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;
95 Cards in this Set
- Front
- Back
|
this is what a shot actually shows in theframe (literal meaning)
|
Denotative |
|
|
this is what is implied by the shot, thesecondary meaning. The way a subject is shot giveyour shot its connotative meaning
|
Connotative |
|
|
This shot shows much of the surrounding area and is moreabout place than about a person.
|
Extreme Long shot – XLS
|
|
|
theyestablish where the scene takes place
|
Establishing Scene |
|
|
This usually shows a person from head to toe and can showwhere a person is located.
|
Long shot (full shot/wide shot)– LS
|
|
|
This shows a person from the knees to their head. It is like along shot, but is a little more about the character versus thesetting .
|
Medium Long shot (cowboy)– MLS
|
|
|
From the waist up to the top of the character’s head. A loose shot that isn’t too intimate, but allows for showing theinteraction of characters. Often used in comedy.
|
Medium Shot - MS |
|
|
Like a MS, but shows two characters in the frame. Could be a Master shot of two people having aconversation.
|
Medium Two Shot - M2S |
|
|
From the chest to the top of the head. Getting more intimate with the character. The moment is getting more emotional
|
Medium Close Shot |
|
|
From the shoulders to the top of head. This is an intimate shot meant to get our attention on theemotion of the character. Often used at the climax of a scene to show the character’sexpression and/or reaction.
|
Close Up shot – CU
|
|
|
– between CU and XCU shows face only
|
Chocker |
|
|
Gets us looking right into the character’s eyes (or other partsof the face or body) for their expression, blocking out allother elements on the set. A very intense shot
|
Extreme Close Up Shot |
|
|
The most common shots are .... |
CU or XCU of an object which implies significance and XLS that establishes location or size of place
|
|
|
This is the most common placement for a camera in films
|
Eye level
|
|
|
If the camera is above the character looking down, thecharacter will appear to be weaker or at a disadvantage inthe shot
|
High Angle |
|
|
If the camera is below the character looking up at thecharacter it can imply the character has strength in the shot
|
Low Angle |
|
|
It is used to convey psychological uneasiness in a film,that something is not right. |
Dutch Angle |
|
|
This angle is shot from overhead of the scene lookingdown. It can be used to reflect the ‘eye of god’ that knowsand sees everything. May suggest a power looking down (fate, etc.) Can be used to show the layout of a location whichcan’t be viewed from the ground.
|
Bird's Eye |
|
|
shows the location where a scene is going to take place
|
Establishing Shot |
|
|
is a shot that shows all theaction in a scene with all characters
|
Master Shot |
|
|
cuts away from the main action of the scene
|
A cutaway shot |
|
|
a close up of some detail in the scene
|
An insert |
|
|
shows the perspective of acharacter: what the character sees
|
POV shot |
|
|
POV situation usually has two shots shown in this order:
|
Point glance – point object – point glance
|
|
|
shows the reaction of a character to something in the scene. Guides the audience’s reaction.
|
Reaction Shot |
|
|
where we don’t see the shoulder of theforeground character
|
Clean Over the Shoulder |
|
|
where we do see the shoulder of the foregroundcharacter
|
Dirty Over the Shoulder |
|
|
are shots that let the action take placeas though the camera is not there (most featurefilms)
|
Objective |
|
|
– implies there is a camera viewing theaction (home movies, the news, documentaries)
|
Subjective |
|
|
From the editing point of view, the film is made upof:
|
Frames, Shots, Scenes, Sequences
|
|
|
is one still image
|
A Frame |
|
|
is one continuous moving image between cuts (orother transitions)
|
A Shot |
|
|
All shots that show action taking place the same place thesame time
|
A Scene |
|
|
editing is editing within a scene
|
Intra-Scene |
|
|
editing is editing scenes together
|
Inter-Scene |
|
|
Real time vs. screen (film) time. Screen time does not have to match real time. Editing can expand or condense time |
Temporal Continuity |
|
|
Screen time equals real time
|
Absolute Temporal Continuity |
|
|
How can you create Absolute Temporal Continuity?
|
With a single shot. Using matching action
|
|
|
Why use matching action?
|
When we edit we don’t want the audience to notice
|
|
|
If you cut too soon...
|
Jump Cut |
|
|
If you cut too late...
|
Overlapping Action |
|
|
gives the impression that real spaceand screen space are the same
|
Spatial Continuity |
|
|
We maintain spatial continuity when we shoot with:
|
180 degree rule, 30 degree/20 mm rule, Avoiding continuity errors
|
|
|
Show a detail from a wider shot or a closer shot
|
Inserts |
|
|
Used to help guide the audiences emotional reaction to aobject, event or person
|
Reaction shots |
|
|
Let’s the audience see through the eyes of a character whathe or she is seeing
|
POV |
|
|
Is a series of scenes that are connectedtogether.
|
A Sequence |
|
|
This is cutting between scenes (and/or sequences). Unlike Intra-scene editing, you want to avoid theconventions of continuity. You want it to be clear you are in a new place and time. |
Inter-scene editing |
|
|
Shot that has a long duration. Could be one whole scene (or even sequence or film).
|
Long Take |
|
|
short shots of various scenes to suggest the passage of time
|
Montage Sequence |
|
|
A basic dialog scene has this structure:
|
LS-MS-CU-MS
|
|
|
These rules are made to be used and to be broken
|
Rules of composition |
|
|
The eye ___ ___ ______ naturally |
looks for unity |
|
|
Good framing/composition usually has a
|
center ofinterest (or compositional focus)
|
|
|
The key to composition for the motion picture frameis founded in the awareness that composition is
|
always in flux |
|
|
The subject or objects of interest should not be centered in the frame. The frame is evenly divided with straight lines into thirds horizontallyand vertically. The subject (and/or objects of interest) should be placed along theselines or intersection of lines
|
The Rule of Thirds |
|
|
When someone looks off the screen, give them ...... |
lead room (negative space, nose room) in thedirection they are looking
|
|
|
Our eye is attracted to....
|
movement, color, and brightness |
|
|
We can use _____ in the frame to lead the eyeof the viewer to the subject |
lines |
|
|
Have been used since Classical Greek periods Have a distinctive harmony and balance in them
|
The S and the sinuous line (the reverse ‘S’)
|
|
|
By giving a subject a frame with a foreground object youcan
|
direct the eye to the subject, provide perspective with comparison
|
|
|
the space between the top of thecharacter’s head and the top of the frame
|
Headroom |
|
|
What does it mean to "cheat: during shooting? |
.Move subjects, props, or the camera when gettingcoverage. You can often get away with a lot .
|
|
|
This is choreographed camerawork that leads ratherthan follows movement, making adjustments for themovement of characters in the frame or for theentrances of others. The move begins prior to the character moving orentering the frame. The move will be finished once the character hasreached his or her final position.
|
Anticipatory Movement |
|
|
Four essentials of screenwriting: |
Goal, conflict, structure, economy |
|
|
At the center of every movie is a character who wantssomething. The character must take actions to achieve his or her goal,driving the story forward.
|
The Protagonist |
|
|
In a story, things move forward only if there's.... |
conflict |
|
|
Two kinds of conflict: |
External and Internal |
|
|
Three parts in a structure are called |
acts |
|
|
Usually, the Protagonist, the setting, and somesecondary characters are introduced in
|
Act I |
|
|
is the event when the goal or problem isintroduced in Act I.
|
Inciting Incident |
|
|
is the event that ends Act I. The protagonist decides or is forced to go after the goal orsolving the problem.
|
Plot Point I |
|
|
The middle part of a film. Most of the conflict occurs here. Series of events where the Protagonist is preventedfrom achieving his or her goal.
|
Act II |
|
|
Event at the end of Act II. It appears the Protagonist will fail to achieve his or her goal.
|
Plot Point II |
|
|
The biggest event in the plot. The biggest fight or showdown in the conflict of Protagonist vs.Antagonist. The Protagonist succeeds (usually) or sometimes doesn’t succeedin his or her goal
|
Climax of Act III |
|
|
After the climax, there is often an _______ ashort final part of the plot that ties up loose ends and givescompletion to the film.
|
Epilogue (Denouement)
|
|
|
Are the four major events of the plot. These aresingle events (actions that bring change to the plot).
|
Inciting Incident (in Act I), Plot Point I (in Act I) Plot Point II (in Act II), Climax (in Act III)
|
|
|
The screenwriter’s goal:
|
Maximum Economy |
|
|
Screenwriters compress wherever possible
|
Dialogue, Description/writing, Characters, Location, Time
|
|
|
a built-in structure to a movie’s time frame
|
A Time Lock |
|
|
The lens has three tasks
|
To focus an image for the camera to receive. To enlarge or reduce the size of the image. Most lenses also set exposure, but not all.
|
|
|
is the length of the lens
|
The focal length |
|
|
The longer the focal length the more the subject....
|
is enlarged. |
|
|
The shorter the focal length the more the subject...
|
is reduced in size. |
|
|
has the same perspective as the human eye. No distortion from our own perspective.
|
A normal-length lens
|
|
|
are any that are shorter than normal lenses. These lenses exaggerate depth.
|
Wide angle lenses |
|
|
Any lenses longer than normal are telephoto lenses. This type of lens compresses depth. This can be used to crop out unnecessary parts of the image and toisolate and focus on the subject. Makes objects appear closer together than they actuallyare (as we perceive them). Brings background objects in closer to foreground. Object/character movements to and from cameraappear to be slower than normal.
|
Telephoto Lens |
|
|
Exaggerate space along the ‘z axis’. Expands the field of view of the image. Movement towards and away from the camera seemsfaster than normal. Unflattering for people as it distorts their face making noses big |
Wide Angle Lens |
|
|
______ or fixed focal length lenses. Only one focal length, e.g. 25mm, 50mm. The focal length of the lens doesn’t change.
|
Prime |
|
|
_______ or variable focal length lenses. Have multiple focal lengths. The camera operator can change the focal length
|
Zoom |
|
|
When a point of light reflecting off a subject isregistered as a point on the focal plane, it is in ______. Sharp, clear image.
|
Focus |
|
|
________ are the measuring scale for the opening ofthe iris (aperture) in the lens.
|
F-Stops |
|
|
Changing the size of the iris changes the amount of
|
light reaching the focal plane
|
|
|
the range along the z-axis (in depth)that is in focus
|
Depth of Field |
|
|
A ______ _______ ___ ________ is used to separate a subject from thebackground and/or foreground in cinematography
|
shallow depth of field |
