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Definition
| a single piece of film uninterrupted by cuts |
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Term
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Definition
often a long shot or a series of shots that sets the
scene. It is used to establish setting and to show transitions between
locations |
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Term
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Definition
a shot from some distance. If filming a person, the
full body is shown. It may show the isolation or vulnerability of the
character (also called a Full Shot) |
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Term
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Definition
the most common shot. The camera seems to be
a medium distance from the object being filmed. A medium shot shows
the person from the waist up. The effect is to ground the story |
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Definition
| the image takes up at least 80 percent of the frame |
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Term
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Definition
the image being shot is a part of a whole, such as an
eye or a hand |
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Term
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Definition
a scene between two people shot exclusively from an angle
that includes both characters more or less equally. It is used in love
scenes where interaction between the two characters is important |
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Term
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Definition
a shot taken from a normal height; that is, the character’s
eye level. Ninety to ninety-five percent of the shots seen are eye level,
because it is the most natural angle |
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Term
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Definition
the camera is above the subject. This usually has the effect
of making the subject look smaller than normal, giving him or her the
appearance of being weak, powerless, and trapped |
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Term
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Definition
the camera films subject from below. This usually has the
effect of making the subject look larger than normal, and therefore
strong, powerful, and threatening |
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Term
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Definition
| a stationary camera moves from side to side on a horizontal axis |
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Term
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Definition
| a stationary camera moves up or down along a vertical axis |
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Term
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Definition
a stationary camera where the lens moves to make an object
seem to move closer to or further away from the camera. With this
technique, moving into a character is often a personal or revealing
movement, while moving away distances or separates the audience
from the character |
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Term
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Definition
the camera is on a track that allows it to move with the
action. The term also refers to any camera mounted on a car, truck, or
helicopter |
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Term
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Definition
the camera is on a crane over the action. This is used to
create overhead shots |
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Term
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Definition
| the scene is flooded with light, creating a bright and openlooking scene |
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Term
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Definition
the scene is flooded with shadows and darkness, creating
suspense or suspicion |
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Term
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Definition
direct lighting from below or the side, which
often makes the subject appear dangerous or evil |
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Term
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Definition
soft lighting on the actor’s face or from behind
gives the appearance of innocence or goodness, or a halo effect |
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Term
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Definition
most common editing technique. Two pieces of film are spliced
together to “cut” to another image |
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Term
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Definition
can be to or from black or white. A fade can begin in darkness
and gradually assume full brightness (fade-in) or the image may
gradually get darker (fade-out). A fade often implies that time has
passed or may signify the end of a scene |
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Term
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Definition
a kind of fade in which one image is slowly replaced by
another. It can create a connection between images |
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Term
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Definition
a new image wipes off the previous image. A wipe is more fluid
than a cut and quicker than a dissolve |
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Term
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Definition
| cut or dissolve to action that happened in the past |
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Term
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Definition
a shot of one subject, then another, then back to
the first. It is often used for conversation or reaction shots |
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Term
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Definition
cut into action that is happening simultaneously.
This technique is also called parallel editing. It can create tension or
suspense and can form a connection between scenes |
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Term
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Definition
cut to an object, then to a person. This technique
shows what a person seems to be looking at and can reveal a
character’s thoughts |
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Term
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Definition
sound that could logically be heard by the characters in the
film |
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Term
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Definition
sound that cannot be heard by the characters but is
designed for audience reaction only. An example might be ominous
music for foreshadowing |
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