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66 Cards in this Set
- Front
- Back
Angle |
The basic point of view that dominates the approach to a story |
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Field Production |
Production activities that take place away from the studio |
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Medium Requirements |
The equipment, facilities and people necessary for a specific production |
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Postproduction |
Production activities after the video recording phase |
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Preproduction |
Activities during the planning of a production
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Process Message |
The message actually perceived by the viewer watching the video |
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Production |
Activities during which the production is telecast live or recorded
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Program Objective |
The desired effect of a program on the viewer
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Production Model |
Moving from the idea to the program objective then backing up to the specific medium requirements to achieve the program objective. |
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Nontechnical Personnel |
Producer, Director, Assistant Director, Line Producer, Production Manager, Script Supervisor, Production Assistant, etc.. |
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Postproduction team |
All individuals responsible for editing and piecing together a production. |
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Preproduction team |
All individuals responsible for the technical aspects of creating of a particular product. |
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Production schedule |
A breakdown of the time spent during a production |
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Technical personnel |
Director of Photography, Camera Operator, First + Second Assistant Camera, Digital Imaging Tech, |
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720p |
(1280x720, Progressive, High Definition) |
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1080i |
(1920x1080, Interlaced, High Definition) |
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1080p |
(1920x1080, Progressive, High Definition) |
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480i/480p |
(720x480, Interlaced/Progressive, Standard Definition) |
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Analog |
An electric copy of the original stimulus |
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Codec |
A computer program that both shrinks large movie files, and makes them playable on your computer. |
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Compression |
The temporary rearrangement or elimination of all data that are not absolutely necessary preserving the original quality of the video and audio signals for storage and signal transportation. |
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Digital |
Data in an On/Off configuration
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Field |
Scanning all the odd lines yields one
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Frame |
Two fields together make one |
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Refresh Rate |
The number of frames progressively scanned per second |
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Aperture |
The iris opening of a lens
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Beam Splitter |
Optical device within the camera that divides the white light into three primary colors: red, green and blue
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Camera Control Unit |
A range of equipment and operations related to remote control of video/television camera functions. |
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CCD |
An electronic "chip"; it is the most common imaging device in color cameras.
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Fast Lens |
A lens that permits a relatively great amount of light to pass through at its largest aperture setting
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Focal Length |
Indicates how much of a scene the lens can see and how magnified the distant objects look |
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F Stop |
The scale on the lens, indicating the aperture. The larger the Fstop number, the smaller the aperture;the smaller the f stop number,the larger the aperture |
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Iris |
Adjustable lens-opening mechanism
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Slow Lens |
A lens that permits a relatively small amount of light to pass through at its largest aperture
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Viewfinder |
A small video screen or flat-panel display on a camera that shows the black-and-white or color picture the camera generates. |
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Arc |
To move the camera in a slightly curved dolly or truck |
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Cant |
To tilt the camera sideways
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Crane |
To move the boom of the camera crane up or down. Also called boom. |
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Dolly |
To move the camera in or away from the subject |
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Pan |
To turn the camera horizontally
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Pedestal |
To move the camera up or down using the studio pedestal
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Tilt |
To point the camera up or down |
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Tongue |
To move the boom of a camera crane of jib arm with the camera from left to right |
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Truck |
To move the camera laterally by means of a mobile camera mount |
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White Balance |
The process of adjusting the video camera's red, blue, and green in order to balance the color of prevailing sources (sunlight, sky light, fluorescent, etc.). |
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Aspect Ratio |
The proportions of an Image; width divided by height. |
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Depth of Field |
The area in front of and behind the plane of focus in the scene which is acceptably sharp |
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Headroom |
The space between the top of the head and the upper screen edge |
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Leadroom |
The space in front of a laterally moving object or person |
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Cardioid |
Heart-shaped pick up pattern of a unidirectional microphone
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Condenser Microphone |
High-quality, sensitive microphone for critical sound pickup
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Dynamic Microphone |
A relatively rugged microphone. Good for outdoor use.
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Hypercardioid |
A very narrow unidirectional pickup pattern with a long reach. The mic is also sensitive to sounds coming directly from the back.
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Lavalier |
A small microphone that is clipped to clothing . Also called a lav. |
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Omnidirectional |
Pickup pattern of a microphone that can hear equally well from all directions |
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Pickup Pattern |
The territory around the microphone within which the mic can hear well. |
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Unidirectional |
Pickup pattern of a microphone that can hear best from the front |
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XLR Connector |
The type of connector used to connect things like the boom mic to the camera. |
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Attached Shadows |
Shadow that is connected to its source |
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Cast Shadows |
Shadow that is not connected to its source ie. cast onto a wall |
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Contrast |
The difference between one tone and another or between the darkest and lightest parts of a scene or processed film |
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Directional light |
A loose term for light that is not loose, and does not spill. Hard Light is directional, Soft Light can be made fairly directional with an Eggcrate. |
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Diffused Light |
A Translucent material placed in front of a Light to soften Highlights and Shadows, reduce Contrast and increase Beam Angle. |
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Falloff |
The size of the area on a surface where light and shadows merge. Soft sources produce a gradual transition, a subtle gradation of tones. Hard sources, without Fill Light, change abruptly |
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Reflected light |
Various surfaces in a scene reflect between 1% and 95% of the Incident Light. Specular surfaces will reflect it narrowly. Diffuse (rough, irregular, or Matte) surfaces Scatter it. |
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NTSC |
National television standard commity. The video system or standard used in North America and most of South America. 30 frames are transmitted each second. Each frame is made up of 525 individual scan lines. |