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| Filming at a slow rate of speed, then played back to show it faster; IE: Flower Blooming |
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| Filming something at a high rate of speed, played back to show it slower than it actually is; IE: Bullet from a gun, water droplet hitting lake. |
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| A post-production editing technique that manipulates speed and mimics other filming techniques. |
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| A view in which the frame is not level; right/left is lower than the other, appearing slanted. |
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| A cut which presents continuous time from shot to shot but which mismatches positions of objects/figures. |
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| Relationship between frame's width to its height; current:1:85 (academy ratio) |
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| A general term for all the manipulations of the film strip by the camera in the shooting phase and by the laboratory in the development phase. |
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| A shot with a change in framing accomplished by having the camera above the ground and moving through the air in any direction. |
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| Editing that alternates shots of two or more lines of action occurring in different planes, usually simultaneously. |
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| A use of the camera lens and lighting that keeps both foreground and background planes being shot in sharp focus. IE: Errybody gets focus |
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| Elliptical Editing/Ellipsis |
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| Short transitions that omit parts of an event, causing an ellipsis in plot and story duration. |
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| The measurements of the closes and farthest planes in front of the camera lens between which everything will be in sharp focus. IE: if the D.o.F. is 5 and 16 then everything before 5 ft is out of focus and after 15 ft is out of focus, but all lengths in-between are in sharp focus. |
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| 1st shot shows a person looking off in one direction, and the second shows a nearby space that the character is looking at. |
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| A camera support with wheels, used in making tracking shots. |
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| Illumination from a source less bright than the key light, used to soften shadows in a scene. |
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| Illumination that creates strong contrast, deep shadows, and little fill light. (Think low light) |
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| Illumination that creates little contrast, little to no shadows, and brightened fill light. (Bright, peppy photos) |
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| An elliptical cut that appears to be an interruption of a single shot. Either the figures seem to change instantly against a constant background, or the background changes instantly while the figures remain constant. |
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| Distance from the center of the lens to the point at which the light rays meet in sharp focus; determines the perspective relations of the space represented on the flat screen. |
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| A shot with framing that shifts to keep a moving figure in the screen. |
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| Sound coming from the mind of a character within the story space, but not heard by other characters. |
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| Sound from a physical source in the story space that all characters can hear. |
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| A continuity cut that splices two different views of the same action together at the same moment of the movement, making it seem uninterrupted. |
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| Any series of shots in the absence of an establishing shot that prompts the viewer to infer a spatial whole on the basis of seeing only portions of the space describes this |
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| This lens squashes planes, as with a telescope or binoculars, making distant objects appear as if they are all on the same plane or close together. |
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| Character's particular point of view. |
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| Cinematography is primarily concerned with ______ & ______ |
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| Mise-en-scene and perspective |
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| Not the character's actual point of view, but brings us close enough to the action that we are able to experience the character's emotions as if we did see the action from their p.o.v. |
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| Shifting the area of focus from one plane (or person) in the background to the foreground, or vice-versa. |
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