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50 Cards in this Set
- Front
- Back
- 3rd side (hint)
Field of view is a basic visualization factor relative to viewpoint. |
True |
True or False |
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Distinct vector fields that can help us clarify and intensify a screen event are called angles. |
True |
True or False |
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It is possible for the subjective camera to persuade us to associate closely with the camera's point of view and occasionally with its action. |
True |
True or False |
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The deductive visual approach is ideally suited to a large, horizontally stretched HDTV or movie screen |
True |
True or False |
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Being discovered refers to when the screen action is aimed directly at us in our viewing position, and thus inevitably links us with the screen event. |
True |
True or False |
|
If your basic visualization is determined by a looking-at context, you can cover an action from various extreme angles. |
False |
True or False |
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All of the following are traditional designations of fields of view EXCEPT: |
E. extreme medium shot |
A. extreme long shot B. long shot C. medium shot D. close-up E. extreme medium shot |
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In cross 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. |
True |
True or False |
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A scene in which a child is shown running through the woods and then the camera shows what he sees is an example of objective camera work. |
False |
True or False |
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Building sequential screen space means: |
D. we build screen space from shot to shot |
A. various screen angles are presented at the same time B. continuity is no longer important C. aesthetic energies may be disregarded D. we build screen space from shot to shot E. none of the above |
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Because deductive sequencing provides detailed close-up shots it is well suited to the small video screen. |
False |
True or False |
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The direct-address method is not a part of the subjective-camera approach. |
False |
True or False |
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According to Zettl, all commercials are carefully storyboarded before they go into production. |
True |
True or False |
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Even if the actions and the attitudes of the on-camera people dictate to a large extent the basic use of angles, you still have wide latitude in which angles to use and how to use them. |
True |
True or False |
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The inductive approach is essential for producing effective video for the small mobile media display. |
True |
True or False |
|
cross shooting |
Similar to O/S shooting except camera-near person is out of shot |
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deductive visual approach |
Moving from overview to event detail |
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inductive visual approach |
Moving from event detail to general overview |
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over-the-shoulder shooting |
Like cross shooting except near person partially in shot |
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paraproxemics |
A pseudo-interpersonal relationship established by camera position/angle |
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storyboard |
Series of sketches of key visualization points |
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subjective camera |
Camera assumes role of event participant |
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visualization |
Mentally seeing an image; also, the particular characteristics of a video/audio image |
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Angles cannot be used to intensify an event or to reveal the underlying feelings of a person in a particular situation |
False |
True or False |
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All of these are basic visualization factors relative to viewpoint EXCEPT: |
B. location and time of day |
A. field of view B. location and time of day C. above and below eye level D. subjective camera E. camera angles |
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The deductive approach is essential for producing effective video for the small mobile media display. |
False |
True or False |
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How can you intensify the power of an object or a person? |
A. camera looks up at the object or person |
A. camera looks up at the object or person B. camera looks down on the object or person C. camera looks at the object or person straight on at eye level D. camera uses a rack-focus effect on the object or person E. camera looks at the object or person from the side at eye level |
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Even when we "create" an event, the event must be a picture taken of an actual object or happening. |
False |
True or False |
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Through superimposition, matting, or multiscreens, we can show a variety of angles at the same time, thereby creating: |
D. simultaneous angles |
A. sequential screen space B. viewpoint-angle consistency C. cinerama D. simultaneous angles E. a major screen event |
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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 |
True or False |
|
A scene in which a child is shown running through the woods and then the camera shows what he sees is an example of subjective camera work. |
True |
True or False |
|
A storyboard cannot include audio information. |
False |
True or False |
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The visual approach used to report an event from an objective point of view is called: |
C. looking at an event |
A. looking into an event B. creating an event C. looking at an event D. looking through an event E. structuring an event |
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In practice, the three basic ways of looking usually - and should - overlap. |
True |
True or False |
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field of view |
Territory a shot inculdes |
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jump cut |
Image jerks from one position to another during cut |
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point of view (POV) |
For camera, describes position/angle involvement |
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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: |
B. creating an event |
A. looking into an event B. creating an event C. looking at an event D. looking through an event E. structuring an event. |
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Visualization depends on the context of each shot and the overall visual approach of how you want to tell the story |
True |
True or False |
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In over-the-shoulder shooting, the camera literally looks over the shoulder of the camera-near person at the camera-far person and vice versa |
True |
True or False |
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Distinct vector fields that can help us clarify and intensify a screen event are called angles |
True |
True or False |
|
Regardless of the specific production approach, all CUs occupy the same screen space. |
False |
True or False |
|
The visual approach used to provide an insight into the nature and the emotions of an event is called: |
A. looking into an event |
A. looking into an event B. creating an event C. looking at an event D. looking through an event E. structuring an event |
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The visual approach used to report an event from an objective point of view is called: |
C. looking at an event |
A. looking into an event B. creating an event C. looking at an event D. looking through an event E. structuring an event |
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The amount of territory a shot includes an from how far away we seem to look at the event is defined as our: |
D. field of view |
A. aesthetic field B. focal point C. depth of field D. field of view E. point of view |
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In cross 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. |
True |
True or False |
|
Seeing individual shots or short shot sequences in a specific way is called: |
B. visualization |
A. continuity B. visualization C. filmic creation D. directorial creation E. determination |
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If your basic visualization is determined by a looking-into context, you can cover an action from various extreme angles. |
True |
True or False |
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Being discovered refers to when the screen action is aimed directly at us in our viewing position, and thus inevitably links us with the screen event. |
True |
True or False |
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A simultaneous display of various viewpoints by changing from shot to shot, provides a new visual reality that permits us to experience the complexity of an event all at once. |
True |
True or False |