Reading...
Play button
Play button
Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
42 Cards in this Set
- Front
- Back
|
Camera Setup
|
The distance between the subject and the camera
|
|
|
Shot
|
A single visual unit
|
|
|
Long Shot
|
Includes the main subject and some of the surrounding environment. The subject is less than the full height of the frame. Also called the establishing shot if it is the first shot in the series of many used to provide information. Ex. An awareness of setting. Long shots also show action.
|
|
|
Medium Shot
|
Intermediate shot between a long shot and a close-up. The focus here is on a particular object to show a relationship between an individual and the world.
|
|
|
Close-Up
|
Includes only a portion of the subject, as in a close-up of the head or face. This shot is often used to show emotion.
|
|
|
Extreme Close-Up
|
A very tight show that is used to establish crucial information. Ex. A shot of a clock or wrist watch to demonstrate the importance of time or the passage of time necessary to the narrative.
|
|
|
Camera Angle
|
The angle of the camera in relation to the subject.
|
|
|
Aerial
|
Shot from a plane or another high position Ex. A crane.
|
|
|
High Angle
|
Camera looks down on the subject, but not from directly overhead. This makes the subject seem smaller than life.
|
|
|
Low Angle
|
Camera looks up at the subject, often at about a 45 degree angle for eye level. This makes the subject seem larger than life.
|
|
|
Camera Movement
|
Occurs when the camera moves during a shot.
|
|
|
Dolly
|
The camera is placed on wheels and moves in and out.
|
|
|
Pan
|
The camera moves from left to right or vice versa.
|
|
|
Tilt
|
The camera moves up and down.
|
|
|
Tracking
|
The camera is parallel to the subject. Ex. A shot into a speeding car and then moving with the car.
|
|
|
Zoom
|
This is done with the lens. It moves in and out but the camera itself is not moved.
|
|
|
Hand-Held Shot
|
Charcterized by starts, stops, and jiggling because the camera is not being held steady on a mount or tripod.
|
|
|
Cut
|
An abrupt change from one shot to another.
|
|
|
Dissolve
|
An optical effect in which the end of one shot gradually merges with the beginning of the next shot.
|
|
|
Fade-In
|
An optical effect in which a shot begins in darkness and gradually lightens to full brightness. Most movies begin with a fade in.
|
|
|
Fade-Out
|
An optical effect that is the opposite of a fade in. Most movies end with a fade out.
|
|
|
Wipe
|
An optical effect in which one shot wipes off another, as if pushing the previous shot off of the screen.
|
|
|
Fast Motion
|
Subjects and things that seem to move faster than normal speed.
|
|
|
Slow Motion
|
Action that seems to take more time than it would in reality.
|
|
|
Frame
|
The boundary of an image or a shot - like the boundary or edge of a still photo.
|
|
|
Focus
|
The clarity of the image as determined by the camera lens setting.
|
|
|
Soft Focus
|
The lens setting or special filters on the lens soften the definition of the image. Often used to create romantic, dream-like, or unreal effects.
|
|
|
Lighting
|
The manner in which a set or scene is illuminated.
|
|
|
Back Lighting
|
The main source of light is behind the subject, resulting in a silhouette effect.
|
|
|
Front Lighting
|
Illumination from behind the camera (similar to shooting a still photo with the sun behind you)
|
|
|
Low Key Lighting
|
A great deal of contrast exists between blacks and whites to provide small pools of light within a general field of darkness.
|
|
|
Chiaroscuro
|
The divers arrangement of light and dark during the composition of a film. 'Chiaro' and 'oscuro' are Italian words for bright and dark, respectively. In film, this technique is particularly important in composing expressionist films as well as films photographed in "black-and-white". Also the extensive use of shadows.
|
|
|
Scene
|
A term borrowed from theater, and as such has no precise definition in film. Usually, however, a secen is understood as a shot or series of shots which depicts a single, continuous action and which takes place in one specific place or setting.
|
|
|
Mise-en-scene
|
Literally translated as, "what's put into the scene", this is the sum total of all factors affecting the artistic "look" or "feel" if a sgit ir scebe, These can include shot selection, shot composition, production design, and set decoration, as well as techincal camera properties such as shutter sped, aperture, frame rate, and depth of field. Mise-en-scene is often contrasted with montage, where the artistic "look"of a scene is constructed through visual editing.
|
|
|
Cross-Cutting
|
Editing together of two different series of shots or actions to imply that two actions are going on at the same time. Ex. A woman is tied to train tracks and struggles to get free and a train is shown speeding down the tracks. The audience can assume that the train is coming towards the woman.
|
|
|
Montage
|
A scene constructed by a quick succession of cuts.
|
|
|
Voice Over
|
A voice (of an off-screen narrator or of a character previously established in the film) which accompanies the visible action but has no immediate visible reference (can't see who's talking. Ex. An older version of the character depicted on screen speaks about the action.)
|
|
|
Point of View
|
As in marrative and drama, the way a film is narrated.
|
|
|
Objective POV (Visual)
|
The camera acts as a detached observer.
|
|
|
Subjective POV (Visual)
|
The camera depicts events through the eyes of a particular character.
|
|
|
Objective POV (Narrative)
|
Time in the film unfolds as if the events were occurring in actual life.
|
|
|
Subjective POV (Narrative)
|
Subjective time is more difficult to show on film, but it is the time as experienced by characters. This would be time as it unfolds in the mind, in the perception or psychology of a particular character.
|
