Term
| The Two-Dimensional Field: Forces Within the Screen |
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Definition
| Horizontal lines suggest calmness, tranquility, and rest. Vertical lines are more powerful and exciting than horizontal ones. Tilting the horizontal plane can be a discomfort to us. We seek to hang our pictures level and we demand to view a two hour movie in the same way. However, we can utilize the tilted horizon to our advantage. A style used extensively in music videos and commercials. |
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Term
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Definition
| The objects of a picture field act like magnets. They have a tendency to attract objects near them. This magnetism of the frame can be so strong that it counteracts our natural reaction to the gravitational pull. |
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Term
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Definition
| You need to leave some headroom in order to reduce the magnetic pull of the upper screen edge. |
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Term
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Definition
| The larger the graphic mass, the greater its weight; that is, the "heavier" (more prominent) the image seems within the screen. |
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Term
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Definition
Because the two sides
of the screen seem
structurally unequal, we
speak of an asymmetry
of the frame. |
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Term
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Definition
The figure-ground principle is
our perceptual tendency to
organize our environment
automatically into stable
reference points against
which we assess and check
the less-stable elements. |
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Term
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Definition
We continually seek to stabilize our
infinitely complex and often chaotic
environment. One of our built-in survival
mechanisms is our tendency to mentally
fill in the gaps in visual information to
arrive at easily manageable and
complete patterns and configurations.
This perceptual activity is called
psychological closure. |
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Term
|
Definition
The patterns that result from
psychological closure if often called a
gestalt (German for "form"
"configuration", "shape") High- And
Low-Definition Images In High-Definition
images the large screen lets you see a
great amount of event detail, and the film
images have a high resolution. In Low
Definition images such as on television,
the images are low resolution. |
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Term
|
Definition
Probably the strongest
forces operating within the
screen are directional
forces that lead our eyes
from one point to another
within, or even outside of,
the picture field. |
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Term
|
Definition
A combination of various vectors
operating within a single picture
field (single frame), from the picture
field (from frame to frame), from
picture sequence to picture
sequence, from screen to screen
when you use multiple screens, and
from on-screen to off-screen events
is a vector field. |
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Term
|
Definition
Graphic Vectors are created by stationary
elements that guide our eyes in certain
directions. Index Vectors are created by
something that points unquestionably in a
specific direction. An object that is actually
moving or perceived as moving on the screen
creates a Motion Vector. Vector Magnitude and
Screen Direction Graphic vectors have a
relatively low magnitude. Index vectors have a
high magnitude. |
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Term
Vectormagnitude
and graphic mass |
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Definition
The larger the
graphic mass that
is in motion, the
higher its vector
magnitude. |
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Term
Vector
magnitude and
perceived
object speed. |
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Definition
The faster the
speed of an object,
the higher its
vector magnitude. |
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Term
|
Definition
When two or more index and/or motion
vectors point in the same direction, we
have continuing vectors. In contrast to
continuing vectors, which support each
other in establishing or maintaining a
specific single direction, converging
vectors point toward each other either in
a single shot or series of shots. If index or
motion vectors point away from each
other, we have diverging vectors. |
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Term
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Definition
Relationship
between
screen width to
screen height |
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Term
Video, Film,
Computer
Screens |
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Definition
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Term
|
Definition
|
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Term
Motion Picture
Wide Screen
Aspect Ratio |
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Definition
|
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Term
Panavision
35mm Motion
Picture Aspect
Ratio |
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Definition
|
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Term
Does framing
differ for 4 x 3
and 16x 9 |
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Definition
Yes, the inner
space between
objects becomes
more prominent in
4 x 3 |
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Term
NTSC/PAL or
16mm Film
Aspect Ratio |
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Definition
lm
Aspect Ratio
4 x 3 or
1.33 x 1 |
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Term
|
Definition
Is used to
make a
wide-screen
presentation |
|
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Term
|
Definition
Is fitting a full
frame into a
wide-screen
format |
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Term
|
Definition
Knowing the size of the
object Knowing the size
in relationship to
another object Knowing
the size in relationship
to screen area |
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Term
The
Four-Dimensional
Field: Time |
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Definition
The various theories and applications of
time and motion within the context of
television and film. Moving image and
time are the essence of moving images.
We start at a point of time and we end at
another point. We can go back in time.
We can go to ahead of time. However, in
reality we follow a linear pattern to do that
in motion pictures |
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Term
|
Definition
We seek to
manipulate, to
control, and to
measure time. |
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Term
|
Definition
We do not know what time
is. All we really know is
how to experience time in
the form of duration,
recurring phenomena,
cycles, rhythm, and
motion. |
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Term
|
Definition
The time we measure by the clock
is called, appropriately enough,
clock time or objective time. The
time we experience is called
subjective time. A time that
regulates our body functions and
determines when we feel alert and
when we feel tired is called
biological time. |
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Term
|
Definition
Objective time
is what an
accurate clock
reports. |
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Term
|
Definition
Percieved Time - Perceived duration Common experience
seems to tell us that the more involved we are in an event,
the shorter the event's duration seems to be; and the less
involved we are, the longer the duration seems to be. Can
you give an example of each? Duration as vertical vector
We actually experience time more by the quality of what we
do, that is, by whether and how much we are interested in
what we are doing and by how much we are affected by
what we perceive. Duration as vertical vector: We actually
experience time more by the quality of what we do, that is,
by whether and how much we are interested in what we are
doing and by how much we are affected by what we
perceive. |
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Term
|
Definition
The relative energy and significance we
perceive about an event is a measure of
event intensity. The relative number of
event details that occur within a brief
clock time period constitute event
density. Experience intensity refers to the
number of relevant experiences w go
through either simultaneously or in rapid
succession and to the relative depth or
impact such events have on us. |
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Term
|
Definition
One type of subjective
time operates
quantitatively, which
means it tells us when
to do certain things. |
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Term
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Definition
Everyday experience in life
gives us ample evidence
that time moves
relentlessly forward, that
the past precedes the
present, and the present,
the future. |
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Term
|
Definition
Based on our ordinary
experience, we divide
the time continuum into
the past, the present,
and the future. |
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Term
|
Definition
The paradox of the
present is that it is the
only time in which we
live, yet it remains
outside our perceptual
grasp |
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Term
|
Definition
As a quality rather than a
quantity, time no longer
measures cause/effect
progression, but has given
way to the simultaneous
coexistence of all events. |
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Term
Time Vectors
in Live
Television |
|
Definition
As a quality rather than a
quantity, time no longer
measures cause/effect
progression, but has given
way to the simultaneous
coexistence of all events. |
|
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Term
|
Definition
The objective time vectors of an
actual event and the televised event
are inevitably tied to each other
when the telecast is live. Live
Television means that the event
and the telecast of the event are
happening simultaneously. Real
Time is the actual time of the event |
|
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Term
Live TV
Objective
Time Vectors |
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Definition
The only time you have over
clock time in the coverage of a
live event is the starting and
ending times of the telecast,
and when you temporarily cut
away fro commercials or other
announcements. |
|
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Term
Live TV
Subjective
Time Vectors |
|
Definition
As producers we have no
control over the direction of the
objective time vectors in a live
telecast, but we can still
influence the magnitude of the
subjective time vector, that is,
the degree of involvement and
participation in the event. |
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Term
Recorded
TV/Film Time
Vectors |
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Definition
As soon as an event is
recorded on videotape, on
some other electronic
recording device, or on
film, it has become a
record of the past. |
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Term
|
Definition
Live-On-Tape means that
the live telecast is
recorded for unedited
playback at a later time.
Some talk shows or game
shows are in this format |
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Term
|
Definition
The recording of the event
becomes subjective to your
attitude changes, depending
on how far removed in time
you are from the event and
the context that may change
over time. |
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Term
|
Definition
Instant replays are live-on-tape
recordings of event highlights that
are played back immediately after
they have occurred in the actual
event. You have seen this on many
sport shows or broadcasts. Playing
replays in slow motion has even
more impact on the audience. |
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Term
Edited
Video/Film
Time Vectors |
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Definition
Through editing you can
change the time order of
the past, present, and
future. What would a
moving picture without
editing be? |
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Term
Structuring the
Two-Dimensional
Field |
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Definition
Structuring the
two-dimensional field
means making the
various screen forces
work for rather than
against you. |
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Term
Stabilizing the
Field Through
Distribution of
graphic Mass and
Magnetic Force |
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Definition
One of the most basic ways of stabilizing the
two-dimensional fields is to bring the forces of
graphic mass, and the magnetism of the frame
into balance. Graphic weight is determined by:
(1) the dimension of the object, which means
how much area the object takes up relative to the
total screen area; (2) its basic shape; (3) its basic
orientation; (4) its location within the screen; and
(5) its color. |
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Term
|
Definition
You can correct an imbalance of
graphic weight by centering the
object through camera or object
movement so that the pull of the
frame is equalized, or by Counter
weighting it with an object or other
graphic element (such as a beam of
light) of similar graphic weight. |
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Term
|
Definition
This means that
identical picture
elements appear on
the left and right
sides of the screen. |
|
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Term
|
Definition
In a neutral
balance, the
graphic elements
are asymmetrically
distributed |
|
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Term
|
Definition
To help viewers structure the
two-dimensional field, try to
arrange its visual content so
that viewers can group and
organize it into easily
recognizable patterns of simple
geometrical figures. |
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Term
|
Definition
Problems of premature
closure occur whenever the
frame cuts off persons at any
of their natural dividing lines,
such as eyes, mouth, chin,
shoulders, elbows, hemline,
and so forth. |
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Term
Dividing the
Screen:
Screens Within
the Screen |
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Definition
Although the divided screen
reduces rather than expands
the principal viewing area, the
basic communication purpose
is similar to that of the multi
screen display, to show multiple
images simultaneously rather
than sequentially. |
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Term
|
Definition
Our need to make sense of the
chaotic environmental and
perceptual stimulus overload is
so strong that we form patterns
even when the visual elements
that make up these patterns
are illogical and obviously do
not belong together. |
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Term
Three-Dimensional
Field: Depth and
Volume |
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Definition
In television, film, and computer
displays, as in painting and still
photography, we must project
the three-dimensional world
onto a two-dimensional surface |
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Term
|
Definition
You can describe
the width of the
screen as the z-axis,
and the screen
height as the y-axis. |
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Term
|
Definition
When you see one object
partially covered by
another, you know that the
one that is doing the
covering must be in front
of the one that is partially
covered. |
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Term
|
Definition
If you know how big an object
is, or can guess its size by
contextual clues (such as other
known objects), you can tell
approximately how far the
object is from the camera by
the size of the screen image. |
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Term
|
Definition
You will perceive an object
as being more and more
distant the higher it moves
in the picture field until it
has reached the horizon
line. |
|
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Term
|
Definition
In a linear perspective, all
objects look progressively
smaller the farther away they
are, and parallel lines converge
in the distance, with the vertical
and horizontal lines becoming
crowded as they move away
from the observer (camera). |
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Term
|
Definition
The horizon line is
an imaginary line
parallel to the
ground at eye
level. |
|
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Term
|
Definition
We can generate the
impression of distance by
having parallel lines
converging "faster:- more
readily- and make distant
objects appear smaller than
we would ordinally perceive. |
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Term
|
Definition
We see objects that are
close to us somewhat
more sharply than those
farther away, a
phenomena known as
aerial perspective. |
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|
Term
Overlapping
Planes:
Wide-Angles
Lens |
|
Definition
Because the objects along
the z-axis look stretched
out more with wide-angle
lens, it renders
overlapping planes less
powerful as a depth
indicator. |
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|
Term
Overlapping
Planes: Narrow
Angle Lens |
|
Definition
Because the narrow-angle
lens enlarges the
background objects,
foreground and
background objects look
similar in size. |
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Term
Relative Size:
Wide-Angle
Lens |
|
Definition
Objects that lie close to the
camera appear relatively large,
whereas similar objects
positioned on the z-axis only a
short distance behind the close
object show up in a
dramatically reduced image
size |
|
|
Term
Relative Size:
Narrow-Angle
Lens |
|
Definition
When the same scene
is photographed with a
narrow-angle lens, the
two-objects seem
uncomfortably close to
each other. |
|
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Term
Linear
Perspective:
Wide-Angle
Lens |
|
Definition
The wide-angle lens
"accelerates" the convergence
of parallel lines; that is, they
seem to converge more than
when seen normally, thereby
giving the illusion of stretching
an object or building. |
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|
Term
Linear
Perspective:
Narrow-Angle
Lens |
|
Definition
The narrow-angle lens
inhibits the normal
convergence of parallel
lines and thus reduces the
illusion of depth through
linear perspective. |
|
|
Term
Achieving
Aerial
Perspective |
|
Definition
The area along the
z-axis that appears
to be in focus is
called the depth of
field. |
|
|
Term
Aerial
perspective:
wide-angle lens |
|
Definition
Because a wide-angle
lens generates a great
depth of field, it
de-emphasizes aerial
perspective. |
|
|
Term
Aerial
perspective:
narrow-angle
lens |
|
Definition
Once you focus on a
object using a
narrow-angle lens, the
areas immediately in
front of back of the
object are out of focus. |
|
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Term
|
Definition
This technique allows you to
select the precise portion
(plane) on the z-axis that you
want to be in focus, with the
areas immediately in front or
behind the focused object
being out of focus. |
|
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Term
|
Definition
If you want to shift emphasis from an
object to the person holding it without
changing the shot (through dolly, zoom,
cut, or dissolve), you can first focus on
the object with the person being out of
focus and then "rack through" the focus
range of the lens until the person's face
comes into focus, throwing the object out
of focus |
|
|
Term
|
Definition
Such a process, in which the
three-dimensional
lens-generated screen image is
deliberately rendered in a
two-dimensional, graphic-or
picture like format, is called
graphication. |
|
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Term
|
Definition
Viewers readily perceive
the stripes and letters
keyed over the screen as
the figure, and the images
behind the letters (the
actual scene) as the
ground. |
|
|
Term
First- And
Second-Order
Space |
|
Definition
We call the total screen area
first-order space, and the
secondary frame, secondary space.
We attribute to the people operating
in the extended space the
flesh-and-blood qualities of real
people- a certain degree of
personification. |
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