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| A glass element on a camera that focuses light rays so that the image of object appears on the surface of the film. |
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| A device used to manipulate the amount and or color of light entering the lens. |
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| Thin, flexible material comprised of base and emulsion layers, onto which light rays are focused and which is processed in chemicals to produce film images. |
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| A small, variable opening on a camera lens that regulates the amount of light entering the camera and striking the surface of the film. |
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| Exposed and developed film stock from which the master positive is struck. If projected, the negative would produce a reverse of the image, with dark areas appearing white and view versa or, if color film, areas of color appearing as their complementary hue. |
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| A machine used to create optical effects such as fades, dissolves, and superimpositions. Most now created digitally |
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| Reels of film that are shipped to movie theaters for exhibition. Soon to be replaced by digital cinema. |
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| A machine that converts film prints to videotape format. |
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| Also called full screen, the technique of re-shooting a widescreen film in order to convert it to the original television aspect ratio of 1.33 to 1. Rather than reproduce the original aspect ratio, as a letterboxed version does, a panned and scanned copy eliminates some of the visual information and introduces camera movement and editing that are not in the original. |
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| The shape of the image onscreen as determined by the width of the frame relative to its height. |
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| A process of transferring film to video tapes or DVDs so that the original aspect ratio of the film is preserved. |
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| A production term denoting a single uninterrupted series of frames exposed by a motion picture or video camera between the time it is turned on and the time it is turned off. |
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| A scene filmed and processed but not selected to appear in the final version of the film. |
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| A relatively long, uninterrupted shot, generally of a minute or more. |
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| A technique of recording very few images over a long period of time. |
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| A shot taken from a level camera located approximately 5’ to 6’ from the ground, simulating the perspective of a person standing before the action presented. |
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| A shot taken from a camera positioned above the subject, looking down at it. |
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| A camera shot taken at a large distance from the subject. Captures entire human form. |
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| A shot taken from a camera positioned below the subject. |
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| a shot resulting from a static camera that is tilted to the right or left, so that the subject in the frame appears at a diagonal. |
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| A shot taken from a position directly above the action |
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| The space between the camera and the subject it is filming |
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| A technique of shifting the camera angle, height, or distance to take into account the motion of actors or objects within the frame |
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| A pan executed so quickly that it produces a blurred image, indicating rapid activity or, sometimes, the passage of time. |
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| A vertical motion of an otherwise stationary camera. |
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| A technique of moving the camera, on a dolly, along a specially built track. Such shots often trace character movement laterally across the frame or in and out of the depth of the frame. |
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| A platform on wheels, used for mobile camera shots |
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| A shot taken from a camera mounted on a crane that moves three dimensionally in space. |
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| A shot filmed from an airplane or helicopter |
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| A shot taken by a camera that is held manually rather than supported by a tripod, crane, or Steadicam. |
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| a device worn by a camera operator that holds the motion picture camera, allowing it to glide smoothly through spaces unreacable by cameras mounted on a crane or other apparatus. |
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| The distance that appears in focus in front of and behind the subject. Determined by aperture, distance, and focal length of lense. |
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| A change of focus from one plane of depth to another. |
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| An optical technique that divides the screen into two or more frames. |
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| A lens with a variable focal length that allows changes of focal length while keeping the subject in focus. |
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| An effect created when more light than is required to produce an image strikes the film stock, so that the resulting image exhibits high contrast, glaring light, and washed out shadows. |
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| An effect created when too little light strikes the film during shooting |
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| The period after principal photography during which editing and looping take place, and special visual effects are added to the film. |
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| A technique used to join live action with a pre-recorded background image. A projector is placed behind a screen and projects an image onto it. Actors stand in front of the screen and the camera records them in front of the projected background. |
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| A technique to join live action with pre-recorded background images. A projector is aimed at a half silvered mirror that reflects the background, which the camera records as being located behind the actors |
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| A painting used on the set as a portion of the background. |
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| A shot transition where shot A slowly disappears as the screen becomes black before shot B appears. A fade in is the reverse of this process. |
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| A shot transition that involves the gradual disappearance of the image at the same time that a new image gradually comes into view. |
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| A technique of exposing film frames. Then rewinding the film and exposing it again, which results in an image that combines two shots in a single frame. |
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