Term
|
Definition
| The continuity apporach to editing dictates that the camera should stay on one side of the action to ensure consistant left right spacial between elements from shot to shot, Same as axis of action |
|
|
Term
|
Definition
| The relationship of the frames, width to heigth |
|
|
Term
|
Definition
Illumination cast onto the figures in the scene from the side opposite the camera. Can create a halo effect around an actor's head. Part of 3 point lighting |
|
|
Term
|
Definition
| Small cases enclosing the camera's body |
|
|
Term
|
Definition
| A microphone on the end of a pole suspended that moves when the action does |
|
|
Term
|
Definition
|
|
Term
|
Definition
| A general term for all the manipulations of the filmstrip by the camera in the shooting phase and by the labritory in the developing phase |
|
|
Term
|
Definition
| A system of cutting to maintain continuous clear narrative action, relies on matching screen direction position and temperal relations from shot to shot |
|
|
Term
|
Definition
| Different angles shot of the same scene |
|
|
Term
|
Definition
| Editing alternates shots of 2 or more lines of action occuring in different places usually similtaniously |
|
|
Term
|
Definition
| Joining of 2 filmstrips together with a splice |
|
|
Term
|
Definition
| Close framing, blue filter used to simulate night during the day |
|
|
Term
|
Definition
| Use of the camera lens and lighting that keeps objects in both close and distant planes in focus |
|
|
Term
|
Definition
| Arranging the cut so that a bit of dialogue coming from shot A is heard under a shot that shows another character or another element in the next scene |
|
|
Term
|
Definition
| Fill-ins for optical design |
|
|
Term
|
Definition
| Talking to the audience (Asides or Commercials) |
|
|
Term
|
Definition
|
|
Term
|
Definition
| The superimposition of 2 images together |
|
|
Term
|
Definition
| Process of replacing part or all of the voices on the soundtrack in order to correct mistakes or rerecord dialogue |
|
|
Term
|
Definition
|
|
Term
|
Definition
| The shortening of plot duration achieved by omitting some story duration |
|
|
Term
|
Definition
| A shot usually involving a distant framing that shows the special relations among the important figures, objects and settings in a scene |
|
|
Term
|
Definition
| The adjustment of the camera mechanism in order to control how much light strikes each frame of film passing through the aperature |
|
|
Term
|
Definition
| A cut obeying the access of action principle in which the first shot shows a person looking off in one direction and the second shows a nearby space containing what he sees |
|
|
Term
|
Definition
|
|
Term
|
Definition
| Illumination from a source less bring than the key light, used to soften deep shadows in a scene |
|
|
Term
|
Definition
| The strip of material upon which a series of still photographs is registered; consists of a clear base coded on one side with a light sensative emulsion |
|
|
Term
|
Definition
| Another word for Cinematography |
|
|
Term
|
Definition
| A piece of glass or gelitin placed in front of the camera lens to alter the quality or quantity of light |
|
|
Term
|
Definition
| TV lighting which provides little or no shadowing |
|
|
Term
|
Definition
| Post production, The process of creating sound effects for enhancing a film |
|
|
Term
|
Definition
| Following previously known ways of representing visual design |
|
|
Term
|
Definition
| The width of a filmstrip in millimeters |
|
|
Term
|
Definition
| 2 successive shots joined so as to create a strong similarity of compositional elements |
|
|
Term
|
Definition
| Illumination that creates comparatively little contrast between light and dark |
|
|
Term
|
Definition
| A round moving mask that can close down to end a scene (WB Cartoons) |
|
|
Term
|
Definition
| An elliptical cut that appears to be an interruption of a single shot; the figures of the background seem to change while the others remain constant |
|
|
Term
|
Definition
| The brightest illumination coming into a scene; 3 point system |
|
|
Term
|
Definition
| Any series of shots that in the absence of an establishing shot, prompts the viewer to infer a spacial whole on the basis of seeing only portions of the space |
|
|
Term
|
Definition
| Used in TV in order to capture the glance; not used as much in modern TV |
|
|
Term
|
Definition
| A shot that continues for an unusually lengthy amount of time before the next shot |
|
|
Term
|
Definition
| Illumination that creates strong contrast between light and dark areas of the shot; has deep shadows and little fill light |
|
|
Term
|
Definition
| A continuity that splices 2 different views of the same action together at the same moment in the movement, making it seem uninterrupted (Spatial Relations) |
|
|
Term
|
Definition
| A portion of the setting on a strip of film where the actors will be placed later |
|
|
Term
|
Definition
| Matching music to movement |
|
|
Term
|
Definition
| All of the elements placed in front of the camera to be photographed (Setting, props, lighting, costumes, makeup and figure behavior) |
|
|
Term
|
Definition
| A sequence of a film that summerizes a topic and compresses a passage of time into a brief symbolic image (Rocky Training Scenes) |
|
|
Term
|
Definition
| The use of more than one camera at one time |
|
|
Term
|
Definition
| Specific kind of music repeated in a significant way throughout a film |
|
|
Term
|
Definition
| A shot or series of shots cut into a sequence; showing objects that are being represented as being outside the world of the film narrative |
|
|
Term
|
Definition
| A shot or series of shots cut into a sequence; showing objects that are being represented as being outside the world of the film narrative |
|
|
Term
|
Definition
| The six areas blocked from being visible on the screen but still part of the space of the scene (Cube) |
|
|
Term
| Omnidirectional Microphone |
|
Definition
| Able to record across a wide area of a set |
|
|
Term
|
Definition
| A camera movement with the camera body turning to the right or left, produces a mobile framing that scans a space horrizontally |
|
|
Term
|
Definition
| Usually referring to music, but any recording done before the film |
|
|
Term
|
Definition
| Another word for Visual Design |
|
|
Term
|
Definition
| Shifting the area of focus from one plane to another during a shot |
|
|
Term
|
Definition
|
|
Term
|
Definition
| Not in the norm when it come to film, but trying to convey real life as it really is |
|
|
Term
|
Definition
| A technique for combining a foreground action with a background action filmed earlier |
|
|
Term
|
Definition
| A restricted depth of field which keeps only one plane in sharp focus |
|
|
Term
|
Definition
| One uninterrupted run of the camera to expose a series of frames |
|
|
Term
|
Definition
| 2 or more shots edited together that alternate characters, typically in conversation |
|
|
Term
|
Definition
| At the beginning of one scene, the sound from the last scene carries over briefly before the sound from the new scene begins |
|
|
Term
|
Definition
|
|
Term
|
Definition
| Combining 2 or more soundtracks by recording them into a single track |
|
|
Term
|
Definition
| Aspect of classical hollywood cinema, people know a specific actor or actreee |
|
|
Term
|
Definition
| A tool used in planning film production consisting of comic like scripts of individual shots with descriptions |
|
|
Term
|
Definition
| Sound coming from different directions, not just from the front |
|
|
Term
|
Definition
| Sound that is matched temporally with the movements occuring in the images |
|
|
Term
|
Definition
| A lens that affects a scene's perspective by enlarging distand planes and making them seem close to the foreground planes |
|
|
Term
|
Definition
| From behind the subjects(Back Lighting), From One bright Source(Key Lighting), From a less bright source balancing the key light (Fill Light) |
|
|
Term
|
Definition
| A camera movement with the camera body swiveling upward or downward on a stationary support; produces a mobile framing that scans space vertically |
|
|
Term
|
Definition
| Accomplished by dipping film into dye to give the film a certain color scheme, Changes lighter colors to the color desired |
|
|
Term
|
Definition
| Adding dye to developing film to give it a certain color scheme, changes the darker colors to those you desire |
|
|
Term
|
Definition
| A mobile framing that travels through space forward, backward or laterally |
|
|
Term
|
Definition
| When actors are selected and directed to conform to a specific type, portrayal |
|
|
Term
|
Definition
| Cinematography, one of 3 types, digital and film stock |
|
|
Term
|
Definition
| Affects a scenes perspective by distorting straight lines near the edges of a frame and by exagerating the distance between the foreground and the background |
|
|
Term
|
Definition
| A transition between shots in which a line passes across the screne eliminating one shot as it replaces it with the next |
|
|
Term
|
Definition
| A lens with focal length that can change during a shot, a shift towards the telephoto range, enlarges the image and flattens it's planes together |
|
|
