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33 Cards in this Set
- Front
- Back
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mis-en-scene |
David A Cook - A History of Narrative Film "mise-en-scène is formed by all the elements that appear within a shot itself, as opposed to the effects created by cutting." |
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diegetic sound |
Bordwell-Thompson, Film Art Sound whose source is visible on the screen or whose source is implied to be present by the action of the film: voices of characters, sounds made by objects in the story music represented as coming from instruments in the story space ( = source music) Diegetic sound is any sound presented as originated from source, within the film's world Diegetic sound can be either on screen or off screen |
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non-diegetic sound |
Bordwell-Thompson, Film Art Sound whose source is neither visible on the screen nor has been implied to be present in the action: narrator's commentary, sound effects which are added for the dramatic effect, mood music. Non-diegetic sound is represented as coming from the a source outside story space. |
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diegesis |
Diegesis is a Greek word for "recounted story" The film's diegesis is the total world of the story action |
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auteur |
In film criticism, auteur theory states that a film reflects the director's personal creative vision, as if they were the primary "auteur" (the French word for "author"). |
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coverage |
Camera coverage, in filmmaking and video production, is the amount of footage shot and different camera angles used to capture a scene. When in the post-production process, the more camera coverage means that there is more footage for the film editor to work with in assembling the final cut. |
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depth of field |
Depth of Field is defined as the range of acceptable focus on a shot or photograph. Depth of field is an important concept for cinematographers and camera operators to master because they often need to manipulate focus to achieve a desired effect. |
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backlighting |
The main source of light is behind the subject, silhouetting it, and directed toward the camera. |
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Camera Angle |
The angle at which the camera is pointed at the subject: Low High Tilt |
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Cut - (Editing) |
The splicing of 2 shots together. This cut is made by the film editor at the editing stage of a film |
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Cut - (Production) |
The word used by either the director or the sound-recordist to signify the end of a take. |
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Jump Cut |
Cut where there is no match between the 2 spliced shots. Within a sequence, or more particularly a scene, jump cuts give the effect of bad editing. |
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Continuity Editing |
Cuts that take us seamlessly and logically from one sequence or scene to another. This is an unobtrusive cut that serves to move the narrative along. Continuity of space and direction are normally stressed |
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Dissolve |
A transition In a dissolve, a first image gradually dissolves or fades out and is replaced by another which fades in over it. Also as a soft transition (as opposed to the cut), used to suggest a longer passage of time than a cut. |
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Dolly |
A set of wheels and a platform upon which the camera can be mounted to give it mobility. |
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Fill light |
An auxiliary light, usually from the side of the subject that can soften shadows and illuminate areas not covered by the key light |
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Flashback |
A scene or sequence (sometimes an entire film), that is inserted into a scene in "present" time and that deals with the past |
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Flash Forward |
On the model of the flashback, scenes or shots of future time; the future tense of the film. |
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Focus |
The sharpness of the image. |
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Framing |
The way in which subjects and objects are framed within a shot. |
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Key light |
The main light on a subject. Usually placed at a 45 degree angle to the camera-subject axis. In high key lighting, the key light provides all or most of the light in the scene. In low key lighting, the key light provides much less of the total illumination. |
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Montage |
Simply, editing. More particularly: Eisenstein's idea that adjacent shots should relate to each other in such a way that A and B combine to produce another meaning, C, which is not actually recorded on the film. (See Kuleshov effect) |
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Pan |
(abbreviation of panorama) Movement of the camera from left to right or right to left around the imaginary vertical axis that runs through the camera |
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Point of view shot (POV) |
A shot which shows the scene from the specfic point of view of one of the characters. |
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Reverse Angle |
A shot from the opposite side of a subject. In a dialogue scene, a shot of the second participant. |
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Shot - Reverse Shot |
A method of shooting for continuty editing, where you shoot your first shot in one direction and then reverse the camera position to face in the other direction. Often used in dialogue sequences. (180 degree rule AKA crossing the line) |
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Shot |
In terms of camera distance with respect to the object within the shot: extreme close-up close-up mid shot long shot wide shot |
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Storyboard |
A series of drawings and captions (sometimes resembling a comic strip) that shows the planned shot and camera movements of the film. |
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Tracking shot/travelling shot/dollying shot |
Terms used for a shotwhen the camera is being moved by means of wheels: on a dolly (a low tracking shot) in a car or even a train. |
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Voice-over (VO) |
The narrator's voice when the narrator is not seen |
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180 Degree Rule |
The 180° rule is a cinematography guideline that states that two characters in a scene should maintain the same left/right relationship to one another If you imagine a line between two characters, once the first camera is set you can not cross that line and keep continuity in the edit. |
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fps (Frames per Second) |
The number of frames in any second of footage normally set at 24/25 or 30 frames per second, shooting at higher frame rates can be part of creating high-quality slow motion effects |
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codec |
is short for code+decode, codecs are the ways in which video or audio can be compressed. Each codec has its own strengths and weaknesses. So, a codec such H.264 is very good for online distribution but very poor as a recording codec. A codec such as ProRes is very good for capture and editing but is too data-heavy for online |
