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Definition
| Gradually Darkens the End of a Shot to Black |
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| Lightens a Shot from Black |
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| Briefly Superimposes the end of Shot A and the Beginning of Shot B |
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Definition
| Shot B replaces shot A by means of a boundary line moving across the screen. Here both images are briefly on screen at the same time, but they do not blend, as in a dissolve. |
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| An instantaneous change from one shot to another. |
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When you cut together two shots of the same subject, if the shots differ only slightly in angle or composition, there will be a noticeable jump on the screen. Instead of appearing as two shots of the same subject, the result looks as if some frames have been cut out of a single shot.
Avoided by shifting the camera at least 30 degrees from shot to shot. |
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Definition
| Cuts from the scene to a metaphorical or symbolic shot that doesn't belong to the space and time of the narrative. |
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| Action from the end of one shot is partly repeated at the beginning of the next. This prolongs the action, stretching it out past its story duration. Stresses the significance of the moment |
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| Elliptical Editing [ellipses] |
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Definition
| Presents an action in such a way that it consumes less time on screen than it does in the story. |
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Term
| Crosscutting/Parallel Editing |
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Definition
Works by alternating shots of events in one location with shots of events in other places. Risks introducing some spacial discontinuity, but it binds the action together by creating a sense of cause and effect and simultaneous time. Builds tension and suspense. May also create parallels.
Draws the viewer into the active process of understanding a scene |
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| Carries a single movement across a cut. |
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| Follow eyeline across shot to produce effect of Person looking in Shot A is looking at whatever is in shot B along the eyeline. |
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Definition
| Occurs when Shot A presents someone looking at something off screen and Shot B shows us what is being looked at. In neither shot are both looker and object present.Stabilizes Space. |
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| Two or more shots edited together that alternate characters, typically in a coneversation situation. Characters in one framing usually look one way and the other character looks the other way. Over the shoulder and 3/4ths views are both common. |
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Term
| Point of View Editing [POV cutting] |
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Definition
| Storngly indicates a character's optical point of view, making the narration subjective. Often cut from person looking to what they subjectively see. Doesn't violate 180 degree system. |
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| Delineates the overall space. Usually involving a distant framing, that shows the spatial relations among the important figures, objects and setting in a scene. |
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Definition
a shot that's usually of something other than the current action. It could be a different subject (eg. this cat when the main subject is its owner), a close up of a different part of the subject (eg. the subject's hands), or just about anything else.
Used as a "buffer" between shots (to help the editing process), or to add interest/information. |
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Definition
Depends on the axis of action (180-degree line). This line should never be crossed.
Ensures that relative positions in the frame remain consistent. Ensures consistent eyelines. Ensures consistent screen direction.
Viewer always knows where they are with respect to the story action |
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Term
| Axis of Action (180 degree line) |
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Definition
| Any action can be thought of as occuring along a line or vector, Determines the half-circle or 180-degree area, where the camera can be placed to present the action. |
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Definition
| Occurs when linking shots by close graphic similarities. Shapes, colors, overall composition, or movement in shot A may be picked up in the composition of Shot B. |
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| Arranges shots to tell story clearly. Supported by specific strategies of cinematograohy and mise-en-scene, based on narrative. Dominant editing style since 1910s. |
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Definition
Championed editing above all other techniques. Attack on long-take style that dominated previously.
Declared films power arose not from performances by actors but from a combination of shots.
Through editing, two shots give birth to a feeling or ideanot present in either one.
Downplayed character psychology as a trigger for plots; instead social forces provided the major causes. |
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Term
| Hollywood montage sequence |
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Definition
Way of showing a process in the narrative that happens over long
term and doing it over short screen time select little bits of the process
form of compressing general narrative process into a small sequence
summarizing a process in the diagesis. Device which involves many shots but which sums up general process in the diagesis |
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Definition
| Sound thathas a source in the story world. The words spoken by the characters, sounds made by objects in the story, and music represented as coming from instruments in the story space are all types of this. |
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| represented as coming from a source outside the story world. Music added to enhance the film's action is the most common type of this. |
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| when thew sound is heard at the same time as we see what makes it. Characters move their lips, and we hear the appropriate words. A gun fires and we hear a blast. |
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| we hear the sound at a different time than we hear what makes it. |
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| Sound that is not coming from within the shot but takes place over the shot. |
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| Offscreen sound, its source is not within the frame. fills in information and enhances narrative |
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Definition
| sound has a physical source in the scene |
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Definition
| sound has a physical source in the scene and comes from inside the mind of the character |
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| a common arrangement using three directions of light on scene. 1)From behind 2)from one bright source 3)from a less bright source |
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Definition
| Brightest illumination coming into the scene |
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Definition
| Illumination cast onto the figures in the scene from the side opposite the camera, usually creating a thin outline of highlighting on those figures. |
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Definition
| Light that comes from behind, opposite the camera. |
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Definition
| Eliminates shadows. Illumination directed into the scene from a position near the camera. |
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Definition
| Illumination that creates comparatively little contrast between the light and dark areas of the shot. Shadows are fairly transparent and brightened by fill light. |
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Definition
| Creates stronger contrasts and sharper, darker shadows. Often the lighting is hard, and fill light is lessened or eliminated altogether. |
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Definition
| Loose balancing of the shot's left and right regions. |
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| Shallow-space composition |
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Definition
| The mise-en-scene suggests comparatively little depth, and the closest and most distant planes seem only slightly separated. |
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Definition
| A significant distance seems to separate planes. |
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Term
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Definition
| a common arrangement using three directions of light on scene. 1)From behind 2)from one bright source 3)from a less bright source |
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Term
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Definition
| Brightest illumination coming into the scene |
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Term
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Definition
| Illumination cast onto the figures in the scene from the side opposite the camera, usually creating a thin outline of highlighting on those figures. |
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Term
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Definition
| Light that comes from behind, opposite the camera. |
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Definition
| Eliminates shadows. Illumination directed into the scene from a position near the camera. |
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Term
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Definition
| Illumination that creates comparatively little contrast between the light and dark areas of the shot. Shadows are fairly transparent and brightened by fill light. |
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Term
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Definition
| Creates stronger contrasts and sharper, darker shadows. Often the lighting is hard, and fill light is lessened or eliminated altogether. |
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Term
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Definition
| Loose balancing of the shot's left and right regions. |
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Term
| Shallow-space composition |
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Definition
| The mise-en-scene suggests comparatively little depth, and the closest and most distant planes seem only slightly separated. |
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Definition
| A significant distance seems to separate planes. |
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Definition
| Large comparative difference between the darkest and lightest areas of the frame. |
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Definition
| Small comparative difference between the darkest and lightest areas of the frame. |
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Definition
| Wide Field of View. Distorted lines near the edge of the frame. Exaggerated depth with figures in the foreground bigger and those in the distance farther away. |
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Definition
| Space is flattened along the camera axis. Cues for depth and volume are reduced. The planes are squashed together. |
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Definition
| Not only resizes what is shown but also changes the images perspective. |
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Term
| Deep Focus Shot or Deep Focus Cinematography |
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Definition
| Shot with a large depth of field. Keeps all planes in focus. |
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Term
| Shallow-focus shot or Shallow focus cinematography |
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Definition
| Small depth of field. Only small areas are in focus at a time. |
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Definition
| Here images are laid over one another, creating multiple perspectives within the frame. |
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Definition
| Created by projecting at a lower rate than it was filmed. (One shot exposed per minute) |
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Definition
| Based on the rate (rate at which film was shot and rate at which projected). Created by projecting at a higher rate than it was filmed. (Thousands of exposures per second) |
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Definition
| The technique for varying the frame rate during shooting.Calls attention to changes in the speed of capturing. |
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Definition
| A type of process shot in which different areas of the image (usually actors and setting) are photographed separately and combined in lab work. |
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Definition
| A composite process whereby footage meant to appear as the background of a shot is projected from the onto a screen; Figures are filmed in front pf the screen. |
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Definition
| A view in which the frame is not level; either the right or the left side is lower than the other. causing objects in the scene to appear slanted out of an upright position. |
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Definition
| Film strip which emerges from the camera. Its colors and light values are the opposite of those in the original scene. |
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Definition
| Film that is scanned frame by frame into computer files. This is manipulated in many ways, mostly to change lighting and later colors. |
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Definition
| Shot from above looking down. |
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Definition
| Shot from below looking up. |
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Definition
| Singles out a portion of the face or isolates and magnifies an object. |
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Definition
| Traditionally the shot showing just the head, hands, feet, or a small object. Emphasizes facial expression, the details of a gesture, or a significant object. |
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Definition
| Frames the body from the chest up. |
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Definition
| Frames the body from the waist up.Gestures and expressions now become more visible. |
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Definition
| Figures are framed from about the knees up. Permits a nice balance of figure and surroundings. |
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Definition
| Figures are more prominent, but the background still dominates. |
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Definition
| The human figure is lost or tiny. This is the framing for landscapes, bird's eye views of cities, and other vistas. |
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Definition
| When a shot's distance and angle prompt us to take it as seen though a character's eyes |
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Definition
| Movement swivels the camera on a vertical axis. |
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Definition
| Movement rotates the camera on a horizontal axis. |
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Term
| Tracking Shot (Dolly Shot) |
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Definition
| The camera as a whole changes position, traveling in any direction along the ground |
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Definition
| the camera moves above ground level |
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Definition
| In one we sense our own movement through space. We see different sides of objects, and backgrounds gain volume and depth. In the other a bit of space gets steadily magnified or demagnified. Aspects and positions of objects don't change. |
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Definition
| When the film-maker simply walks with the camera. |
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Definition
| Body-mounted camera unit. Allow the camera operator to steer the camera while walking. Servo mechanisms adjust for imbalances and jerkiness, so the camera seems to glide or float. |
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Definition
| Minimal camera movement where the frame slightly pans or tilts to adjust to the movement onscreen, keeping them onscreen or centered. |
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Definition
| A shot with framing that shifts to keep a moving figure onscreen |
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| A shot that continues for an unusually lengthy time before the transition to the next shot. |
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