Term
|
Definition
| a continuous run of images, unbroken by an edit. |
|
|
Term
|
Definition
| everything visible in the frame of a shot: the subject, actions, objects, setting, lighting, and graphic qualities. |
|
|
Term
|
Definition
| an expressive unit made up of editing together multiple shots to define a unified action or event, or passage of time or place. |
|
|
Term
|
Definition
| film technique in which meaning is derived from the accumulation of information of the various shots in an edited sequence. |
|
|
Term
|
Definition
| placing two or more shots next to each other so that you highlight a link or contrast between the content in each shot. |
|
|
Term
|
Definition
| a dramatic unit in which action ostensibly happens in continuous time and within a single location |
|
|
Term
|
Definition
| made up of a series of scenes that create a larger dramatic unit. |
|
|
Term
|
Definition
| tried and true principles for organizing our images to create a coherent sense of space, time and movement in a way that is recognized and understood by nearly everyone. |
|
|
Term
|
Definition
| each, individual, still image captured on film or on video, which, when projected as a series, creates the illusion of motion. |
|
|
Term
|
Definition
| two-dimensional space defined by horizontal (x-axis) and vertical (y-axis) dimensions. |
|
|
Term
|
Definition
| the relationship between the width and the height of the frame. |
|
|
Term
|
Definition
| all of the essential information in the shot is neatly contained within the parameters of the frame |
|
|
Term
|
Definition
| the composition leads the audience to be aware of the area beyond the edges of the visible shot |
|
|
Term
|
Definition
| a frame that accentuates the compositional element of depth (z-axis) |
|
|
Term
|
Definition
| emphasizes the two-dimensionality of the image |
|
|
Term
|
Definition
| the perceptual understanding that objects will appear to be smaller the farther they are from the viewer, and conversely, objects will apear larger the closer they are to the viewer |
|
|
Term
|
Definition
| one part of the object appears large because it is very close to the viewer, while another part of the same object appears small because it is farther away, creating a dynamic sense of depth within the frame. |
|
|
Term
|
Definition
| a visual perception phenomenon created by viewing objects with two eyes that physiogically are placed slightly apart - like human eyes. |
|
|
Term
|
Definition
| a guide for framing human subjects and for composition in general. |
|
|
Term
|
Definition
| extra vertical space, to one side or the other (in a frame). |
|
|
Term
| static shot (or fixed frame) |
|
Definition
| a shot in which the framing remains steady on the subject without moving or shifting perspective |
|
|
Term
| pivot camera moves (stationary camera moves) |
|
Definition
| pivoting the camera, horizontally or vertically, from a stationary spot while the camera is running. |
|
|
Term
|
Definition
| scans space horizontically by pivoting the camera left or right |
|
|
Term
|
Definition
| shifts the camera perspective vertically, with the lens facing up or facing down |
|
|
Term
|
Definition
| literally moving the entire camera in space, horizontically, closer or farther, or even vertically. |
|
|
Term
|
Definition
| lifting the camera up and down |
|
|
Term
|
Definition
| the camera is raised very high in the ari, certainly above a human subject's head |
|
|
Term
|
Definition
| the emulsion of the film, and every film camera has an external marking that indicates precisely where the film is located. |
|
|
Term
|
Definition
| the focal plane of a video camera |
|
|
Term
|
Definition
| determines the degree of magnification or de-magnification of the scene being shot |
|
|
Term
|
Definition
| the point at which the image flips |
|
|
Term
|
Definition
| how much of the scene the lens takes in horizontally and vertically |
|
|
Term
|
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. |
|
|
Term
|
Definition
| reduce the size of the image and broaden the angle of view, compared to the perspective of the human eye |
|
|
Term
|
Definition
| lenses that have a longer focal length than normal and that enlarge the size of the image and narrow the angle of view |
|
|
Term
|
Definition
| changing the camera-to-subject distance with a dolly while simultaneously changing the focal length to maintain the same framing |
|
|
Term
|
Definition
| lenses that have one fixed focal length |
|
|
Term
|
Definition
| offer a continuous range of focal lengths in one lens housing |
|
|
Term
|
Definition
| a line etched into a nonmovable part of the lens barrel |
|
|
Term
|
Definition
| changing the plane of critical focus during a take, while the camera is running |
|
|
Term
|
Definition
| the person who does the actual adjustments to the focus ring |
|
|
Term
|
Definition
| shifting the plane of critical focus between two static subjects along the z-axis |
|
|
Term
|
Definition
| used when your subject is moving along the z-axis either closer to or farther away from the camera, and you must adjust the plane of critical focus to follow your subject's progress |
|
|
Term
|
Definition
| we place precise markers on the ground for the actor to hit during the course of their movement |
|
|
Term
|
Definition
| the opening that all light gathered by the lens must pass through before it is registered on the film plane or imaging device |
|
|
Term
|
Definition
a scale that the size of the aperture opening is calibrated to
f/1.4, f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16, f/22 |
|
|
Term
|
Definition
| f-stops that have been adjusted to take into account the amount of light that is lost, dissipated, or absorbed by that particular lens |
|
|
Term
|
Definition
| the range of apparent focus along the z-axis |
|
|
Term
|
Definition
| makes your subject stand out from the environment and gain prominence in the frame, because objects both in front of and behind the subject are out of focus and indistinct |
|
|
Term
|
Definition
| increases the amount of information we see along the z-axis and therefore you gain environmental detail that can inflect the mood of the scene and the narrative content |
|
|
Term
|
Definition
| tells us that two-thirds of the depth range along the z-axis is behind the focus point and one-third is in front |
|
|
Term
|
Definition
| the measurement of acceptable diameter, which creates the appearance of focus |
|
|
Term
|
Definition
| adjusting your focus until the image is sharp, then zooming in and out to find your initial frame. the subject will remain in focus for the entire zoom range |
|
|
Term
|
Definition
| the light source, the scene, filters, the lens and aperture, speed and shutter, imaging device |
|
|
Term
|
Definition
| the light falling on a scene |
|
|
Term
|
Definition
| the unit of measure for incident light |
|
|
Term
|
Definition
| unit of measure for reflected light |
|
|
Term
|
Definition
| the amount of time a single frame is exposed to light |
|
|
Term
|
Definition
| shows a range of shutter speeds calculated for different frame rates |
|
|
Term
|
Definition
| a reflected light meter with a zoom lens and a very narrow and precise angle of acceptance, usually around 1 degrees |
|
|
Term
| five fundamental objectives to lighting any scene |
|
Definition
| exposure and visibility, depth and dimension, narrative emphasis, tone and mood, consistency |
|
|
Term
|
Definition
| using movie lights to duplicate where light would logically be emanating from |
|
|
Term
| specular reflector system |
|
Definition
| uses a highly published, mirror-like surface to reflect the light from the lamp and is very efficient in maintaining the intensity of the lamp wattage |
|
|
Term
|
Definition
| softens the light and cuts down intensity |
|
|
Term
|
Definition
| the intensity of light falls off by the square of the distance from the subject |
|
|
Term
|
Definition
| light that travels directly from a lamp to the subject |
|
|
Term
|
Definition
| scatters the light rays in a way similar to that achieved by bouncing light off a diffusing surface |
|
|
Term
|
Definition
| the tonality that a light favors |
|
|
Term
|
Definition
| the most common artificial lighting instruments for medium-scale film and DV production, which have a color temperature of 3,200K |
|
|
Term
|
Definition
| sheets of dyed plastic that are used in front of a lighting unit to alter the quality of that particular light source before it falls on the scene |
|
|
Term
|
Definition
| glass or hard plastic elements mounted in front of the camera lens to change the quality of the light, from all sources, entering the camera |
|
|
Term
|
Definition
| attach to the front of the camera and extend out from the lens to keep unwanted light from glancing off the lens |
|
|
Term
|
Definition
| gray tinted filters that simply cut the amount of light entering the lens |
|
|
Term
|
Definition
| used to block light rays that are not parallel when entering the lens. the primary use of this is to reduce or eliminate the obstructing glare and reflections coming off transparent surfaces like glass and water |
|
|
Term
|
Definition
| gradually introduce a filter effect into only a portion of the frame, leaving the rest of the frame unaffected |
|
|
Term
|
Definition
| primary source of illumination in your scene |
|
|
Term
|
Definition
| soft light that is positioned to fill the shadows created by the key light |
|
|
Term
|
Definition
| light that separates the subject from the background by positioning a somewhat lower intensity hard to semi-soft light at a high angle and behind the subject |
|
|
Term
|
Definition
| low-wattage, unobtrusive lights whose function is to kick up the illumination on a specific object or a small area of the frame for special emphasis |
|
|
Term
|
Definition
| lights that are included as part of the mise-en-scene, including wall scones, household lamps, and overhead fixtures |
|
|
Term
|
Definition
| large sheet of diffusion material attached to a meal frame |
|
|
Term
|
Definition
| common open-faced unit that has a movable lamp, allowing it to focus its throw somewhat from a broad to a more narrowly defined area |
|
|
Term
|
Definition
| open-faced lights with no spotting capability, simply deliver a hard, efficiently bright light |
|
|
Term
| inkie, midget, tweenie, baby, junior, deuce |
|
Definition
| Fresnel units commonly used by students and independent filmmakers |
|
|
Term
|
Definition
| specialized soft light rig that is used exclusively as a fill light |
|
|
Term
|
Definition
| all-purpose holder, used for hanging, holding, or positioning just about anything |
|
|
Term
|
Definition
| designed to help control coverage of the beams |
|
|
Term
|
Definition
| wire mesh screens that fit directly in front of the lighting unit |
|
|
Term
|
Definition
| free-standing frames covered with black felt, to sharply define where the light falls and where it doesn't |
|
|
Term
|
Definition
| netting material stretched across a frame and, like scrims, are used purely to cut the intensity of light |
|
|
Term
|
Definition
| like nets, but the material is partly opaque, which not only cuts the light intensity, but diffuses it as well |
|
|
Term
|
Definition
| the general name given to anything that comes between a light source and the scene |
|
|
Term
|
Definition
| metal or foam core that has had shapes cut into it to create patterns on a wall, floor, or other surface |
|
|
Term
|
Definition
| heavy-duty spring clamps with rubber teeth to ensure a very tight grip on things like doors and tables |
|
|
Term
|
Definition
| designed to lock onto pipes |
|
|
Term
|
Definition
| spring-tension, expandable poles, like a shower curtain rod, that are often used with mafer clamps for hanging lights in window frames, doorways, or narrow hallways |
|
|
Term
|
Definition
| on-set name for extension cord |
|
|
Term
|
Definition
| placed over the legs of c-stands and light sands to keep them from toppling over |
|
|
Term
|
Definition
| all-purpose utility tape on a film set |
|
|
Term
|
Definition
| pressure wave, consisting of an alternating pattern of high pressure and low pressure, traveling through the air |
|
|
Term
| four basic properties of sound |
|
Definition
| pitch, loudness, quality, velocity |
|
|
Term
|
Definition
| range of detectable pitches for a given apparatus |
|
|
Term
|
Definition
| the unique tonal composition and characteristics of sound (i.e., richness, harshness, resonance) |
|
|
Term
|
Definition
| emits a steady 60-cycle-per-second pulse that precisely governs the transport speed of the camera |
|
|
Term
|
Definition
| dinstinguishes the area and range within which the microphone will respond optimally |
|
|
Term
|
Definition
| usually has an omnidirectional pattern but also has a highly specialized function |
|
|
Term
|
Definition
| the loudness of a signal as it enters the audio recorder, which in turn determines the strength of the recorded audio signal |
|
|
Term
|
Definition
| found on DV camcorders and stand-alone digital audio recorders and measure the strength of the incoming signal |
|
|
Term
|
Definition
| the range between -12dB and 0 db that gives us a buffer for any unseen and sudden audio pikes |
|
|
Term
|
Definition
| a 1-kHz pure tone that is used as a reference for calibrating a chain of audio devices in the field |
|
|
Term
|
Definition
| gives away the control for setting audio levels to the recorder, which assumes that there is a single proper level for all sounds |
|
|
Term
|
Definition
| volume controls that only come into effect when an audio signal reaches overload |
|
|
Term
|
Definition
| automatically remove unwanted portions of the frequency range |
|
|
Term
|
Definition
| directly within the microphone's optimal sensitivity range |
|
|
Term
|
Definition
| foam wind buffers surounding the head of the microphone |
|
|
Term
|
Definition
| allows us to move around in the footage in any direction |
|
|
Term
|
Definition
| to perpetually "preview" all of the edits in your program |
|
|
Term
|
Definition
| any cutting, arranging, trimming, corrections, or effects you might perform occur only virtually, in a preview mode |
|
|
Term
| External FireWire hard drives |
|
Definition
|
|
Term
| transport control buttons |
|
Definition
| using this you can move through the sequence in real time |
|
|
Term
|
Definition
| scroll through in slow motion |
|
|
Term
|
Definition
|
|
Term
|
Definition
| three in- and out- points determine the cut |
|
|
Term
|
Definition
| placing end-to-end all the shots of a scene, or a sequence of scenes, or even an entire short film, without selecting too precisely the parameters of each shot |
|
|
Term
|
Definition
| the process of combining the video and audio with the applied effect to create a new media file |
|
|
Term
|
Definition
| finessing all of the edits one by one |
|
|
Term
|
Definition
| responsible for keeping track of continuity concerns |
|
|
Term
|
Definition
| means that we must shoot all of the shots in a continuity sequence from only one side of the action |
|
|
Term
|
Definition
| three basic shots that are later edited together - that is, the master shot and reverse shots of each person |
|
|
Term
|
Definition
| removing extraneous time and territory in the edit |
|
|
Term
|
Definition
| intercutting between two people who are in different locations but appear to be moving toward each other |
|
|
Term
|
Definition
| cross-cutting the paths of two characters who are traveling in the same directions |
|
|
Term
|
Definition
| a narrative technique that involves intercutting between two or more separate areas of action in such a way that the viewer assumes the scenes are occurring simultaneously |
|
|
Term
|
Definition
| alternating between two or more scenes |
|
|
Term
|
Definition
| expresses the director's visual strategy for every scene in the film |
|
|
Term
|
Definition
| drawing a vertical line through the action and dialogue covered by a specific shot. the line represents the anticipated duration of the shot |
|
|
Term
|
Definition
| starting a shot well before the anticipated edit point |
|
|
Term
|
Definition
| an interior scene that can be used in case your exterior shoot is cancelled because of bad weather |
|
|
Term
|
Definition
| forms for each shooting day that they detail: what portion of the script is being shot on a specific day, who needs to be on set, when each person needs to be there, and how to get to the set |
|
|
Term
|
Definition
| determines the look of hte environment in which your scenes take place, the choice and design of the specific objects that are used in the scene, and indeed the presentation of characters through costume and makeup |
|
|
Term
|
Definition
| their job is to make sure that every location, in this case a dorm room, has the appropriate look for the film |
|
|
Term
|
Definition
| the form used in film production to keep track of all the mise-en-scene details that are necessary for every scene, including set dressing, hand props, costumes, makeup, and atmosphere |
|
|
Term
|
Definition
| the amount of footage we shoot compared to the final running time of the movie |
|
|
Term
|
Definition
| responsible for budgeting, scheduling, and the logistical coordination of the project |
|
|
Term
|
Definition
| the definitive creative decision maker of the movie, the person who makes sure that everyone's efforts are working toward a common and expressive end |
|
|
Term
|
Definition
| in charge of lighting and capturing the image on film or video |
|
|
Term
|
Definition
| camera and lens expert, 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 |
|
|
Term
|
Definition
| hands-on lighting person who implements the lighting designs of the D.P. |
|
|
Term
|
Definition
| responsible for the actual physical placement of the lights on the set and for the safe use of all lighting, equipment or any production elements they have set up or rigged |
|
|
Term
|
Definition
| answers to the D.P, but on very small projects with small crews, practically everyone on the set doubles as a grip at one point or another |
|
|
Term
|
Definition
| supervises set construction and location details |
|
|
