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| the person responsible for designing and overseeing the construction of the material world context for the filmed story (Production Designer) |
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| the ratio of the horizontal length of the frame to the height of the frame |
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The positioning and movement of performers in relation to each other and to the entire film
NOT BLOCKING SOMETHING/SOMEONE |
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| a camera angle in which th camera is directly overhead of the subject |
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| The position of the camera in relation to the subject being photogaphed |
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The orientation of the face to the camera
-full frontal
-quarter turn
-3/4 turn
-rear shot |
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| the person in charge of the photography in the making of a film |
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the technological creation of the film image; from conception of how the image will look, to the arrangement of lights, camera, film stocks, etc....
produces final image |
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| typically a head and shoulders shot or face-only shot of a performer; also any shot showing an object in detail |
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The structuring & linkage of shots and sequences, often implying a smooth movement from image to image that maintains the narrative quality of film for viewer
basic arrangement of images
traditional form of editing |
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| A shot taken from a crane |
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Crosscutting
(parallel cutting) |
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Term for alternating shots of events happening in different locations at the same moment in time
NOT SEPERATION CUTTING |
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| a direct change of shot in a film rather than one that is made gradually |
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| When the camera is set up in such a way that all three focal planes (fore, mid, and background) are in focus |
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Term for how much of the image is in normal focus.
foreground, midground, and background
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| includes focus on all planes |
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| Usually more magnifie than the typical- closeup (shot of hand/ eye etc...) |
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| Internal to the world of the story (audio) |
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| The person who has the overall responsibility for turning a screenplay into a movie |
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| Gradual transmission from one shot to the next in which the first shot fades out as the next shot fades in so that there is at least an instant overlapping of the two |
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| Person who selects images from the wealth of actual film footage and arranges the images into the final whole film |
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| a shot that establishes the general location of scene(s) that will immediately follow |
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| In the film, but external to the worl of the story |
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| a shot in which the human body/ other primary object of the shot is very small in relation to the frame as a whole, taking up only a fraction of the entire visual image |
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| An edit in which the first shot shows some one looking offscreen and the next shot shows what that person is looking at |
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| a shot fades out entirely to a color (black) or in from a color |
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| a scene/ sequence from past time inserted into the film's present viewing moment |
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A shot of only a few frames duration, which can just barely be perceived
quick |
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| The 3 possible areas of focus in the creation of a 3-D image on a 2-D screen |
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Sounds created in a studio to be added into a soundtrack
Augment sounds that wouldn't naturally be heard |
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| When a single frame appears as stopped and so operates as a photograph |
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| the individual photographic image on which motion pictures are recorded |
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| Act of placing the camera in relation to performers and objects that determines what will be included and excluded from image |
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| A shot of a subject that includeds the entire body and not much else |
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a non-continutity edit in which a following shot is linked to the immediately previous shot purely by a visual image
object, action, color |
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| a shot taken from above the subject |
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| High level of frontal illumination on the subject, removes dark shadow |
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| a cut that breaks precise temporal continuity in a scene by leaving a gap in time, typically used to remove unimportant parts of actions |
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| A shot that usually includes both the performer's full body and enough of the surroundings to give a general visual context |
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| Framing in which there is ample space between the main subject and the edges of the frame, opposite of tight framing |
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| A shot taken from below the subject |
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| Low level of frontal illumination on the subject, producing areas of shadow |
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| An edit in which the first shot is followed by a jump cut that simply shows the end of the action |
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| A shot showing less than a person's full body, generally head to thigh/calf |
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The most general term for the arrangement of visual weights (blocking, color, movement) in the movie frame as well as the way those wieghts are photographed (lighting, camera angles...)
the overall look of a film |
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| Any relatively unobtrusive viual/ auditory image that is repeated systematically throughout a film and takes on a significant metaphoric value |
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A shot commonly used in dialogue scenes
the speaker is seen from the perspective of a person standing just behind and a little to one side of the listener so that parts of the head & shoulder of the listener are in the frame
as well as head of speaker |
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the camera itself is angled off the horizontal as it looks at the subject
suspicious, wierd |
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| Movement of camera horizontally to left/right around the imaginary vertical axis that runs through the camera |
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| Person responsible for the financial and large-scale logistical of a film production |
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| Spatial Relationships of characters onscreen |
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Pull Focus
a change of focus within one shot from a subject in foreground to a subject in background
just lense moves not camera |
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a shot that reverses angle of previous shot in order to switch the point of view
dialogue scenes |
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| Movement of the camera body off the horizontal around the imaginary axis running from front to back of camera |
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Technique in which filmed footage is projected onto a translucent screen from the rear, and at the same time actors are filmed in front of that rear projection
avoid moving locations |
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The written text of a film prepare prior to production
includes camera instructions |
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| When 2 people together in the same location are shown in seperate shots |
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a basic unit of film narration
consists of 1 or more related shots that constitute a mini narrative with defineable beginning and end |
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| The camera is set up so that only one plane is in focus |
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| A single piece of film exposed continuously |
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The apparent distance between the camera and the object (s) being photographed
extreme close-up --> extreme long |
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| When the screen is divided into 2 or more seperate shots |
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A shot that is acceptable for possible use in the final film
can be many takes of one shot
only one will be edited into the final film
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A shot in which main subjects are relatively boxed in by the edges of the frame
often with some other boundary close behind them |
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The camera tilts up/down
rotating around the horizontal axis that runs from let to right through the camera |
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Dolly Shot
A shot in which the camera moves from one point to another either sideways or in/out in relation to the subject being photographed |
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An editing Technique
A new image comes onscreen in the act of wiping the previous image off the screen
2 shots involved
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