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audiovisual design of a film and the particular tools and techniques used to create that design
(a.k.a. film form) |
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the planning and preparation stage
- writing script
- hiring cast and crew
- production design of sets, costumes, and locales
- planning cinematography style
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| the work of filming the script (aka cinematography) and sound recording or the action |
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| editing of sound and image, composition and recording of music score, additional sound recording for effects, and dialogue replacement, creation of special effects, and color timing |
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| Chief artistic authority, answers to producer |
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| administrative control over a production, many also have creative input |
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| Commercially released films, usually 90 to 120 minutes |
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| the amount of time covered by the narrative |
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| arises from structural manipulations of film form or technique. If shot length decreases progressively, tempo of film accelerates (and vice versa) |
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| the basic building block of a film. The amount of film footage exposed by the camera from the time it is turned on to off |
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| the dimensions of the projected area on screen, also, the individual still image on a strip of film |
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| the art of framing: arrangement of objects within the frame |
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| distance between camera and subject: long shot, medium shot, and close up |
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| Entire body or landscape from farther away. When used to open a film or begin a scene, called establishing shot |
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| Shows torso and up. Can be used to stress relationship among characters while integrating them into their environment. Called two-shot, three-shot, etc. based on number of people in frame |
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| Performers face. Concentrates attention on face and emotional reactions, emphasizes reactions |
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| camera operator physically hold camera . Allows them to cover action in a more flexible and spontaneous way, but challenge is to produce smooth and steady image |
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| seriousness, drama, forces viewer to look up--> imposing, |
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| tilted camera leaving to one side --> makes the world look off-kilter, expresses anxieties or disorientation |
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| when light creates an image on the light-sensitive surface of the film |
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| the distance between the film inside the camera and the optical center of the lens: normal lens has focal length of 50 mm |
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| has a focal length less than the normal of 50 mm; greater depth of focus, distance between near and far objects in focus can be very great |
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| lens with a focal length of greater than normal of 50 mm; shallow depth of field; used on street conversation scenes often |
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| how much the lens sees. At shorter focal length, angle of view increases, allowing you to film a wider area. At longer focal length, angle of view decreases, limiting you to a more narrow area |
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| the amount of area from near to far that will remain in focus. Wide angle has much greater DofF than Telephoto |
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| changing the lens's focal plane within a shot; makes dynamic contribution so that we can switch focus instead of cutting |
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| filmmakers like Orson Welles and Jaques Tati created complex compositions featuring rich interplay of foreground and background detail. ; work with an aesthetic that respects time and space; the playing area of each shot is extended in time and place |
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| lens with a variable focal length; can shot from wide angle to telephoto within one shot, creating appearance of camera movement (but movement shifts perspective and zoom lens magnifies everything equally) |
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| Motion Parallax / Motion Perspective |
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| the changing spatial relationships produced by movememt of a camera |
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Pan shot produces lateral movement on screen. Camera rotates horizontally from side to side on a stationary tripod. Tilt shot goes up and down vertically.
Establish linking movements to connect objects of establish relationships or call attention to new areas of screen. Also used to readjust frame to accommodate camera movement |
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| Wheeled platform used to moving camera on track for a tracking shot |
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