Intro To Film Mid-Term

Front 1

Explain persistence of vision

Back 1

the human brain retains a visual imprint for a fraction of a second, so the continuous projection of still images appear to be an image of a single movement= the phi phenommenon

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Cinematography

Back 2

motion-picture photography... writing in movement

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shot

Back 3

continuous point of view or image that does not break, change, or cut to another point of view or image

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point of view

Back 4

the position from which something is filmed

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subjective point of view

Back 5

re-creates the perspective of a character

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objective point of view

Back 6

represents the more impersonal perspective of the camera

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framing

Back 7

contains, limits, and directs the point of view

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canted frame

Back 8

framing that appears unbalanced or askew

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depth of field

Back 9

range or distance before and behind the main focus

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film stock

Back 10

unexposed film consisting of a flexible backing or base and a light-sensitive emulsion

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gauge

Back 11

describes the width of film stock

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film speed

Back 12

the rate at which moving images are recorded

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Technicolor

Back 13

color processing that uses 3 strips of film to transfer colors directly onto a single image

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camera lens

Back 14

the piece of curved glass that redirects light rays in order to focus and shape images

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focal length

Back 15

the distance from the center of the lens to the point where light rays meet in sharp focus

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wide-angle lens

Back 16

lens less than 35mm in focal length, allows cinematographers to explore a depth of field that could show different visual planes simultaneously

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widescreen processes

Back 17

changed the film's aspect ratio by dramatically widening it

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telephoto lens

Back 18

lens with a focal length of at least 75mm and capable of magnifying and flattening distant objects

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steadicam

Back 19

camera stabilization device that allows the operator to make smooth, rapid movements

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aspect ratio

Back 20

describes the width and height of the film frame as it appears on a movie screen or TV monitor.
-academy ratio= 1:33:1
-US widescreen ratio= 1:85:1

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letterboxed

Back 21

blocking off the top and bottom strips of the TV frame to accommodate a smaller version of the widescreen image

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masks

Back 22

attachments to the camera that cut off portions of the frame so that part of the image is black

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iris shot

Back 23

masks the frame so that only a small circular piece of the image is seen

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onscreen space vs offscreen space

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Onscreen space refers to the space visible in the frame of an image, while offscreen space is the implied space that exists outside the image

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overhead shot

Back 25

aka crane shot, depicts the action or subject from high above

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point-of-view shots

Back 26

defined as shots that re-create the perspective of a character

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shallow focus

Back 27

narrow range of field is focused

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rack focus

Back 28

the focus shifts rapidly from one object to another

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reframing

Back 29

the movement of the frame from one position to another within a single continuous shot

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pan

Back 30

moves the frame from side to side w/ out changing the position or axis of the camera

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traveling shot

Back 31

tracking shot-changes the position of the p of v by moving forward or backward or around the subject
dolly shot-camera is moved on a dolly

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parallelism

Back 32

occurs when the soundtrack and image "say the same thing"

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counterpoint sound

Back 33

when two different meanings are implied by these elements

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source music

Back 34

diegetic music, like the shot of a band playing at a party

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semi-diegetic sound/ internal diegetic sound

Back 35

thoughts of a character spoken aloud

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looping

Back 36

recording on a loop of film that is replayed and layered, filling in the sound and exceeding realistic reproduction

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sound designer

Back 37

plans and directs te overall sound through to the final mix

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direct sound

Back 38

sound captured directly from its source

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reflected sound

Back 39

captured sounds that bounce from the walls and sets, usually to give some sense of space

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sound recordist/ production mixer

Back 40

combines these different sources during filming, adjusting their relative volume or balance

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sound editing

Back 41

interacts with the image track to create rhythmic relationships, establish connections between sound and onscreen sources, and smooth or mark trasitions

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sound bridge

Back 42

when a sound carries over a visual transition in a film

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spotting

Back 43

when the directer consults with the composer and the picture and sound editiors to determine where music and effects will be added

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postsynchronous sound

Back 44

recorded after the fact and then synchronized with onscreen sources, often preferrred to the dialogue used in the final mix

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automated dialogue replacement (ADR)

Back 45

actors watch the film footage and re-record their lines to be dubbed into the soundtrack

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room tone

Back 46

the aural properties of a location when nothing is happening

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sound perspective

Back 47

refers to the apparent distance of a sound source

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overlapping dialogue

Back 48

mixing characters' speech simultaneously

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talking heads

Back 49

on camera interviews usually shot in medium close-up

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sychronization

Back 50

visible coordination of the voice with the body from which it is emanating

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background music/ underscoring

Back 51

music underscores what is happening dramatically

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cue

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a piece of music composed for a particular place in a film

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motives

Back 53

themes assigned to particular figures

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click track

Back 54

hole punched in the film to keep the beat of te action

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invisibility

Back 55

refers to the predominance of nondiegetic music and to the fact that the technical apparatus that produces film music is never seen

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inaudibility

Back 56

dictates that conscious attention shouldn't be paid to the score

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narrative cueing

Back 57

refers to how music tells us what is happening in the plot

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stingers

Back 58

sounds that force us to notce the significance of something onscreen

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mickey-mousing

Back 59

over illustrating the action through the score, such as accompanying a character walking on tip-toe with plucked strings

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music supervisor

Back 60

selects and secures the rights for songs to be used in films

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sound continuity

Back 61

describes the range of scoring, sound recoording, mixing, and playback processes that strive for the unification of meaning and experience by subordinating sound to the aims of the narrative

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diegisis of film

Back 62

story world of the film, including all that occurs in the film and all that could possibly occur

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diegetic sound

Back 63

emerges fromt the story world of the film

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non-diegetic sound

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soundtrack music that the characters cannot hear

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sound designers

Back 65

manipulate both sound and silence

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tambour

Back 66

sound quality

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shot

Back 67

a continuous length of film

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in-camera editing

Back 68

stop the film in the camera and resume after rearranging the mise-en-scene

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shooting ratio

Back 69

length of film shot and that which is used in the finished proect

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coverage

Back 70

ensuring that a number of shots of a particular scene are take from different angles and distances

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master shot

Back 71

continuous shot of the scen's entire action

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storyboards

Back 72

laid out each scene shot-by-shot

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dailies

Back 73

each days shooting

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takes

Back 74

filmed versions of each shot

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post-production

Back 75

editor begins to assemble the selected takes of a shot into a rough cut

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rough cut

Back 76

juxtaposing one shot with the next and shaping these linkages into larger units that may correspond to narrative sections

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splice

Back 77

physical join in the film

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work print

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material the editor works with

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cut

Back 79

the break and common border that seperate 2 shots from 2 different pieces of film

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crosscutting

Back 80

cuts back and forth between actions in seperate spaces

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parallel editing

Back 81

alternating beween two or more strands of simultaneous action

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motage

Back 82

the french word for editing that has come to signify a style emphasizing the breaks and contrasts between images joined by a cut

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verisimiltude

Back 83

the quality of fictional representations athat allows the readers of viewers to accept a consturcted world, its events its characters

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continuity editing

Back 84

a system that uses cuts and other transitions to estalish verisimiltude and to tell stories efficiently

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nondiegetic insert

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insert that breaks continuity

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overlapping editing

Back 86

we are shown 2 shots of the same action

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eyeline match

Back 87

character is looking at ina a screen position that matches the gaze

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reaction shots

Back 88

depict a character's reponse to something that viewers also see

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continuity style

Back 89

refers to an even broader array of technical choices that support this principle of effacing technique to clarify the narrative and its human motivation