Term
|
Definition
| process of capturing moving images on film or a digital storage device |
|
|
Term
|
Definition
| one uninterrupted run of the camera |
|
|
Term
|
Definition
| one camera position and everything associated with it, basic component of the film's production process, and the component on which the director and the cinematograpgy spend the most time |
|
|
Term
|
Definition
| divided into one group of technicians concerned with the camera and another concerned with electricity and lighting |
|
|
Term
|
Definition
Camera operator
assistant camerapersons
second ac
gaffer
best boy
grips |
|
|
Term
|
Definition
|
|
Term
|
Definition
| oversees everything having to do with the camera, lens, supporting equipment, and the material on which the movie is being shot |
|
|
Term
|
Definition
| prepares the slate that isused to identify each scene as it is shot |
|
|
Term
|
Definition
|
|
Term
|
Definition
| first assistant electrician |
|
|
Term
|
Definition
| all around handypersons who wowkr with the crew |
|
|
Term
|
Definition
celluloid used to record movies two types
black and white
color |
|
|
Term
|
Definition
film speed
exposure index
the rate at which film must move through the camera to correctly capture an image
very fast film requires little light
very slow film requires a lot of light |
|
|
Term
|
Definition
| The sue of digital technoogy in a process similar to hand tinting to paint colors on movies meant to be seen in black and white |
|
|
Term
|
Definition
| wider than 1.33:1 the standard ratio until the early 1950's |
|
|
Term
|
Definition
| a lamp that produces hard mirrorlike light |
|
|
Term
|
Definition
a piece of lighting equipment but not really a lighting instrument becasue it does not rely on bulbs to produce illumination,
double sided board that pivots in a u-shaped holder, one side is hard, smooth surface that reflects hard light, the other is soft textured surface that reflects softer fill light |
|
|
Term
|
Definition
| positioned at the opposite side of the camera from the key light, adjusts the depth of the shadows created by the brighter key light, this may also caome from a reflector |
|
|
Term
|
Definition
| balance between illimination and shadow-the balance between the key and fill lights |
|
|
Term
|
Definition
| little or no fill light is used, the ratio between bright illimination and deep shadow is very high, produces the overall gloomy atmosphere that we see in horror films, mysteries |
|
|
Term
|
Definition
| produces an image with very little contrast between the darks and the lights, is used extensively in dramas, musicals |
|
|
Term
|
Definition
| positioned behind and above the subject and the camera, and is sued to create high-lights along the edges of the subject asa means of seperating it from the background and increasing its appearance of three dimensional |
|
|
Term
|
Definition
| positioned behind and above the subject and the camera, and is sued to create high-lights along the edges of the subject asa means of seperating it from the background and increasing its appearance of three dimensional |
|
|
Term
|
Definition
| primary source of illumination and thus is customarily set first |
|
|
Term
|
Definition
| amount and quality of human and physical resources devoted tot he image |
|
|
Term
|
Definition
| wide angle lens starting as low as 12.5mm, produices wide angle views, it amkes the subject on the screen appear farther apart than they usually are |
|
|
Term
|
Definition
| telephotolens, focal lengths ranging from 85mm to as high as 500mm, brings the distant objects close, make ssibject look closer together than they do in real life and flattens space and epth in the process |
|
|
Term
|
Definition
| 35mm to 50mm often called the normal lens, lens in this range create images that correspond to our everyday experience of depth and perspective |
|
|
Term
|
Definition
| also called th variable focal length lens, permits the cinemtography to shrionk or increase the focal length in a continous motion, thus simulates the effect of movement of the camera toard or away from the subject |
|
|
Term
|
Definition
property of lens that permits the cinemtographer to decide what planes or areas of the image will be in focus
distances in front of a camera and its lens in which the subjects are in apparent sharp focus |
|
|
Term
|
Definition
| also known as select focus, a chnage of the point of focus one subject to another, guides our attention top a new clearly focused point of interest while blurring the previous subject in the frame. |
|
|
Term
|
Definition
| process by which the cinematographer determines what will appear within the borders of the image during a shot |
|
|
Term
|
Definition
| transitional effect in which the iris contracts from larger to smaller |
|
|
Term
|
Definition
XLS or ELS
typically photographed ata great distance from the subject, that subject is often too small to be recognized excpet through the context we see, which usually includes a wide biew of a location as well as general background information |
|
|
Term
|
Definition
|
|
Term
|
Definition
| variable focal length lens permits the cinematographer to shrink or increase the focla length in a continous motion, and thus simulates the effect of movement of the camera toward or away fromk the subject |
|
|
Term
|
Definition
| shows a character of the chest to the top of the head, provides a view of the face that catches minor chnages in expression and provides some detail about the characters posture |
|
|
Term
|
Definition
| produced when the camera is shooting fromk very near to the subject |
|
|
Term
XCU or ECU
Extreme Close up |
|
Definition
| very close shot of some detail |
|
|
Term
|
Definition
| total visual composition that can place significant information or subjects on all 3 planes of the frame and thus create an illusion of depth |
|
|
Term
| deep focus cinematography |
|
Definition
| short focal length lens keeps all 3 planes in sharp focus |
|
|
Term
|
Definition
| grid pattern superimposed on the image, divides it into horizontal thirds representing the forground, middle ground, and background planes and into vertcial thirds that break up those planes into further elements |
|
|
