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| The energy we perceive from aesthetic phenomena, such as color, sound, and motion. |
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| When we perceive white as white and black as black regardless of the actual reflectance values. |
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| Hue, saturation, and brightness. |
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| Perceiving a color as uniform despite variations. |
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| The relative aesthetic impact a color has on us |
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| A graphic representation of the integration of the three color attributes |
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| The relative bluishness or reddishness of white light measured in Kelvin degrees. |
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| A series of achromatic steps of gray leading from white to black. |
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| Basic colors that, when mixed, can render almost all other colors. |
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| Uses red, green, and blue light. |
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| The color attribute that indicates the actual color of an object – red, blue, yellow, and so on. |
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| How light or dark we perceive various brightness steps. |
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| Occurs when contrasting stripes or intricate patterns interfere with the scanning lines of the video system. |
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| Stands for red, green, blue. |
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| Its basic meaning is “with color.” |
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| Specific wavelengths within the visible light spectrum, which we interpret as various hues. |
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| Process of equalizing the three primary color channels to reproduce a white object as white. |
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| Colors arranged in rainbow order from red to orange, yellow, green, blue, and purple. |
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| Succeed each other in the same direction |
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| Point or move toward each other |
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| High-resolution digital cameras instead of traditional film |
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| Force with a direction and a magnitude operating outside of us |
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| A complete configuration that we perceive through psychological closure |
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| Created by lines or by stationary elements arranged in such a way as to suggest a line |
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| Force with a direction and a magnitude operating within us |
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| Viewer’s understanding of where things are supposed to be in on-screen and off-screen space |
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| Space actually contained within the borders of the video or motion picture screen |
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| Simultaneous overlay of two pictures on the same screen |
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| Space between the top of the head and the upper screen edge |
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| Pull that the frame (screen edges) exerts on objects within the frame (screen) |
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| Portable devices with a very small viewing screen, such as smartphones |
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| Taking a minimal number of clues and mentally filling in nonexistent information |
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| Degree of directional certainty and force of a vector |
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| Right and left, top and bottom of frame are unequal, not interchangeable |
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| Our tendency to organize a scene into figures that lie in front of a background |
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| Relative lightness or heaviness we perceive from a specific graphic mass |
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| Low-resolution picture (consisting of relatively few pixels) or low-fidelity sound |
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| Combination of vectors operating within a single picture field (frame) |
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| Looking or pointing directly at the camera |
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| Relationship of screen width to screen height |
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| Relative structural stability of objects or events within the screen |
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| Space in front of a person or an object moving toward the edge of the screen |
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| Space in front of a person looking or pointing toward the edge of the screen |
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| Space immediately surround the video or motion picture screen |
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| Technique for changing the aspect ratio to show standard 4:3 video material on a wider screen by leaving empty vertical side bars on the sides of the image |
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| Applying psychological closure using on-screen cues that do not project the image into off-screen space |
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| Stable balance, as in a symmetrical arrangement of visual elements |
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| Asymmetrical balance where the graphic weight and the vectors are not equal on both sides of the screen |
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| Graphic vectors that occur at prominent points on a body, such as the horizontal ones formed by the eyes or the bottom of the nose |
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| The most common aspect ratio used for American movies – 1.85:1 |
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| Classical proportional system in which the smaller section of a line is to the greater section as the greater is to the total length of the line |
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| Precisely defined screen area – such as a person, an object, or an abstract wipe pattern – that is seen as a figure against a ground |
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| Technique for changing the aspect ratio to show wide-screen material on narrower screen by leaving black borders at the top and the bottom of the image |
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| A set whose background scenery is not continuous or not connected by a common background |
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| A fail-safe composition where the screen is divided into three horizontal and three vertical fields |
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| Placing a smaller picture in the center of the actual display screen, with the leftover space of the larger frame surrounding it |
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| Heightened stage of dynamic balance |
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| Various-sized second-order screens keyed into the first-order primary screen, or separate screens set side-by-side that show different, usually related, scenes |
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| Perception of the actual size of an object regardless of the distance and the angle of view |
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| caused by juxtaposing highly saturated complementary colors (usually colors that lie opposite on the hue circle) and narrow-striped, highly contrasting patterns. |
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| The grayscale around which the hue circle revolves (in the Munsell color model) |
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On the color solid, the farther the color is from the achromatic axis of the color scale, the
________. |
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| Dimming a lighting instrument influences the color temperature of its light because _________. |
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| the white light gets progressively more reddish |
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| When you additively mix green and red light you get ________/ |
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| The surface on which a color is painted may _______. |
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| Arnheim's theory about color |
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Definition
| for colors which are not pure hues, the color of the variation from the main hue determines the warm-cold effect |
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| Most lights used for TV and film lighting burn at 3,200 degree Kelvin. When color temperature is lowered from that point, the light becomes progressively: |
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Definition
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| The three attributes of color are _______. |
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| hue, saturation, brightness |
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| The color attribute that contributes primarily to color energy is _______. |
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| Spectral or rainbow order |
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Definition
| colors arranged around the periphery of the "hue circle" are in |
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| On television, scenery or clothing that has narrow, contrasting color strips is especially prone to _______. |
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| Cold-colored scenes may indicate all of the following: |
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Definition
| disillusionment, mystery, sadness |
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| The expressive function of color is to: |
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Definition
| make us feel a certain way |
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| In using color to establish mood, you should pay particular attention to: |
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Definition
| complementary values of color |
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| According to Zettl, it is not so much the color itself (the hue) that we associate with the quality of an object or event but rather the _______________ of that color. |
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| Hues alone can fulfill the ________ function of color |
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| _______ is least suited for using the compositional function of color. |
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Definition
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| The _________ function of color is especially prominent in color photos. |
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| When using a color symbolically keep in mind: |
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Definition
| your audience must be familiar with the symbolic meanings you are trying to reference, an understated color may remain undetected and ineffective, an overstated color may be too obvious to a sensitive viewer, AND symbols vary from time to time and place to place |
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| Desaturation theory correlates: |
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Definition
| relative saturation with degrees of viewer involvement |
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| Our main objective in the informational use of color is ______. |
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Definition
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| Advertisers will often ______________. |
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Definition
| create a secondary frame within the principal frame because it draws attention to the central message |
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| The television or movie screen is, according to Zettl, like an empty page because: |
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Definition
| it represents a defined space…an area within which we can orient ourselves |
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| Analog television was more a ______ medium than a ________ medium. |
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Definition
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| The best type of shot for a mobile media display is a ____. |
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Definition
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| If we are unfamiliar with an object, we tend to judge its size by ________. |
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Definition
| how much screen area it takes up. |
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| The most accurate indicator of actual object size, when shown on the screen, is ______. |
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Definition
| showing it in relation to a person |
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| Fitting a 4 x 3 format to a wide screen (16 x 9) aspect ratio: |
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Definition
| leaves side bars or dead zones |
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| Movies that emphasize landscape and spectacle will have the greatest aesthetic energy when presented on a: |
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Definition
| movie screen with surround sound |
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Definition
| using the same character in different stories |
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| When held in a vertical position, a smartphone will display a _____ 4 x 3 image, with empty areas on the top and bottom of the screen, and a ______ 4 x 3 image if held horizontally. |
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Definition
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| Tilting (canting) the horizontal plane causes _________. |
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Definition
| the picture to become less stable |
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| Strong index vectors pointing screen-center can override: |
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Definition
| the magnetism of the frame |
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| We tend to pay more attention to an object when it is placed on the: |
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Definition
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| _______ neutralizes the magnetism of the frame. |
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Definition
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| Among the vector types, _______ have the highest magnitude. |
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Definition
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| The ______ the graphic mass that is in motion, the ______ its vector magnitude. |
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Definition
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| Probably the strongest forces operating within the screen, which lead our eyes from one point to another within or even outside the picture field are: |
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Definition
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| The easiest way to change a static balance into a dynamic one is to ______. |
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Definition
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| An effective way to facilitate closure in off-screen space is to: |
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Definition
| frame the object so that its natural dividing lines do not coincide with a screen edge |
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| _____ contributes to illogical closure. |
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Definition
| Having the background object be perceived as an integral part of the foreground |
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| The _______ is most important in determining the relative stages of balance. |
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Definition
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| Converging index vectors of _______ magnitude do balance each other. |
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Definition
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| In a temporary moving image of video and film, an unbalanced structure _______. |
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Definition
| can be startling and an attention-getter |
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| According to Zettl, instant access to information has become: |
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Definition
| a necessity and a means of power |
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| The ______ is the most important factor in determining whether to frame a shot with static or dynamic balance. |
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Definition
| communication intent and context |
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| __________ are effective for helping viewers locate the desired information quickly without having to scan the whole screen. |
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Definition
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| _______ are powerful structural elements that usually override the lesser forces of graphic weight and magnetism of the frame. |
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Definition
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| ________ is most likely to produce a dynamic balance. |
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Definition
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| When an object moves off-center, its graphic weight _________. |
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| Strong vectors pulling in one direction can easily override _________ on the screen. |
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| Information crammed into the bottom of the screen is a common technique in television news called the ______. |
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