Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
42 Cards in this Set
- Front
- Back
visualization does not depend on event context
|
false
|
|
according to zettly, not all commercials are carefuly storyboarded before they go into production
|
faslse
|
|
through superimposition, matting, or multi screens, we can show a variety of angles at the same time, thereby creating:
|
simultaneous angles.
|
|
when we look down with the camera using a high angle, the subject generally diminishes in significance and becomes less powerful.
|
true.
|
|
a jump cut is when an object seems to her from one screen position to another and is a direct consequence of slight but significant misalignments of camera to object from one shot to the next.
|
true.
|
|
the most common way of using point of view is to have the camera first focus on a person looking in a particular direction and then follow with a shot of what the person sees
|
true.
|
|
the amount of territory a shot includes and from how far away we seem to look at the event is defines as our:
|
field of view
|
|
over the shoulder and cross shooting are especially advantageous for the small video screen and the mobile media display.
|
true.
|
|
the visual approach that uses the technical devices and the potentials of the medium to build a unique screen event that depends entirely on the medium is called
|
creating an event
|
|
in practice, the three basic ways of looking usually - and should - overlap
|
true.
|
|
being discovered refers to when the screen action is aimed directly at us in our viewing position, and thus inevitabley links us with the screen event.
|
true.
|
|
the direct address method, where the performer speaks directly to the camera, is not a form of subjective camera.
|
false.
|
|
all of these are basic visualization factors relative to viewpoint
|
location and time of day.
|
|
according to Zettl, your shooting angles should not become the communication instead they should simply be a reflection of your personality and aesthetic sensitivity
|
true.
|
|
a scene in which a child is shown running through the woods and then the camera shows what he sees in an example of subjective camera work.
|
true.
|
|
angles show different viewpoints and add to event intensification
|
true.
|
|
creating in the context of ways of looking involves medium manipulation of the event
|
true.
|
|
what does looking into an event mean?
|
the camera scrutinizes the event as closely as possible.
|
|
the direct address method, where the performer speaks directly to the camera, is not a form of subjective camera
|
false
|
|
.by changing angles from shot to shot, you introduce directional shifts that are perceived as positional jumps rather than a change in viewpoint.
|
faalse.
|
|
field of view can be applied only to EFP
|
false.
|
|
in over the shoulder shooting, the camera moves past the shoulder of the camera near person to get a tighter close up of the camera far person, and in each shot the camera near person has temporarily moved into off screen space.
|
false
|
|
what is the most accurate definition of visualization
|
thinking in pictures and sound.
|
|
an objective camera assumes the role of an onscreen character, substituting for the performers eyes and actions
|
false
|
|
in practice, the three basic ways of looking never overlap.
|
false
|
|
the most common way of using point of view is to have the camera first focus on a person looking in a particular direction an then follow with a shot of what the person sees.
|
true.
|
|
when we look down with the camera using a high angle, the subject generally diminishes in significance and becomes less powerful
|
true.
|
|
the ideal transformation of the viewer from event spectator to event participant frequently occurs.
|
false
|
|
what does looking at an event mean?
|
to use the camera to report an event.
|
|
angles show different viewpoints and add to event intnsification
|
true.
|
|
creating in the context of ways of looking involves medium manipulation of the event
|
true.
|
|
the direct address method, where the performer speaks directly to the camera, is not a form of subjective camera.
|
false
|
|
by changing angles from shot to shot, you introduce directional shifts that are perceives as positional jumps rather than a change in viewpoint
|
false
|
|
in over the shoulder shooting, the camera moves past the shoulder of the camera near person to get a tighter close up of there camera far person and n each shot the camera near person has temporarily moved into off screen space.
|
false.
|
|
what is the most accurate definition of visualization
|
thinking in pictures and sound.
|
|
an objective camera assumes the role of an on screen character substituting for the performers eyes and actions
|
false
|
|
in practive, the three basic ways of looking never overlap.
|
false.
|
|
the most common way of using point of view is to have the camera first focus on a person looking in a particular direction and then follow with shot of what the person sees
|
true.
|
|
When we look down with the camera using a high angle, the subject generally diminishes in significance and becomes less powerful
|
true.
|
|
the ideal transformation of the viewer form event spectator to event participant frequently occurs
|
false
|
|
what does looking at an event mean?
|
to use the camera to report an event.
|
|
in your basic visualization is determined by a looking-into context, you can cover an action from various extreme angles.
|
true.
|