Mcom 231 Test 2

Front 1

The ratio of the width of the television screen to its height. In STV (Standard Television), it is 4 x 3; for HDTV, it is 16 x 9.

Back 1

Aspect Ratio

Front 2

Object or any part of it seen at close range and framed tightly. The close-up can be extreme (extreme or big close-up) or rather loose (medium close-up)

Back 2

Close-up (CU)

Front 3

Object seen from far away or framed very loosely. The extreme long shot shows the object from a great distance. Also called establishing shot.

Back 3

Long Shot/WideShot (LS WS)

Front 4

The area in which all objects, located at different distances from the camera, appear in focus. Depends primarily on the focal length of the lens, its f-stop, and the distance from the camera to the object.

Back 4

Depth of Field

Front 5

The portion of a scene visible through a particular lens; its vista. Expressed in symbols, such as CU for close-up.

Back 5

Field of View

Front 6

The space between the top of the head and the upper screen edge.

Back 6

Headroom

Front 7

The space in front of a laterally moving object or person.

Back 7

Leadroom

Front 8

The space in front of a person looking or pointing toward the edge of the screen.

Back 8

Noseroom

Front 9

Camera looks over the camera near person’s shoulder (shoulder and back of head included in shot) at the other person.

Back 9

Over the Shoulder Shot (O/S)

Front 10

Similar to the over-theshoulder shot except that the camera-near person is completely out of the shot.

Back 10

Cross Shot (X/S)

Front 11

Object seen from a medium distance. Covers any framing between a long shot and a close-up.

Back 11

Medium Shot (MS)

Front 12

Mentally filling in missing visual information that will lead to a complete and stable configuration. Also called Closure.

Back 12

Psychological Closure

Front 13

A directional screen force. There are graphic, index, and motion vectors.

Back 13

Vectors

Front 14

Stands for Audiotape Recorder

Back 14

ATR

Front 15

A device that receives a signal in the form of one type of energy and converts it to a signal in another form.

Back 15

Transducer

Front 16

A relatively rugged microphone. Good for outdoor use.

Back 16

Dynamic Microphone

Front 17

High-quality, sensitive microphone for critical sound pickup.

Back 17

Condenser Microphone

Front 18

High-quality, highly sensitive microphone for critical sound pickup in the studio, usually for recording string instruments.

Back 18

Ribbon Microphone

Front 19

Volume Unit Meter, measures volume units, the relative loudness of amplified sound.

Back 19

VU Meter

Front 20

Pickup pattern with which the microphone can hear equally well from all directions.

Back 20

Omnidirectional

Front 21

Pickup pattern with which the microphone can hear best from the front.

Back 21

Unidirectional

Front 22

Heart-shaped pickup pattern of a unidirectional microphone

Back 22

Cardioid

Front 23

A very narrow pickup pattern with a long reach. The mic can also hear sounds coming directly from the back.

Back 23

Hypercardioid

Front 24

A small microphone that is clipped to clothing. Also called lav.

Back 24

Lavalier

Front 25

A socket or receptacle for a connector

Back 25

Jack

Front 26

Connector for video and audio equipment

Back 26

RCA Phono plug

Front 27

The territory around the microphone within which the mic can hear well.

Back 27

Pickup Pattern

Front 28

Stands for Digital Audio Tape

Back 28

DAT

Front 29

Professional three-wire connector for audio cables

Back 29

XLR Connector

Front 30

Acoustic foam rubber that is put over the entire microphone to cut down wind noise.

Back 30

Windscreen

Front 31

A wire-mesh screen attached to the front of a mic that reduces breath pops and sudden air blasts.

Back 31

Pop filter

Front 32

The triangular arrangement of key, back, and fill lights, with the back light opposite the camera and directly behind the object, and the key and fill lights on opposite sides of the camera and to the front and the side of the object. Also called triangle, or three-point, lighting.

Back 32

Photographic Principle

Front 33

Principal source of illumination; usually a spotlight.

Back 33

Key light

Front 34

Illumination from behind the subject and opposite the camera; usually a spotlight

Back 34

Back light

Front 35

Additional light on the opposite side of the camera from the key light to illuminate shadow areas and thereby reduce falloff; usually done with floodlights

Back 35

Fill light

Front 36

Light that strikes the object directly from its source. To measure incident light, point the light meter at the camera lens or into the lighting instruments

Back 36

Incident lighting

Front 37

Relative reddishness or bluishness of white light, as measured on the Kelvin (K) scale. The norm for indoor video lighting is 3,200K; for outdoors, 5,600K.

Back 37

Color temperature

Front 38

The standard scale for measuring color temperature, or the relative reddishness or bluishness of white

Back 38

Kelvin (K)

Front 39

The unit of measurement of illumination or the amount of light that falls on an object. One foot-candle is 1 candlepower of light (1 lumen) that falls on a 1-square-foot area located 1 foot away from the light source.

Back 39

Foot-candle (fc)

Front 40

Light that is bounced off the illuminated object. To measure reflected light, point the light meter close to the object from the direction of the camera.

Back 40

Reflected Light

Front 41

European standard unit for measuring light intensity. One lux is 1 lumen (1 candlepower) of light that falls on a surface of 1 square meter located 1 meter away from the light source. 10.75 lux=1 foot-candle. Most lightning people figure roughly 10 lux=1 foot-candle.

Back 41

Lux

Front 42

The difference between the brightest and the darkest spots in a video picture.

Back 42

Contrast

Front 43

Stands for red, green, and blue—the basic colors of television

Back 43

RGB

Front 44

A lighting instrument that produces directional, relatively undiffused light

Back 44

Spotlight

Front 45

Light that illuminates a relatively small area with a distinct light beam. Directional light, produced by spotlights, created harsh, clearly defined shadows.

Back 45

Directional Light

Front 46

A device that controls the intensity of light by throttling the electric current flowing to the lamp.

Back 46

Dimmer

Front 47

The workhorse of studio spotlights.Its len creates a relatively sharp light beam that can be partially blocked by barn doors. This spotlight can be focused, tilted up and down, and panned sideways by turning the knobs with a lighting pole (a wooden pole with a metal hook at the end)

Back 47

Fresnel

Front 48

Used to fasten heavy lighting instruments to the lighting batterns. Even when tightly fastened to the batten, the C-clamp allows the lighting instrument to be turned.

Back 48

C-clamp

Front 49

Similar to capturing analog audio and video. The analog signals of a videotape are converted to digital signals for storage on the computer hard drive.

Back 49

Digitizing

Front 50

Uses videotape as the editing medium. It does not allow random access of shots.

Back 50

Linear Editing System

Front 51

Allows random access of shots. The video and audio information is stored in digital form on computer disks. Usually has two external monitors, small loudspeakers, and an audio mixer.

Back 51

Nonlinear Editing System

Front 52

A machine that assists in various editing functions, such as marking edit-in and edit-out points, rolling source and record VTRs, and integrating effects. It can be a desktop computer with a specific software program. Also called editing control unit.

Back 52

Edit Controller

Front 53

A preliminary off-line edit

Back 53

Rough cut

Front 54

In linear editing it produces the final high-quality edit master for broadcast or program duplication. In nonlinear editing it requires recapturing the selected shots at a higher resolution.

Back 54

Online Editing

Front 55

In linear editing it produces an edit decision list or an edit master not intended for broadcast. In nonlinear editing the selected shots are captured in low resolution to save computer storage space.

Back 55

Offline Editing

Front 56

Edit Decision List, consists of edit-in and edit-out points, expressed in time code numbers, and the nature of transitions between shots

Back 56

EDL

Front 57

Adding shots on videotape in a consecutive order without first recording a control track on the edit master tape.

Back 57

Assemble Editing

Front 58

Produces highly stable edits. Requires the prior laying of a continuous control track by recording black on the edit master tape.

Back 58

Insert Editing

Front 59

The videotape or disc that contains the final version of an edited program. Subsequent copies are struck from the edit master.

Back 59

Edit Master Tape

Front 60

1. Capture
2. Editing
3. Export to Videotape or Disc

Back 60

Nonlinear Editing Procedures

Front 61

A specially generated address code that marks each video frame with a specific number (hour, minute, second, and frame). Named for the Society of Motion Picture and Television Engineers, this time code is officially called SMPTE/EBU (for European Broadcasting Union)

Back 61

SMPTE time code

Front 62

A black signal on the tape that is to become the edit master if you are working with an analog editing system.

Back 62

Control Track

Front 63

A record of each take on the source tapes. Also called editing log.

Back 63

VTR Log

Front 64

Slate each take
Leave margins for editing
Record background sounds
Keep a field log
Tape cutaway shots

Back 64

Post Production Tips

Front 65

A shot of an object or event that is peripherally connected with the overall event and that is relatively static. Commonly used between two shots that do not provide good continuity.

Back 65

Cutaway

Front 66

An image that jumps slightly from one screen position to another during a cut. Also, any gross visual discontinuity from shot to shot.

Back 66

Jump Cut

Front 67

Tells us where things are or are supposed to be in on and off-screen space

Back 67

Mental Map

Front 68

Preserving visual continuity from shot to shot.

Back 68

Continuity Editing

Front 69

Graphic vectors that extend each other, or index and motion vectors that point and move in the same direction

Back 69

Continuing vectors

Front 70

Index and motion vectors that point away from each other.

Back 70

Diverging vectors

Front 71

An imaginary line created by extending converging index vectors or the direction of a motion vector. Also called the line of conversation and action, the hundredeighty (for 180 degrees. or simply, the line.

Back 71

Vector line

Front 72

Index and motion vectors that point toward each other.

Back 72

Converging Vectors

Front 73

Frame-by-frame advancement of a recorded shot sequence, resulting in a jerking motion.

Back 73

Jogging

Front 74

We edit to tell a story with clarity and impact

Back 74

Why do we edit?