22

outdoor/natural lighting has a color temperature of

Back 22

5600 degrees Kelvin (K)

Front 23

allows the camera to adjust every color as a result of knowing just one color

Back 23

setting the white balance

Front 24

adjusts the brightness of the image

Back 24

iris

Front 25

setting the _____ correctly ensures the image is not too bright or too dark

Back 25

iris

Front 26

when looking at something very dark, the iris gets _____, and when looking at something very bright, it gets _____

Back 26

smaller; bigger

Front 27

the one time you should use the automatic settings on a professional camera is the

Back 27

auto-iris

Front 28

acts as a type of sunglasses to the camera

Back 28

ND (neutral density) filter

Front 29

the ND in ND filter stands for

Back 29

neutral density

Front 30

helps you to know if your shot is too overexposed

Back 30

the zebra function

Front 31

when filming, shutter speed should be set to

Back 31

zero/off

Front 32

acts as a type of sunglasses to the camera

Back 32

ND (neutral density) filter

Front 33

the ND in ND filter stands for

Back 33

neutral density

Front 34

helps you to know if your shot is too overexposed

Back 34

the zebra function

Front 35

when filming, shutter speed should be set to

Back 35

zero/off

Front 36

What are the seven steps for using a camera?

Back 36

(1.) set GAIN at zero, (2.) select correct COLOR FILTER in relation to color temperature present, (3.) set the WHITE BALANCE, (4.) adjust the brightness/IRIS and do not over-expose the shot, (5.) set anything you don't understand to ZERO/off, including shutter speeds, (6.) zoom in as tight as possible on subject/objects and set FOCUS, (7.) adjust FRAMING and hit record

Front 37

plays an electronical trick on the camera and opens the iris fully, allowing you to see more of the image in the dark at the expense of a reduction in video quality

Back 37

gain

Front 38

because light is the end product of something burning, the color put off by lights is different; this difference is known as

Back 38

color temperature (measured in Kelvin, or K)

Front 39

indoor/manmade lighting has a color temperature of

Back 39

3200 degrees Kelvin (K)

Front 40

outdoor/natural lighting has a color temperature of

Back 40

5600 degrees Kelvin (K)

Front 41

allows the camera to adjust every color as a result of knowing just one color

Back 41

setting the white balance

Front 42

adjusts the brightness of the image

Back 42

iris

Front 43

setting the _____ correctly ensures the image is not too bright or too dark

Back 43

iris

Front 44

when looking at something very dark, the iris gets _____, and when looking at something very bright, it gets _____

Back 44

smaller; bigger

Front 45

the one time you should use the automatic settings on a professional camera is the

Back 45

auto-iris

Front 46

you should (always/never) set the auto-focus

Back 46

never

Front 47

you should (always/never) set the auto-focus

Back 47

never

Front 48

generally you want to make sure that you get at least _____ seconds of footage for each shot

Back 48

10

Front 49

true or false? video is the same thing as film.

Back 49

false

Front 50

What is the difference between film and video?

Back 50

film is a physical medium that has photochemicals on it that record light images of a moment in time as they hit that film and cause a photochemical reaction that allow images to be burned onto that film at 24fps, which are later played back to re-create the illusion of motion; video is catching up to where it almost looks like 35mm film, but is is an ELECTRONIC PROCESS that involves lightwaves coming into the camera and then scanning the image from top to bottom, left to right

Front 51

What are three types of formatting to set when shooting?

Back 51

(1.) set ASPECT RATIO to either 16x9 or 4x3; (2.) set FRAMERATE, usually to either 24, 30, or 60fps; (3.) set SCANNING RATE to 1080i/p, 720p, or 480i/p

Front 52

refers to how many images the camera scans per second (how many frames of video are going to be recorded and eventually displayed within a second of time)

Back 52

framerate

Front 53

the original analog standard framerate was _____ fps, but currently the most popular are

Back 53

10 fps; 24, 30, and 60fps

Front 54

lines are skipped; the first line is burned, then the third line, then the fifth; the idea is that as the first pixels are beginning to lose their glow, the pixels below will come on and bleed into the other lines so that you do not notice lines have been skipped

Back 54

interlaced scanning

Front 55

prevalent in old television because pixels would go darker much quicker

Back 55

interlaced scanning

Front 56

literally every line of pixels from the first line to the second to the third is scanned before going to the top and starting again; each time all of the lines have been scanned equals 1 frame of video, and this can happen 24, 30, or 60 times per second

Back 56

progressive scanning

Front 57

high definition video uses which aspect ratio and scanning rate?

Back 57

16x9; 1080i/p or 720p

Front 58

standard definition video uses which aspect ratio and scanning rate?

Back 58

4x3 or 16x9; 480i

Front 59

the microphone on top of the lens of the camera, meaning that wherever the lens points is where audio will be picked up; generally audio picked up from this mic is not good quality and is used only to pick up “nat sound”; on a good camera, this kind of mic can be taken off

Back 59

shotgun mic

Front 60

a small, clip-on black microphone that is extremely sensitive to interference; the key when using one of these is to hide the black chord that goes with it

Back 60

lavalier mic ("lav")

Front 61

should be used to pick up audio in bad conditions such as wind or rain or when asking random people questions on the street (due to time constraints)

Back 61

handheld mic ("stick mic")

Front 62

a mic attached to a pole held by a person; generally used for scripted narrative and controlled productions; hangs above the heads of people talking and is supposedly more realistic in terms of conversation and eliminates wind and rain interference; oftentimes the preferred choice of microphone but introduces another crewmember and therefore cost

Back 62

boom mic

Front 63

the professional cable that all of these microphones use is called _____; make sure to unlock and disconnect (not twist or yank) the latch on this cable

Back 63

an XLR cable

Front 64

when you plug an external microphone into the camera, these are the two types of power levels of audio that can be occurring

Back 64

(1.) mic level audio; (2.) line level audio

Front 65

what most external microphones use, a weaker power of signal/electricity going into your device

Back 65

mic level audio

Front 66

when the audio signal has been amplified, as in an audio board at a press conference through an XLR cable attached to a molt box that provides audio from their speakers; you have to tell the camera you are getting audio from this level

Back 66

line level audio

Front 67

A microphone is designed to only pick up audio in specific directions. There are two poles in terms of micing, which are

Back 67

(1.) unidirectional microphone, (2.) omnidirectional microphone

Front 68

audio picked up in only one direction; almost all microphones we use will be this; because audio is this, when micing someone you have to ensure their microphone (whether it is a stick, lav, etc.) is pointed in the correct direction

Back 68

unidirectional microphone

Front 69

audio picked up from all directions

Back 69

omnidirectional microphone

Front 70

the idea that microphones are set for recording really good audio for frequencies that represent the human voice; if you try to record something very high or low pitched (bands, etc.), the audio will likely sound bad because microphones are not built for that

Back 70

frequency response

Front 71

the volume that the microphone can pick up (it can pick up the human voice well, but not sounds of a really loud or soft volume)

Back 71

dynamic range

Front 72

the VU in v/u meters stands for

Back 72

volume unit

Front 73

measures the unit of volume known as DECIBELS (db)

Back 73

V/U (volume unit) meters

Front 74

What are the two types of volume unit (V/U) meters?

Back 74

analog and digital

Front 75

When using an analog volume unit (V/U) meter, where do you want the needle to peak?

Back 75

You do not want to peak or be past the furthest point of 0 db. It can occasionally touch 0 db but generally you want the needle to be over a quarter but nowhere past 3/4ths.

Front 76

When using a digital volume unit (V/U) meter, where do you want the audio to peak?

Back 76

When using a digital V/U meter, you want to peak between -12db and -20db.

Front 77

As a general rule, interviews, standups, and soundbites should be placed on which audio channel?

Back 77

channel 1

Front 78

As a general rule, "nat sound" picked up from the shotgun mic should be placed on which audio channel?

Back 78

channel 2

Front 79

this audio channel involves the left speaker

Back 79

channel 1

Front 80

this audio channel involves the right speaker

Back 80

channel 2

Front 81

channel _____ involves the left speaker, whereas channel _____ involves the right speaker

Back 81

1; 2

Front 82

What are three types of sound?

Back 82

(1.) natural sound ("nat sound"), (2.) voice-over narration ("V/O"), (3.) soundbites

Front 83

in post-production, the process of manipulating, adding, adjusting, and cleaning up audio effects

Back 83

audio sweetening

Front 84

Why should you avoid using music or special effects when doing audio post-production?

Back 84

doing so would take away from being objective since music is about conveying emotions and therefore possibly persuading people to feel a certain emotion when viewing

Front 85

when can special sound effects be used?

Back 85

when recording things in the field that do not sound at all like what they should sound like in the real world

Front 86

specialize in creating these made-up noises/sound effects

Back 86

foley artists

Front 87

helps to move the camera up or down but is complicated to operate and put together

Back 87

jib

Front 88

when a camera is on a brace connected to the cameraman, ensuring that the shot is more stable; a shot taken with this looks like a dolly or truck

Back 88

steadycam

Front 89

involves shooting in a way so that things have more depth

Back 89

three-point lighting

Front 90

placed in front of the subject or object, the primary lights for illuminating the subject and as a secondary function help to pull the subject away from the background

Back 90

key light

Front 91

placed behind the subject or object; help to separate the object from the background so that the person does not look two-dimensional

Back 91

back light

Front 92

kills any unwanted shadows and controls falloff

Back 92

fill light

Front 93

What are the three lights involved in three-point lighting?

Back 93

(1.) key light, (2.) back light, (3.) fill light

Front 94

what are the two major lighting styles?

Back 94

(1.) flat lighting and (2.) stylized lighting

Front 95

also known as "high key lighting"

Back 95

flat lighting

Front 96

utilizes all three functions of three-point lighting and attempts to achieve even illumination across the shot and avoid shadows as much as possible

Back 96

flat lighting

Front 97

the type of lighting used primarily for news coverage and documentaries

Back 97

flat lighting

Front 98

involves manipulating one of the three point lights for some sort of dramatic effect

Back 98

stylized lighting

Front 99

a knob on the back of good lights; when turned in one direction the beam of the light gets more narrow and brighter while turning it in the other direction causes light to become more diffused

Back 99

beam controller

Front 100

the best way to protect against overexposure is by using the

Back 100

beam controller

Front 101

refers to placing a diffusion controller on the front of the light to lessen the light’s effect/diffuse the light; looks like fabric softener

Back 101

tough spun

Front 102

small metal doors around the light that allow the user to adjust the direction of the lighting beam

Back 102

barn doors

Front 103

professionally, clothespins are known as

Back 103

C47s because that is place where you can write them off on your taxes

Front 104

a plastic material of different colors that manipulate the color of light for a dramatic effect or to create a certain mood

Back 104

gels

Front 105

a type of lighting equipment that can even out color temperatures when you have competing light sources

Back 105

gels

Front 106

a big white disk (or posterboard) that catches light from the sun and bounces that light back underneath the subject's face and illuminates it

Back 106

reflectors

Front 107

shaped like a posterboard but made of cloth, these can be used as a reflector and do two things: reflect and filter light; can be placed on c-stands so that as sun comes in it hits this and is diffused and becomes a softer kind of light

Back 107

mic flags

Front 108

Why should you never touch lights?

Back 108

because they are hot and because they are very sensitive and the oils on your fingers may cause the bulb to pop when turned on as a result of a photochemical reaction

Front 109

involves the edges of the screen and how you have your shot placed within the edges of the screen

Back 109

"framing"

Front 110

a continuous recording of a take from the camera; when you hit the record button, everything that you have recorded until you hit stop is considered a single one of these

Back 110

shot

Front 111

a big wide shot that sets the time, place, and location for the viewer

Back 111

establishing shot

Front 112

gives the viewer information and tells them where the story begins

Back 112

establishing shot

Front 113

puts all other shots in context and gives the meaning

Back 113

establishing shot

Front 114

should be followed with close-ups that tell the specifics of the story

Back 114

establishing shot

Front 115

television is a medium of _____

Back 115

close-ups

Front 116

because television is a medium of close-ups, when doing something professionally it is important to

Back 116

shoot close-ups that specifically tell the story along with the wide shots that give the context for that story

Front 117

relates to framing in terms of what you see and the different types of shots in relation to one another

Back 117

fields of view

Front 118

the three major poles of fields of view are

Back 118

wide shot/long shot (WS/LS), medium shot (MS), and close-up

Front 119

means that when you shoot something, you think in terms of how you will edit that footage

Back 119

editing in the viewfinder

Front 120

when shoot your wide shot first, then your medium shots, your close-ups, and a final wide shot so that when you import your footage it will roughly be in the order you want it to be thereby saving time

Back 120

editing in the viewfinder

Front 121

involves looking at what footage you have and the writing to that specific footage (as opposed to writing a lead you cannot use because you have no video to go with it)

Back 121

writing to video

Front 122

puts everyone on the same page, therefore saving money by ensuring you do not have to go back and re-make the project

Back 122

storyboarding

Front 123

means that almost all shots should be stationary that you edit together; pan, tilts, and zooms should be used sparingly because you cannot often make them smoothly. When you do choose to make a pan, tilt, or zoom, when you edit to your next shot you have to ensure you complete that move and hold for a second before cutting to another move

Back 123

camera moves should be transparent

Front 124

camera moves should be _____

Back 124

transparent

Front 125

refers to the idea that when framing shots you do not want to have objects placed too close to the edge of the frame because it calls attention the frame, which you do not want your audience to notice

Back 125

magnetism of frame

Front 126

placing someone not in the center or at the edge but rather three-quarters within the frame

Back 126

look space

Front 127

giving subjects in motion enough space to be able to move by not placing them in the center of the frame while also not allowing motion to get to the edge of the frame; when following action, you want to maintain this consistently within the frame

Back 127

lead space

Front 128

a subject’s head should not be stuck to the top of the frame; instead, they should have some breathing room in the form of a buffer zone a the top and edges of the screen

Back 128

headroom

Front 129

the idea that you can break the screen into a tic-tac-toe board of three sections left to right and top to bottom and that when shooting, subjects or objects should fall along the “vector points” where lines come together

Back 129

the rule of thirds

Front 130

regarding the rule of thirds, the place where lines come together

Back 130

vector points

Front 131

when shooting people, you always want eyes to be where in the frame?

Back 131

in the upper third of the frame

Front 132

also known as “the line,” meaning that if you have multiple cameras shooting a subject or object you have to shoot on the same side of that line to ensure look space and lead space consistency

Back 132

180 degree rule

Front 133

when shooting something objective like news, interviews should be done at

Back 133

eye level

Front 134

This should be avoided in news because it introduces subjectivity, but in television shows and movies this goes between objective and subjective

Back 134

point of view/point of view shot

Front 135

what are the two types of point of view shots?

Back 135

objective point of view and subjective point of view

Front 136

when the viewer at home is looking at the action from their own position

Back 136

objective point of view

Front 137

when the viewer at home is put into the eyes of the character

Back 137

subjective point of view

Front 138

involving one shape overlapping another, forming planes of foreground, middle ground, and backgroud, giving the shot added depth

Back 138

overlapping planes

Front 139

involves positioning the camera so that all of the lines that make up your shot are diagonal and converging into the vanishing point in the horizon

Back 139

linear perspective

Front 140

the idea that things that are close to us are clear and become more out of focus as they get further away. When recording video, lenses allow you to make things in the foreground in focus and everything behind that foreground out of focus (known as depth of field)

Back 140

aerial perspective

Front 141

what are three graphic depth cues?

Back 141

(1.) overlapping planes, (2.) linear perspective, (3.) aerial perspective

Front 142

involves initially focusing one person or object before rolling your focus to something else that is not in focus, usually for dramatic effect

Back 142

rack focus

Front 143

related to how deep/shallow your focus is

Back 143

depth of field

Front 144

if your focus is only one person, you have a _____ depth of field

Back 144

shallow

Front 145

if you focus is on multiple people, you have _____ depth of field

Back 145

deep focus

Front 146

film tends to have a _____ depth of field whereas video/television has a _____ depth of field

Back 146

shallow; deep focus

Front 147

What are the two major styles of editing?

Back 147

(1.) continuity editing, (2.) dynamic editing

Front 148

when shots are held together by a logical time and/or space relationship (one of these elements -- time, space, or both -- progresses in a normal fashion).

Back 148

continuity editing

Front 149

99% of things viewed (narratives, news stories, etc.) use this type of editing

Back 149

continuity editing

Front 150

also known as "complexity editing"

Back 150

dynamic editing

Front 151

a style used when shooting for artistic editing in which you deliberately defy the standards of continuity editing.

Back 151

dynamic editing

Front 152

commercials often use which kind of editing?

Back 152

dynamic editing

Front 153

indicates a break in time or space

Back 153

jump cut

Front 154

maintains time and space continuity; this shot makes the viewer believe that while they were watching this shot there was enough time for something else to happen

Back 154

cutaway

Front 155

the most popular type of cutaway in news and documentaries; involves positioning the camera over the subject's shoulder and having it shoot where you are sitting and getting your own reactions

Back 155

reaction shot

Front 156

allows you to get the beginning and end of a soundbite that may have an off-target middle

Back 156

reaction shot

Front 157

a very short shot (usually about 1 second) that appears inadvertently in a sequence of images as a result of an editing mistake or equipment problem

Back 157

flash frame

Front 158

an effect you use when editing that involves going from one shot to another shot

Back 158

transition

Front 159

regarding transitions, almost all of the time you will use _____

Back 159

cuts

Front 160

a straight take from one shot to the next; using this generally means the characters are in the same time or place

Back 160

cut

Front 161

a type of transition indicating either passage of time or place; more dramatic than a cut

Back 161

dissolve

Front 162

when the last shot dissolves into the color black; more dramatic than a dissolve

Back 162

fade to black

Front 163

a type of transition that indicates a significant end of something (a scene, an act, a block of a show)

Back 163

fade to black

Front 164

a cheesy effect that represents the passage of time or place in which the edge of the screen from one shot pushes the next (either vertically, horizontally, or from the corner over)

Back 164

wipe

Front 165

giving a story :15 to :30 seconds; a brief covering of the story via voice over a video

Back 165

V/O

Front 166

when you have video of the particular story followed by a soundbite at the end

Back 166

voice over sound on tape (VOSOT)

Front 167

a large news story; involves sending a reporter out to do an in-depth story on the piece and gathering facts beyond the press release; involves a reporter doing a stand-up (live reporting from the scene), interviews, and shooting all video that will go into the package; in television news terms, entails 1:25 to 2:25 of time.

Back 167

news package

Front 168

something kept out of the news package and kept for the anchor to say at the end of the package in relation to the story, such as “policy will begin in the fall of 2008.”

Back 168

tag

Front 169

involves shooting 2-3 seconds of video and natural sound before and after the reporter’s voice; helps the live television situation make a dissolve back to the anchors in the studio instead of having to make a super-fast cut to the anchor in the studio

Back 169

padding

Front 170

What are the two major approaches to filming?

Back 170

(1.) electronic news gathering (ENG) and (2.) electronic field production/gathering (EFG)

Front 171

not rehearsed or staged, so you need equipment such as the camera, tripod, lav, and stick mic that will allow you to capture things as quickly as they happen.

Back 171

electronic news gathering (ENG)

Front 172

a nicer, more high-end style of shoot that is rehearsed and involves three-point lighting, multiple cameras, and people devoted to monitoring audio

Back 172

electronic field production/gathering (EFG)

Front 173

What are the three points in three-point editing?

Back 173

in, out, and in