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| o Where the camera is in relation to the subject |
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| Camera Movement is to meant to provide drama and reveal information |
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| Responsible for the various types of focus, allowing for cinematographers to choose what is clear and how it looks. |
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| A single uninterrupted series of frames |
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| Coherent unit with beginning, middle, and end |
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| One version of a shot. A shot will often have multiple takes in order for the director to choose the best one for film. |
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| Filming at a higher rate than projecting in order to make an action appear slower than it is |
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| Filming at a lower rate than projecting in order to make an action appear faster than it is. |
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| One frame or picture taken over stretches of time (e.g. 1 frame per day) in order to show the long event in a short amount of time. |
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| Incorporating movement into a single frame, creating blur. |
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| Filming a moment with an array of cameras of capture one moment from any angles, making it look the moment is frozen in time and we are moving around it. |
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| Shot in which the camera is the same heght as the subject's eyes |
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Camera is positioned above the action and aimed downward
- Used to emphasize lack of power or confidence in character |
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Position the below the subject, aiming upward
-Often represent the power of characters |
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Leans to one side
- Creates uncertainty, tension, "loss of control" |
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| Overheard Shot/Birds Eye Shot |
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| Used to create "dramatic effect |
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| "Human subject is very small in relation to the surrounding environment" |
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| "Occupies relatively more space in the frame, but is still entirely within the frame. |
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| Section of the body (e.g. face) |
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| Two Characters both in a close up |
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| Hand - Held Camera Movement |
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| With an apparatus (tripod, steadicam, rig, dolly, crane, etc) |
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| Technically this isn't a camera move, but a change in the lens focal length with gives the illusion of moving the camera closer or further away. |
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| Pan (following, surveying) |
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| The horizontal turning of a camera fixed to a tripod |
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| The technique of topping the camera vertically while it remains secure (often to a tripod) |
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| Dolly (wheel, track, sliding, or table top dolly) |
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| A platform on wheels, typically used for a moving camera shot in which the subjects move in and out of the shot's foreground to give insights into teh film's context and action |
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| Often called crabbing, is very similar to dolly shots except for instead of moving in anout out, the camera moves sideways |
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| Vertical or horizontal movement of the camera without changing the angle, often done with a mechanical arm that counterweights to allow only the cmaera position but not its angle. |
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| A shot taken from a camera mounted on a crane or other body that can move three-dimensionally in space across axes, allowing for different angles, positions distances, and heights. |
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| A change of focus from one plane or depth to another. As the in-focus subject goes out of focus, another object which had previously been blurry comes into focus in either the background of foreground. |
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| Where one actor is shown looking at another character, sometimes off screen, and then the opposite character is shown looking back at the first. Often implies they are looking at one another, and is used to depict conversation with emotional responses to character dialogue. |
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Give the audience the feeling that they're witnessing the action from the eyes of the character through their eyes. It is taken from near the eye-level of the actore and shows what he might see.
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A shot of someone or something taken from the perspective from the shoulder of another person.
The back shoulder and head of this person is used to frame the image of whatever or whomever the camera is pointing towards. |
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| A hole or opening in camera that allows ligh to travel through |
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| No spatial distortions and is approximate to the vision of the human eye. Focal length is 27-75mm. |
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| Creates a much wider view for the audience and exxagerate the depth of the scene. The foreground is more pronounced while objects in the background are much smaller. Thus the distance between the two seems greater. Focal Length is 75-1000mm. |
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| Distorts an image so that most straight lines appear to be curved. Focal length is less than 17.5mm. |
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| This is the combination of two or more images into one frame. It is used to give the auidence more perspective on two events that occur simultaneously. |
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The distance from the lens to the film in the camera. Lenses with longer focal length will mean a
“shallower depth of field...” |
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| Both techniques change the size of the object but not its focus. |
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| This is a combination of a tracking shot and a zooming out shot used to create an uncomfortable feeling for the audience. During a trombone effect the size of the object does not change while its depth does. |
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| Allows for less light to hit the film stock and leads to no change in hue. |
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Darkens the sky and reduces reflection. It also increases color saturation in outdoor settings. |
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[image]
[image]
[image]
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Used to blur images and reduce sharpness in order to enhance the beauty of the human face (can be
used to remove wrinkles). |
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| Used to create a soft glow and refract light |
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| Used to create a star-shaped pattern in a light source. |
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| “Absorb certain wavelengths” used to add color to an entire scene. |
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-This technique uses different filters and contrasting to create a nighttime experience during the day.
-Also known as “nuit Américain” or American night
-Less, easily identifiable on black and white film although still used today when lighting at night does not work. |
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-This technique is used to create focus in both the foreground and the background -Wide angle lenses with narrow aperture
-Fastest film stock
-Large arc lamps used to illuminate the set
-Compose in depth occurs when directors move actors and settings in order to create several planes of depth. |
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| Light sensitive layer in which image is formed (pg. 164) |
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| Flexible support material for the emulsion |
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Measurement of film stock’s sensitivity to light
-Fast film is best for low light conditions, but produces grainy images
-Slow film is best for conditions in which fimmakers have optimal lighting conditions because it will produce finer grain images |
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Suspended particles of grains in the emulsion layer (finer grain means more detail)
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Amount of light hitting light sensitive emulsion layer, manipulated by shutter speed and aperture -Overexposure means there is more contrast and colors are washed out
-Underexposure means less contrast and shadows are more dense |
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A technique involving dipping film in dye, usually one scene at a time -Developed around 1910, before Technicolor
-Conventions: blue = night, amber = candle light, red = romance |
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| Colored metal salts used instead of the usual silver halide so dark parts that are usually black are in color |
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| Allowing more time to develop (more contrast) |
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Less time to develop(less contrast)
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Overexpose film negative & push
-Technique used when lighting conditions are poor -Greater contrast |
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| Before, during, after shooting film exposed |
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| Leave silver grains in emulsion layer instead of bleaching them out -Both desaturate color, often used to create an old-timey or depressing look |
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| A Technique used to join live action with a pre-recorded background image. A projector is placed behind a screen (or in front of a screen at an angle to a one-way mirror) and projects an image onto it. Actors stand in front of the screen and from the camera's perspective they are recorded in front of the projected background. |
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Matte Paintings (Glass Shots)
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| A painting used on the set as a portion of the background. Glass shots are a type of matte shot created by placing a pane of optically flawless glass with a painting on it between the camera and scene to be photographed. |
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Definition
The period after principle photography during which editing and looping take place, and special visual effects are added to the film. |
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Term
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Definition
A technique involving dipping film in dye, usually one scene at a time -Developed around 1910, before Technicolor
-Conventions: blue = night, amber = candle light, red = romance
Colored metal salts used instead of the usual silver halide so dark parts that are usually black are in color
[image]
Creating images during post-production by joining together photographic or CGI material shot or created at
different times and places.
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Term
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Definition
| A compositing method that allows cinematographers to combine live action footage and settings that are filmed or created separately Actors are filmed against a green or blue background. During post-production, this background is filled in with an image through the use of a traveling matte. |
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Computer-Generated Images
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| Images that originated from computer graphics technology rather than photography. |
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| A production process by which a device can be used to capture patterns of live movement; the data is then transmitted to a computer, where simulation software displays it applied to a virtual actor |
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