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163 Cards in this Set
- Front
- Back
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aesthetics
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the study of how we look at something, how we judge it
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Media Art
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term used to describe art related to, or created with, a technology invented or made widely available since the mid-20th Century
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Zettl's Five Fields
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Light
2D 3D Time/Motion Sound |
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Applied Media Aesthetics
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the focus of how our senses react to fundamental image elements in television, film, and other electronic audiovisual media.
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Context
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the enviornment in which we perceive and evaluate specific perceptual phenomena.
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Perception
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process of acquiring, interpreting, selecting, and organizing sensory information
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Light
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radiant energy that behaves commonly as electromagnetic waves
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Lighting
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the control of light for the purpose of manipulating and articulating the perception of an event
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Attached Shadows
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shadow that is on an object itself. It cannont be seen indepent of the object
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Cast Shadows
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shadow produced by an object and thrown onto a surface
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Object-Connected Shadow
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cast shadow touches the object producing it
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Object-Disconnected Shadow
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cast shadow does not touch the object producing it
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Independent Shadow
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cast shadow detached from the object causing it
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key light
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principle light source of directional illumination falling on an area of subject
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outer orientation lighting
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lighting to show the outer enviornment
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spacial outer orientation lighting
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reveals the basic shape of an object
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tactile outer orientation lighting
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reveals the texture of something
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time outer orientation lighting
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alerts us of the time of day
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inner orientation lighting
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our feelings and emotions
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mood/atmosphere inner orientation lighting
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high-key for upbeat mood
low-key for depressed feelings |
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predictive inner orientation lighting
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lighting changes from one mood to another, signaling an impending occurence
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lighting as a dramactic agent
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lighting becomes an action within a scene
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side light
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usually directional light coming from half the side of the object. Acts as additional fill light and provides contour.
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kicker
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directional light that is positioned from low and from the side and back of the subject
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photographic principle
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also called triangle lighting, key, fill, back
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chiaroscuro
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lighting for light/dark contrast to emphasize volume and specific areas
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rembrandt
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all types of chiaroscuro lighting in whihc only specifica areas are light and dark
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cameo
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lighted object set off against a plain background
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hue
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the color attribute that indicates the actual color of an object
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saturation
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the color atribute that indicates color richness
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brightness
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the color attribute that indicates how light or dark the color appears
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additive mixing
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the mixing of colored light
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subtractive mixing
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the mixing of color pigments or filters. the filter subtracts a specific color while passing others
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additive primaries
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RGB; red, green, blue
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subtractive primaries
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CMY; cyan, magenta, yellow
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complementary colors
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colors the eliminate each other when mixed addivitely, white light on TV
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achromatic
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without color
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chromatic
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with color
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mixed mixing
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mixing color on a saturated object to give it another appearance
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color relativity
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how a color appears the way it does
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color energy theory
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the energy we perceive from a color; the energy a color emits within its contextual field, red is warm, blue is cold
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use of color energy
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create a setting to be more exciting with color and energy
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color symbolism
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symbolic associations that people learn. symbolism is different between cultures and time periods
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hue
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the color attribute that indicates the actual color of an object
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saturation
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the color atribute that indicates color richness
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brightness
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the color attribute that indicates how light or dark the color appears
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additive mixing
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the mixing of colored light
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subtractive mixing
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the mixing of color pigments or filters. the filter subtracts a specific color while passing others
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additive primaries
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RGB; red, green, blue
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subtractive primaries
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CMY; cyan, magenta, yellow
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complementary colors
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colors the eliminate each other when mixed addivitely, white light on TV
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achromatic
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without color
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chromatic
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with color
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mixed mixing
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mixing color on a saturated object to give it another appearance
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color relativity
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how a color appears the way it does
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color energy theory
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the energy we perceive from a color; the energy a color emits within its contextual field, red is warm, blue is cold
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use of color energy
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create a setting to be more exciting with color and energy
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color symbolism
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symbolic associations that people learn. symbolism is different between cultures and time periods
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informational function of color
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tell us more about an event that would be possible w/out color, clarity
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expressive function of color
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make us feel a certain way
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essential quality, essential color
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tell us about the quality of something by the color, new vs old
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Regular TV
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1.33:1
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Wide Screen
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1.78:1
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HDTV
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1.85:1
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Panavision
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2.35:1
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Four Ways to Judge the Relative Size of an Object
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1. knowledge of the object
2. relation to the screen size 3. environment and scale 4. relation to a person |
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Magnetism of the Frame
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the pull that the frame exerts on objects within the frame
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Attraction of Mass
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graphic mass attracts graphic mass. the larger an object, the larger it's attraction power
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Assymetry of the Frame
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the right and left side of the video screen are unequal in visual prominence. The right side is said to command more attention than the left.
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Uphill/Downhill Diagonals
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We seem to read diagonals from left to right
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Screen Left & Right Assymetry
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we tent to pay more attention to that on the right then left. we move from middle to left to right with out eyes
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Figure/Ground (light)
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tendency to organize a scene into figures hat lie in front of a grbacground. We perceive the ground as being more stable than the figures
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psychological closure
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mentally filling in nonexistant information to arrive at a stable pattern
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gestalt
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the configuration we perceive through closure. the pattern is complete here
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vector
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a perceviable force with a direction and magitude. a element that leads us to a specific space/time direction
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graphic vector
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vector created by a line or elements ina way that suggest a direction
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index vector
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vector that is created by something that points unquestionably
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motion vector
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vetor created by object actually moving a specific direction
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vector magnitude
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degree of directional certainty and force, the amount of energy we perceive an object to have, screen size, graphic mass, and speed
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continuing vectors
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vectors that suceed each other in the same direction
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converging vectors
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vectors that move towards each other
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diverging vectors
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vectors that move in opposite directions
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stages of balance
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stablie, neutral, labile
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labile balance
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imbalance created by graphic weight, frame magnetism and vectors pushed to structural limit
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Golden Section
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divisions of the screen, cutting the screen into 5 parts
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rule of thirds
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dividing the screen into thirds, acheives a pleasing composition when object lies on the thirds
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illogical closure
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tendency to smooth continuity of vectors, by grouping objects together to stablize a picture, eeven if they don't belong together
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premature closure
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Premature closure occurs when the upper or lower edges of a screen coincides with the natural dividing lines.
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depth of field
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the area along the z-axis that is in focus
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z-axis
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the axis in the coordinating system that defines depth, the imaginary
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graphic depth
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the illusion that creates the 3D space on a 2D surface, overlapping planes, relative size, height in plane
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height in plane
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assuming the camera is shooting parallel to the ground, you will perceive an object as being more and more distance the higher it movse up in the picture field until it has reached the horizontal line
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linear perspective
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horizontal linear lines that coverge towards the distance at a vanishing point
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aerial perspective
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slective focus in a shallow depth of field only a shoer section of the z-axis is in forcus, while rest is blurry
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selective focus
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emphasizing an object in a shallow depth of field through focus while keeping its foreground and background out of focus
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articulating the z-axis
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the place objects or people along the z-axis to serve as 3D space modulators
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blocking along the z-axis
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placing people and their movement towards and away from the camera. intenfiying the 3D element
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negative volume
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empty space that surrounds, or is descibed by positive volumes, ex: empty room that is surrounded by walls
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positive volume
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objects that have substance and can be touched and weighed.
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dominant negative volume
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a lot of space with nothing in it , a lot of objects in a small space. The effects of a dominant positive volume give a sense of emptiness
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dominant positive volume
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a lot of mass, a lot of objects in a small space. The effects of a dominant positive volume give a sense of a crowded area
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importance of context
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allows us to decide how to visualize out shots, whether it be standard tv, hdtv, or movie....
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medium skills
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your ability to understand the technical and aesthetic limitations and potentals of the medium
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animatic
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series of images edited together
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previsualization
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using computer graphics, low cost,(usually 3D) to create rough versions of the shots in a movie sequence.
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deductive visual approach
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moving from general to the specific
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inductive visual approach
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moving from specific to general
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looking at an event
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report what's going on, news
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looking into an event
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telling the viewer what is going on, providing insight, sports
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creating an event
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use effects to change an original event, football fireballs
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Subjective Camera - being discovered
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screen action is aimed directly at us, we feel we are discovered by the action, linked with the event
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Subjective Camera - direct address
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performer speaks directly to the camera, to the audience
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objective time
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time measured by the clock, clock time
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subjective time
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duration we feel
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event density
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relative number of event details that occur within a brief clock time period
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event intensity
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relative energy and relative significance we perceive about a specific event
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experience intensity
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number of relevant experiences to which we are subkective simultaneously or in rapid succession
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aethetic entropy
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the energy present at the live time of an event, but decresses as time passes
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film motion
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an illusion, makes us see things that move in our mids
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video motion
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the constant moving electron beam that scna many phosphorus dots on the inside of a television set of individual pixels
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basic structure of film
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an assembly of still frames that when put together with others and enlarged, create motion
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basic structure of video
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digital consistant movement
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the film look
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softer look, stark colors, contrast with light and dark, less in your face @ theatre than home tv
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motion paradox
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whenever an object is simultaneously in motion and at rest, riding in a car or airplane
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figure/ground reversal
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illusion created when two objects are in motion, but one moves faster than other
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perceived speed
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how fast or how slow we sense something is moving on screen
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z-axis motion
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determined by the focal length, you can misjudge where an object may be
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perceived object speed: wide angle lens
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exaggerates the perceived z-axis speed with which an object appears to move toward or away from the camera, image size changes considerably
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perceived object speed: narrow angle lens
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slow perceived z-axis speed with which an object appears to move toward or away from the camera, image size doesn't change considerably
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looking up/down motion
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ground level makes object appear fast
aerial view makes object appear slower |
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aesthetic effects of slow motion
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allows us to see better, frees an object from gravity, anticipation, surreality
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accelerated motion
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show that not only is the obeckt faster than normal, but also erratic
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aethetic effects of accelerate motion
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comic effect, dramatic effect,
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scene time
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length of a scene, subdivision of a sequence
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story time
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fictional or developmental time, period of the screen event
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primary motion
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event motion, motion in front of the camera
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secondary motion
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the camera motion; pan, titlt, boom, dolly, truck, arc...
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tertiary motion
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sequence motion, movement and rhythm influcence through shot changes
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editing
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selecting and sequencing those aprts of an event that contribute most effectively to its clarification
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continuity editing
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the structuring of on-and-off screen space and on establishing and maintaining the viewer's mental map
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mental map
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helps you make sense of where things are on and off screen, where they are going, or where they are supposed to be in on and off screen space
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index vector line
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line of conversation, one eighty line, important for maintaining the established vector continuity
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complexity editing
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used to intensify an event and reveal its complexity, diving deep into the event
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Montage
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juxtaposition of two or more separate images that together create a gestalt
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analytical montage
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anaylize the event for it's thematic elements
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sequential montage
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shows the order in action, cause & effect
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sectional montage
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analyizes one specific progression in the event from several viewpoints
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idea-associative
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juxtaposes two seemingly disassociated events to create a third-principal idea or concept
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comparison montage
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two shots that put together reinforce a theme
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collision montage
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takes two opposits events, puts them together, and colides them for you to connect them
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metric montage
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rhythmic structuring device, consists of images tht are flahsed on screen in equal intervals
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literal sound
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referential sound, refers to its original source
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non-literal sound
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does not refere to the sound originating souce, music not dealing in source
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sound vs noise
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sound has purpose
noise is random |
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three fuctions of sound
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informal, outer orientation, inner orienation
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information fuction of sound
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communication specific info verbally, dialouge, direct address, narration
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outer orientation of sound
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communicate space, time, situation and ecternal event conditions,
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inner orientation of sound
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relate to mood, internal condition, energy, structure
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predictive sound
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signal a happening or situational change
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leitmotiv
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short musical phrase or specific sound effect that porentds the apperance of a person, ex, jaws
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figure/ground principal of sound
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organize the important sound to be the figure, while other sounds become background
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sound perspective
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match close-up pictures with "close" sounds, and long-shots with distant sounds
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sound continuity
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sound maintains its intended volume and quality over a series of edits
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