Intro To Film And Video Quiz 1

Front 1

Mobile Framing

Back 1

the idea that in filmmaking, unlike other arts, the camera can
move and therefore the viewer's perspective can change. The camera can take
"unnatural" positions (as in The Player or Touch of Evil).

Front 2

Simple camera movements

Back 2

- the camera can pan (pivot from side to side) and
tilt (pivot up and down) while mounted on a tripod, or be handheld.

Front 3

Complex camera movements

Back 3

the camera can be mounted on a fixed platform
or dolly, so the camera can move closer to or farther from a character or object or
follow a character's movement. When the dolly runs on fixed rails, it is called
tracking. When the dolly moves from side to side, perpendicular to the action, it is
called trucking. The camera can also be mounted on a jib or crane for aerial
shots.

Front 4

Zooming

Back 4

is an artificial change in perspective caused by changing the
magnification of the subject by the lens. See focal length, below.

Front 5

Motivated camera movements

Back 5

are caused by a character's movement.

Front 6

Unmotivated camera movements

Back 6

are used to redirect the audience's attention.

Front 7

Long take

Back 7

a shot lasting one minute or longer. Once limited by the amount of
film that would fit in a camera magazine, long takes in digital filmmaking can be
unlimited in length.

Front 8

Diegetic elements

Back 8

are part of the "world" of the movie and can be seen and
heard by the characters. Nondiegetic elements are not.

Front 9

Reveal

Back 9

a camera movement or edit that shows something previously unseen

Front 10

Aspect ratio

Back 10

ratio of height of image to width. Older Hollywood movies are
1.33:1. High definition video is 1.77:1. Extreme widescreen formats such as
Cinemascope can be 2.4:1 or more.

Front 11

Anamorphic

Back 11

a type of lens that allows the image to be "squeezed" horizontally
during shooting and "stretched" in post-production, allowing a wider aspect ratio
than normally possible.

Front 12

Letterboxing

Back 12

the placement of black bars above and below a widescreen image
when shown on a narrower screen, such as a standard definition TV.

Front 13

Three-point lighting, also called photographic or triangle lighting

Back 13

uses three
lighting instruments: a key light that is the main light source, a fill light that
partially fills in harsh shadows, and a backlight that illuminates the subject from
behind and causes him/her to stand out from the background.

Front 14

High-key lighting

Back 14

is bright and evenly lit, with little contrast between light and dark
areas. Used for comedy and dance.

Front 15

Low-key lighting

Back 15

is dim and contrasty, with
pronounced shadows. Used for mystery, horror, suspense.

Front 16

Focal length

Back 16

of a lens is the distance from the optical center of the lens to the film
plane. A short focal length (wide-angle) encompasses a wider field of view than
human eyesight. A normal lens matches human vision, and a long focal length
(telephoto) lens magnifies distant objects.

Front 17

Depth of field

Back 17

of a lens is the range of distances that will appear to be in focus.

Front 18

Transitions

Back 18

between shots include cut, dissolve (one shot fades out as next fades
in), wipe (a hard-edged transition like a sliding door), fade-in at beginning of a
scene, fade-out at end of a scene, and iris in/out (like a spotlight beam opening
or closing, a trademark of silent films).

Front 19

Montage

Back 19

a sequence that relies on editing to condense or expand time or
action, or make a statement with minimal use of dialogue. Eisensteinian montage
uses shots that collide violently. American montage nearly always uses music
(the training sequences in the Rocky movies, for example).

Front 20

Continuity

Back 20

in editing makes the edits smooth and seamless. Rules of continuity
include matching on action (cutting while an action is in process), eyeline
matching (cuts that follow the direction characters are looking), and graphic
matching (cutting between images with similar composition).

Front 21

The 180-degree rule

Back 21

draw a line through the center of action and keep all shots
on one side of it, thus preserving screen direction.

Front 22

Shot/reverse shot pattern

Back 22

a convention of editing in which a scene alternates
between shots of characters (objective shots) and shots of what they are seeing
(POV or point-of-view shots).

Front 23

Synchronous sound

Back 23

is sound that is in context with something being seen
onscreen (shot of a train and sound of a train whistle).

Front 24

Non-synchronous sound

Back 24

is
sound that is out of context (we see a judge's gavel but hear a jail door slam)

Front 25

Diegetic sound

Back 25

is sound that can be heard by the actors; it is part of the
"storyworld" (Radio Raheem's boombox in Do The Right Thing).

Front 26

Nondiegetic
sound

Back 26

cannot be heard by the actors and is added for emotional impact.
Underscoring is generally nondiegetic.