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| The distance behind and in front of the main focus of the shoot in which objects are still displayed sharply. |
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Lens <35mm focal length
-allows cinemtographers to explore a depth of field that shows different visual planes simultansously. |
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| a lightweight camera that did not have to be mounted and therefore allowed cinematography to evolve to on location shooting. |
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lens >75mm
-allows the cinematographer to magnify and flaten objects at a greater distance. |
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| a camera stabilization device that allows cinematographers to follow action smoothly and rapidly w/o unsteady movement. |
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| shooting a film and the film is digialy saved and encoded. |
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the foundation of film editing
- describes the break and common border that separate two shots from two different pieces of film. |
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| the position from which a person, event or an object is seen. |
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| re-creates the prosepctive of a character through camera placement. |
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| represents the more impersonal perspective of the camera. |
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| the specific highlighted object within the point of view, the point in the image that if most completely outlined and defined by the lens fo the camera. |
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| contains, limits and directs the point of view within the borders of the rectangular frame. |
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| shows details of an object of person, such as a face or hands or a flower on a windowsill, perhaps indicating the nuances of the characters feelings or thoughts or suggesting the special significance if the object. |
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| places considerable distance between the focus of the shot and the camera. |
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| the middle ground of cinematography usually see the camera shows the human body from the waist or hips up. |
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| present a opoint of view downwards toward the individuals on the scene. |
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| view the subject from a position lower than it is. |
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sometimes called a crane due to the machine on which it is mounted.
-depicts the action from high above, sometimes looking directly down on it. |
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| same thing as an overhead shot given the name from the machine used to mount the camera |
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| point-of-view shots re-create the perception of the character through camera techniques like low and high angle shots depending on the character |
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| multiple planes in the image are all in focus |
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| only a narrow range of field in focused, but here too, the choice of a depth of field indicates what is significant in the image. |
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| move sthe frame of the camera from side to side without changing the placement of the camera, the camera rotates on its verticle axis. |
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| cuts out images from a continuous piece of filmed action to transform the movement of real human figures into rapid, jerky gestures. |
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| describes many different ways that the image can be set up and manipulate during filming. |
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| joins two pieces of film, one with the central action or object and the other with the additional object, background that would be difficult to create physically for the shot. |
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| alternating bewteen two or more strands of simultaneous action. |
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| edits that intentionally create gaps in the action. |
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| juxtaposes two nimages whose dramatic differences creates a jarring visual effect. |
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| gradually lighten an object until it complete appears |
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| briefly superimposes one shot over the next, which takes its place; one image fades out while the other fades in. |
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| a transition used to join two shots |
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| generally an intial long shot that established the setting and oreints the viewer in space to a clear view of the action |
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| standard practice when filming a converstation, close shot of both characters |
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| restore the objective view, maing the action perfectly clear to the viewers |
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| editing pattern that begins with a shot of one character taekn from an angle at one end of the axis of action and follows with a second shot of the second character from the opposite angle. |
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| a shot that depicts a characters response to the action in the previous shot |
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| follows one or more images of the present with one or more of the past |
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| connects an image of the present with one or more of the past |
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| shots of relatively long duration; the image is sustained for what seem like an inordinate amount of time |
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| recording and reproducing sound through technologies that encode and decode it as digital information |
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| has its source in the narrative world of film |
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| sound that does not belong to the characters world |
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| diegetic music, music that has its sources on screen |
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| members of the sound crew that watch the movie and simulteneuously generate live sound effects |
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| actors watch the film footage and re-record their lines to be dubbed into the soundtrack |
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re-recording
-important stage in post-production, can occur only after the image track inclduing the credits is done. |
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