Term
| 4 basic elements of visual language of cinema |
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Definition
| Shot, shot sequence, scene, dramatic sequence |
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Definition
Smallest unit of film language. A continuous run of images unbroken by an edit.
Can be divided into smaller pieces in the editing stage and these are also called shots.
Ex: Hitchcock's shower sequence in Psycho last about half a minute but contains more than 50 shots |
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Definition
| The footage captured from the moment the camera is on to when it is off. |
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Definition
everything visible in the frame; subject, actions, objects, setting, lighting, graphic qualities.
Contains information, a curtain meaning, derived form a combination of what we see in the shot and how it is presented |
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Definition
expressive unit made up of editing together multiple shots to define a unified action of event, or a passage of time and space.
Can be designed to make multiple points. |
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Definition
arranging shots in a particular order you can contextualize each individual image to create meaning that is greater than the sum of its parts.
film technique in which meaning is derived by from the accumulation of information of various shots in an edited sequence |
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Definition
placing 2 or more shots next to each other so that you highlight a link or contrast between the content in each shot.
Creates additional connection between the shots |
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Definition
| considering both image and editing through visual strategy |
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Definition
| consider what is shot(miss-en-scene) and how these shots will fit together (montage) |
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Definition
dramatic unit in which action happens in continuous time and space.
consist of multiple shots that guide that audience attention and there are principles of visual grammar that that is employed when putting these shots together that makes a coherent sense of of time, space, and actions |
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Definition
series of scenes that create a larger dramatic unit.
The relationship between an scene can vary because of, cause and effect or parallel action or the scene can have another associative connection. |
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Definition
organizing images to create a coherent sense of space, time and movement in a way that is understood by nearly everyone.
While continuity style is the fundamental cinematic language, there is always room for innovation and evolution |
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Definition
| each individual still image captures on film that when projected as a series creates an illusion of motion |
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Definition
two-dimensional space defined by its horizontal (x-axis) and vertical (y-axis) dimensions.
A 3rd dimension can also be created which is depth (z-axis) however depth and distance are created through graphic illusion |
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Definition
screen left, right, top and bottom
used to determine the parameters of the viewer's perspective |
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| is what the audience does not see. |
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| relationship between width and height of the frame. |
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| The aspect ratio of a 35mm, 16mm, and broadcast standard video is 1.33:1 ??? |
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all essential info in the shot is neatly contained within the parameter of the frame
ex: seeing a gun and knowing who is shooting and who is not |
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Definition
composition leads audience to be aware of the area beyond the edge of visible shot.
ex: seeing a gun in side of frame, info goes beyond the frame |
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Definition
| accentuates the compositional element of depth (z-axis) |
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Definition
| emphasizes the two-dimensionality of an image |
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Definition
| understanding that objects closer in the foreground will partially cover or overlap objects farther in the background |
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Definition
| understanding that objects will appear smaller the farther they are from the viewer. |
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Definition
| one part of a single object will appear large because it is close to the viewer while the other part of that same object will appear small because it is further away. this creating a dynamic sense of depth |
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Definition
| utilizes exactly the same depth cue techniques as standard filmmaking but 3D technology replicates one additional element of our ability to visually perceive depth and dimension: stereopsis |
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Definition
| created by viewing objects with two eyes that are physiologically placed slightly apart like human eyes |
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Definition
| the 2 lenses on a 3D camera try to replicate the physical occurrence (the distance between pupils) |
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Definition
| used as a guide for framing human subjects and for composition in general |
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Term
| looking room (walking room) |
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Definition
extra vertical space to one side or the other. provides a sense of balance because the direction of the gaze or movement itself carries a sort of compositional weight
Keeps the viewer from thinking the subject is pushing or about to go beyond the edge of the frame. |
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Term
| extreme long shot or wide shot (ELS) |
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Definition
| shows a large view of the location settings or landscape |
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Definition
| contains the whole human figure, used to show larger physical movements and activities |
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Definition
| knees up. sometimes called the cowboy shot because of the need to always see a cowboys gun belt in the old western genre films. French call it an "American Shot" because it was frequently used in 1930s and 1940s films |
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Definition
| waist up. shows smaller physical action and facial expressions but still has allows some view of the setting. |
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Definition
| chest or shoulders up. focused more on facial expressions but also allows body language to be noticed and maintained |
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Definition
primary emphasis is on the face or a particular part of the body.
Small details in features, movements and expressions are the key points in a CU |
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Definition
| a stylistically potent shot that isolates a very small detail or feature of the subject. |
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Term
| Two shots, Three shot, or Group shots |
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Definition
| two shot includes 2 people, three shot includes 3 people and group shot includes more than 3 people |
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Definition
| lens is at eye level with the subject wether they are sitting or standing |
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Definition
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| subject looks directly at the camera |
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Definition
| camera looks directly at subject but subject looks slightly off the edge of frame |
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Term
| three-quarter frontal, profile shot, three-quarter back |
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Definition
| moving the camera parallel to the subject in an arc formation |
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Definition
| creates distance, remoteness, and mystery |
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Definition
| creates feelings ranging from slight imbalance to extreme spacial disorientation, depending on the extremity of the lateral tilt of the camera |
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Definition
| uses elements of location or lighting to crop the existing frame into a new proportion |
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Term
| static shot (fixed frame) |
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Definition
| framing remains steady on the subject without moving or shifting perspective |
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Definition
| shifting the perspective of the frame along with the viewers attention horizontally, vertically, or even along the z-axis for dramatic and stylistic reasons |
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Term
| pivot camera moves (stationary camera moves) |
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Definition
pivoting the camera horizontally or vertically in a stationary spot while camera is recording
location of camera doesn't change just its horizontal and vertical angles |
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Definition
| scans space horizontally by pivoting left or right |
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Definition
| shifting the perspective vertically, facing the lens up or down. camera does not move |
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| panning from/to or tilting from/to |
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Definition
| movement from one subject to the next |
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Definition
| follows the subject as the move |
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Term
| zooming in or zooming out |
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Definition
| requires a variable length lens. moving closer or futher away why camera is stationary |
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Definition
| moving the entire camera horizontally (left or right), closer or further( forward or backward), or vertically (up or down) |
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Definition
| move the camera in order to follow the subject |
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Definition
| generally moving shots in which the camera moves closer or further away from the subject. |
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Definition
| lifting the camera up or down. |
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Definition
| camera is raised very high in the air most certainly above the subjects head |
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Definition
| executing more than one move at a time |
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Term
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Definition
| camera movements should be motivated meaning that is should have an important storytelling technique and the movement the camera begins needs to be motivated within the scene. |
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Term
| continuity style shooting and editing |
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Definition
| system that assures that individual shots, when cut together, will give the illusion of smooth and continuous time, movement, and space regardless of the order they were shot in |
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Definition
| responsible for keeping track of these continuity concerns |
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Term
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Definition
| sounds that exist naturally in a given location |
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Term
| 180 degree line (axis of action) |
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Definition
An imaginary line drawn for continuity purposes.
A line following the directional bearing of our subject, which is the direction a character is looking.
In order to maintain sight line and screen direction all shots used in a sequence must remain on the same side of the line |
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Term
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Definition
| the direction a character is looking |
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Term
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Definition
| the direction the character is moving |
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Definition
| placing a camera on the opposite side of the line reverses the direction in which the character is looking (sight line) along with all the actions therefore breaking the 180 rule |
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Definition
| placing to similar frames back to back creating what looks like a jump forward in action leaving the viewer thinking they are missing part of the story |
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Term
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Definition
dividing a single action between 2 shots in order to bridge the edit.
Continuing the action in the first shot on to the next shot. |
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Term
| The most common way to approach a two-person interaction? |
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Definition
| A master scene or a shot reverse shot technique |
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Term
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Definition
shots added in
ex: having a master shot of a family at dinner then cutting away to the food or and arrangement on the table |
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Term
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Definition
| clearly shows both subjects in the scene and defines the spacial relationship between the two and the space around them. (like a long shot) |
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Term
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Definition
| closer shot of the subject in the scene often a MCU or CU. |
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Term
| Six basic principles of continuity |
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Definition
| continuity od mise-en-scene (shared shot content), continuity of sound, continuity of performance, continuity of spacial orientation (axis of action, 180 rule), 20mm/30 degree rule, cutting on action (match action edit) |
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Term
| over the shoulder (OTS) or dirty single |
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Definition
| a shot that includes part of the other persons shoulder or head |
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Term
| shot/reverse shot technique |
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Definition
| alternating between each reverse shot of both characters, most commonly used as they speak their dialogue |
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Term
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Definition
| reverse shots can be used as reaction shots as well, not just speaking dialogue but also to reveal a reaction to a moment |
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Definition
means being precise with camera placements so that the camera follows the characters sight lines from shot to shot.
This means not breaking the 180 rule |
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Definition
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Term
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Definition
| shooting a scene from multiple angles |
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Term
| two ways to replicate a characters POV |
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Definition
| using a subjective camera or constructing a POV sequence |
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Term
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Definition
| representing the visual perspective of what the character sees |
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Term
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Definition
| implies that we are literally looking through the eyes of our character. |
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Definition
| allows us an even more intimate access to the character's perception |
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Term
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Definition
1.) Looking Shot: shows subject turning their attention towards a person or object
2.) POV shot: shows what they are looking at
3.) Reaction Shot: after POV shot returns to the character to see their response to what they have just seen. |
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Term
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Definition
removing extraneous time and territory in an edit
Ex: removing extra travel length in desert motorcycle scene from Raising Arizona |
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Term
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Definition
| intercut between two or more characters who are in different locations who seem to be moving towards each other to create the impression that they will meet |
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Term
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Definition
cross cutting the paths of two or more characters who are traveling in the same direction making it seem like one is following the other.
This becomes stronger if there are shared landmarks from shot to shot |
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Term
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Definition
| intercutting between 2 or more separate actions (or scenes) in such a way that the viewer believes the scenes are accruing simultaneously. |
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Definition
| alternate between 2 or more scenes |
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Definition
| used for a stylistic, aesthetic, approach |
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Term
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Definition
| allows the actions and relationship of an entire scene to develop within a single shot. (in real time) |
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Term
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Definition
expresses the directors visual strategy for every scene in the film.
Shots what shots will be used for a scene and how they connect as an edited scene |
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Term
| marking the script (lineup) |
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Definition
drawing a vertical line through the action and dialogue covered by a specific shot
The line represents the anticipated duration of the shot |
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Term
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Definition
| starting a shot well before the anticipated edit point |
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Term
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Definition
by drawing vertical lines across dialogue and action on the script to indicate shot coverage, the director can visualize how the film will be shot.
Scenes must be numbered and individual shots identified with letters |
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Term
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Definition
Drawings of each scene from a birds-eye perspective.
Help the filmmaker figure out the axis of action, camera placement, and character blocking (movement of characters in the space).
Used to figure out where the camera goes for each shot and communicating the visual breakdowns of a scene to the crew |
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Term
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Definition
| basic location and angle of the camera from which shots are are filmed from according to the shooting script |
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Term
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Definition
drawings of shots arranged on paper in the order they appear in a sequence
Always drawn in frames with the same aspect ratio as the camera frame.
Written under each frame is the description of the shot and the actions or lines of dialogue for when it takes place |
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Term
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Definition
| is a list of all the shots that make up the film in the order they will be shot |
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Term
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Definition
quick shots that were not part of the original script but are picked up after production to fill gaps to make editing smother or to improve the scene
Ofter confused with reshoots. |
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Term
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Definition
forms for each shooting day that detail: what portion of the script is being filmed, who needs to be on set, when they need to be there, and how to get to the set
Arrival times include: setup times, makeup and rehearsal times for cast |
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Term
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Definition
resting time for cast. needs to be a minimum of 10 hrs between the end of one call to the beginning of the next.
12hrs is standard |
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Term
| line producing (production manager) |
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Definition
| organization of time and personnel, coordinating the locations, props, and costumes, dealing with the film labs and other vendors, and working with budgets |
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Term
| production design (art direction) |
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Definition
| determines how the look of the environment in which the scene takes place including: color, location, texture, and space; the choice and design of specific objects that are used in the scene and the presentation of characters through costume and makeup |
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Definition
| a "real" location needs some degree of tweaking and fixing up so that it looks just right on screen |
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Term
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Definition
| the art director draws sketches for what they decide to build and once approved they build the set |
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Term
| location technical survey |
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Definition
| closely scrutinizing the location for its technical and aesthetic capabilities |
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Term
| production designer along with costume designer and prop master |
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Definition
| review every scene with the director to determine how wardrobe and objects can contribute to our understanding of each character |
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Definition
| form used to keep track of all the mise-en-scene details that are necessary for every scene, including: set dressing, hand props, costume, makeup and atmosphere (rain, fog, smoke) |
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Term
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Definition
| amount of footage shot compared to the final running time of the movie |
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Definition
| consist of producing team, director, camera department, art department, sound department and talent |
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Definition
responsible for budgeting, scheduling and the logistical coordination of the project (personnel, locations, production resources)
consist of: producer, production manager(P.M), safety coordinator, director and assistant director(A.D) |
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Definition
definitive creative decision maker of the movie, the person that makes sure everyones efforts are working towards a common and expressive end.
Responsible for bringing the screenplay to the screen and maintaining an appropriate, consistent, coherent stylistic approach. |
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Definition
in charge of lighting and capturing the image on film or video
consist of: director of photography, assistant camera person,camera operator, gaffer, grip and key grip |
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Term
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Definition
attends to the look of the physical space for the movie and acquires the costumes and objects used by the actors in the film
consist of: production designer, art director, set decorator, prop master, costume designer, makeup and hair stylist and carpenter and painter |
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Definition
in charge of recording sound on location
Consist of: sound recordist, boom operator and cable wrangler |
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Term
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Definition
| appear on camera to preform the dramatic roles in the movie |
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Term
| principal production team |
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Definition
| includes crew members with substantial responsibilities and ofter direct creative input |
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Term
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Definition
| oversees the logistics of the film from preproduction to distribution. including funding, personnel, scheduling, equipment, location and other production resources |
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Term
| production manager (P.M.) or line producer |
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Definition
the producer's right hand during the production process.
responsible for the day to day operations of the film and oversees all budget expenditures. |
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Term
| assistant director (A.D.) |
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Definition
the right hand for the directer. responsible for the smooth operation of the set.
communicates the directors instructions to the various departments |
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Term
| Director of Photography (D.P.) or cinematographer |
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Definition
| collaborates closely with the director with the visual interpretations of the script and the photographic look of the movie |
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Term
| assistant camera person (A.C.) |
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Definition
| camera and lens expert. they are responsible for the proper functioning of the camera which includes setting it up, cleaning the gate, checking and pulling focus, and selecting filters and lenses with the D.P. |
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Definition
| expert in composition and the technical implementation of shots and can collaborate with either the D.P or the director in planning the execution of a particular shot |
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Definition
hands on lighting person who implements the lighting design of the D.P.
In charge of set up and proper functioning of lights also for getting the proper electricity to the sets |
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Definition
muscles of a film set. move lights sets and dollies.
In charge of the actual physical placement of the lights and the safe use of all lighting equipment also in charge of orderly staging and breakdown of lighting gear |
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Term
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Definition
| in large productions grips become their own department overseen by the key grips who in turn answer to the D.P. |
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Definition
responsible for the look and design of the film as they pertain to locations, sets, props, and costumes
Works in close collaboration with the director and makes creative suggestions |
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Definition
supervises set construction and location details
also in charge of coordinating a team of constructors and painters |
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Definition
| dresses the set with objects |
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Definition
| locates and coordinates props |
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Definition
| finds and makes all costumes and maintains them for the duration of the film |
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Term
| sound recordist (location sound mixer) |
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Definition
| head of the sound department and is responsible for recording the best possible quality of sound |
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Definition
| in charge of proper use and placement of microphones |
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Definition
sets up cables and hold an additional boom pole when needed.
Wrangles the cables when the boom operator follows a moving shot |
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Term
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Definition
| the waiting room for the next in line actor. |
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Term
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Definition
| standard calling card. usually consist of an 8 by 10 inch photograph on one side and a resume on the other. |
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Term
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Definition
| second audition for all potential actors |
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Term
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Definition
| legal document that is signed before the camera rolls giving permission to use the actors voice and image in the movie |
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Term
| Screen Actors Guide (SAG) |
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Definition
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Term
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Definition
| the time spent in production running through scenes in preparation for shooting |
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Definition
| a reading of the script by the actor with all principal people in attendance |
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Term
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Definition
| more detailed examination of specific scenes and aimed to refine the interpretation of the drama |
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Term
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Definition
| occurs during scene work rehearsals, its the rough coordination of movements of the actors in the scene |
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Term
| on set rehearsals/run throughs |
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Definition
| rehearsals during the preparation of the actual shooting on location |
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Term
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Definition
| small actions that an actor does during a scene |
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Term
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Definition
| series of polished glass sections |
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Term
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Definition
| the light-tight housing that holds lens elements parallel to each other |
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Term
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Definition
| emulsion of the film, every film camera has an external marking that indicates where the film is located |
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Term
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Definition
| the focal plane of a video camera. |
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Term
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Definition
| determines the degree of magnification or de-magnification of the scene being shot |
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Term
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Definition
| the point at which the image flips |
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Term
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Definition
| how much of the scene the lens takes in horizontally (x-axis) and vertically (y-axis) |
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Term
| Three broad focal length classifications for lenses |
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Definition
| wide angle (short lens), normal (medium lens) and telephoto (long lens) |
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Term
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Definition
approximates the same perspective and image size that the human eye would see if one were to stand in the same spot as the camera
25mm |
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Term
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Definition
focal lengths shorter than normal lenses.
reduce the size of the image and broaden the angle of view
9mm |
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Term
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Definition
have longer focal lengths.
enlarge the image and narrow the angle of view
120mm |
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Term
| perspective is essentially a combination of the angles of view in terms of both? |
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Definition
| horizontal dimension (x-axis) and vertical dimensions and the depth between near and far called depth dimensions (z-axis) |
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Term
| field of view (angle of view) |
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Definition
| when the distance between the camera and the subject is changed but the x and y axis are maintained |
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Term
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Definition
| changing the camera-to-person distance with a dolly while simultaneously changing the focal length to maintain the same framing |
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Term
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Definition
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Term
| zoom lens (variable focal length lenses) |
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Definition
a continuous range of focal lengths in one lens housing
Constructed with moveable lens elements that slide forward and backwards to physically shift the optical center and therefore change the focal length of the lens |
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Term
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Definition
| adjusting the optical center away from the focal plane and therefore increasing the magnification power of the lens (telephoto) |
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Term
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Definition
| adjusting the optical center back to the focal plane causing the image to become more wide angled |
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Term
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Definition
zooming is accomplished when adjusting the zoom ring/
Allows the filmmaker to manually set the desired focal length |
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Term
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Definition
| when a point of light reflecting off the subject is registered as a point of light on the focal plane. |
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Term
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Definition
| brings a subject into focus by very precisely moving the front element of the lens forward and backward in relation to the focal plane, which is why the focus ring is found at the front of the lens |
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Term
| focus point (plane of critical focus) |
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Definition
| the precise distance in front of the camera, from the focal plane which will be in sharp focus |
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Term
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Definition
| a line etched (engraved) into a non-movable part of the lens barrel |
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Term
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Definition
| enlarges a part of the image to help find critical focus |
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Term
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Definition
| times when its needed to change the plane of critical focus during a take while the camera is running |
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Term
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Definition
| the person who does the actual adjustments to the focus ring |
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Term
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Definition
| shifting the plan of critical focus between 2 static subjects along the z-axis |
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Term
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Definition
| when the subject is moving further or closer to the camera and you must adjust the plane of critical focus to follow the subjects progress |
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Term
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Definition
| place precise marks on the ground for the actors to hit during their action |
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Term
| aperture ring (f-stop ring) |
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Definition
controls a slender disk, a diaphragm, inside the lens called the iris which is made up of flat black metal blades
Controls how much light is let into the shot.
Open iris (lower numbers and fast lens) allows lots of light and closed iris (higher numbers and slower speeds) allows little light. |
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Term
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Definition
| each of the numbers on a scale |
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Term
| T-stop (transmission stop) |
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Definition
are f-stops that have been adjusted to take into account the amount of light that is lost
t-stops are red numbers and f-stop are white.
they are more accurate than f-stops |
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Term
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Definition
| range of apparent along the z-axis |
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Term
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Definition
| makes subject stand out from environment because the images in front of and behind te subject are out of focus |
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Term
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Definition
| increases the amount of information seen along the z-axis and therefore you gain environmental detail that can inflict the mood of the scene |
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Term
| Circle of Confusion (CoC) |
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Definition
| the measure of acceptable diameter which creates the appearance of focus |
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Term
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Definition
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Term
| electronic shutter control |
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Definition
| reduce light entering the camera |
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Term
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Definition
| used when shooting on DV and when wishing have shallow depth of field the whole time |
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Term
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Definition
| favors objects in the center of screen |
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Term
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Definition
| allows you to pick what you want to focus on verse the camera |
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| A small calculator that accurately measures the light intensity values of the scene and then calculates the proper exposure taking into account the exposure variables of the shooting situation |
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light falling on the scene.
Measured by foot candles (one foot candle is equal to the light generated from an "international standard candle" one foot away from the center of the flame |
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| light measured off the scene. The unit of measure for this id footlamberts. measuring this light is known as reflective value |
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| the amount of time each image is exposed to light |
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| shows a range of shutter speeds calculated for different frame rates |
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| 2 meters used to take incident light and reflective light |
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| incident light meter and reflected light meter |
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most common meter used. measures the intensity of the light falling onto a scene.
Have half globe light diffusers called photospheres (lumisphere) |
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| strategy using movie lights to duplicate where light would logically be emanating from, to create naturalistic lighting design. |
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| 3 basic properties of light |
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| intensity, hard verses soft, and color temperature |
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| the strength of light emitted by a source and is measure in foot-candles |
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| specular reflector system |
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| uses a high polished, mirror like surface to reflect the light from the lamp and is very effective in maintaining the intensity of the lamp wattage |
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| used to soften the light and this cuts down the intensity. |
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| says that the intensity of light falls off by the square of the distance from the subject. |
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| the glowing filament of the lamps illumination, creating a highly directional beam. |
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| hard light or directional light |
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light that travels directly from a lamp to the subject.
The light rays that travel parallel and straight to each other all fall on the subject from a single angle causing sharp shadows and bright highlighted areas |
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| units that do not illuminate directly from a lamp but instead reflect the light off an unpolished whit surface. The unpolished surface scatters light rays in a variety of angles distributing their parallel paths |
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also used to soften light by placing in front of the beam.
scatters the light rays in a similar way to that of the unpolished surface either was it decreases the intensity. |
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| different sources of light favor different areas of the light spectrum, and the tonality the light favors is called color temperature |
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| tungsten light (quartz lights) |
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| most common artificial lighting instruments for medium scale film and DV production. |
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| HMI (hydrargyrum medium-arc iodide) |
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| designed to emit light that matches daylight color temperature |
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| dyed plastic that are used in front of the lights to alter the quality of that particular light source before it falls on the scene |
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| glass or hard plastic elements placed in front of the camera to change the quality of the light from all sources entering the camera |
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| attach to the front of the camera and extend out to keep unwanted light from glancing off the lens. also usually have filter holders |
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| camera filters break down into 4 broad categories of usage |
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| color correction, exposure control, special effects and black and white photography. |
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| light behind the subject and in front of the camera. Makes subject look like a silhouette |
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| law wattage lights which function is to kick up the illumination on a specific object for special emphasis |
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| lights that are included as part of the miss-en-scene, including wall sconces, house hold lamps, and overhead fixtures |
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| a large sheet of diffusion material attached to a metal frame |
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| common open faced unit that has a movable lamp allowing it to focus its throw somewhat from a broad to a more narrow defined area |
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| 100 w to 200 w, small lens |
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| 1k, medium lens also called ace |
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| 2k, medium or large lens also called deuce |
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| creates an even and soft source. the lager the shell the more diffused the light will be |
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| specialized soft light rig that is used exclusively as a fill light |
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generate their illuminations by passing through mercury gas trapped within a hollow tube causing it to glow
give off a very soft, flattering light |
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| all purpose holder, used for hanging, holding positioning just about anything combined with gobo arms and gobo heads |
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| blocking light so it doesn't fall where you don't want it. |
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| light that falls where it shouldn't |
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| designed to help the coverage of the beam |
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used to reduce intensity of light.
are wire mesh screens that fit in front of the lighting unit |
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| heavy duty spring clamps with rubber teeth the ensure a tight grip on things like doors, and tables |
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| designed to lock onto pipes ofter used to hang small lights like a inkie or a tweenie |
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spring tension expandable poles, like a shower curtain rod
ofter used with mafer clamps to hang lights in wind frames and doorways |
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| stinger (extension cord), sandbags, gaffer's tape, dressing cables (prevent people from tripping) |
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| a pressure wave consisting of an alternating pattern of high pressure composition and low pressure traveling through the air |
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| length of one cycle from peak to peak |
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| cycles per seconds (hertz Hz) |
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| measured along the graphs x-axis |
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| a sound that generates 10000 wave cycles per sec has a frequency of 10000 Hz (also written as 10kHz) This frequency of cycles per sec is actually measuring the pitch. |
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| the range of detectable pitches for a given apparatus |
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| the "hearing" range for a particular piece of gear |
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| maximum high or low along the y-axis |
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| aka field recording, field mixing and audio gathering |
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| 2 categories for location sound |
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| synchronous sounds (sync sound) and wild sound (non sync sound) |
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| ambient sound (room tone) and location sound effects (spot sound effects) |
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| includes: room acoustics (presence) and background noise (atmospheric sound) |
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| ensures constant compatible speed |
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| opacity (bottom left) adjust volume and/or video |
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| beside opacity, makes tracks smaller or bigger |
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