Term
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Definition
- An imaginary line that extends from the front of the camera lens to the horizon
- Used to help create the illusion of depth, that extends from the front of the camera lens to the horizon.
- Important because TV is two dimensional and can help add depth.- |
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Term
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Definition
| Use the foreground to force viewer to focus on object in background. You have one object in front overlapping another object in the background creating the illusion of depth. |
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Term
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Definition
If you know how big an object is or if you can guess its size by other clues, you can estimate its distance from the camera by its relative size.
- If you have two objects that are similar in size, and one appears smaller than the other on screen, you will perceive the smaller object as farther away. |
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Term
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Definition
- If the camera is shooting parallel to the ground, an object will appear more distant the higher it moves up in the picture field (until it reaches the horizon line).
- This depth cue is not the most reliable, because the mobility of the camera causes the horizon line to constantly shift. |
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Term
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Definition
- Use different angles rather than straight on to make the object sit on the z-axis.
- Move the camera to an angle of at least 30 degree or 45 degree NOT 180 Degree. (flat shot) |
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Term
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Definition
- Natural moisture and dust in our atmosphere makes us see distant objects less clearly than objects that are close to us.
- If you are painting scenery, background objects should be slightly bluer and less sharp than foreground objects, which will give the illusion of depth. |
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Definition
- used to stimulate depth
- Adding a bunch of objects to almost fill the screen |
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Term
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Definition
- Objects along the z-axis look stretched out by the wide-angle lens, so overlapping planes, while still present, are not the strongest indicator of depth.
- The wide-angle lens accelerates the convergence of parallel lines.
- Lines come together more than when seen normally.
- The z-axis space is elongated. |
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Term
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Definition
- The narrow-angle lens makes objects appear closer together along the z-axis than they really are.
- Objects look squeezed, and the z-axis itself appears shorter.
- The narrow angle lens reduces convergence and so reduces the illusion of depth.
-Horizontal lines do not converge as easily as with a normal or wide angle lens.
- The z-axis space is shortened. |
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Term
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Definition
- Changes the focus on an object at different distances along z-axis.
- One object is out of focus, the other is on focus adding the perception of depth. |
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Term
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Definition
- focus involves changing the focus from one object to the other (on the z-axis).
- Requires Narrow angle lens |
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Term
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Definition
- Foreground – closest to the camera
- Middleground – middle
- Background – farthest from the camera |
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Term
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Definition
- Interplay between positive and negative volumes
- Volume duality is the dynamic changing of relationship between negative and positive volumes. |
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Term
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Definition
| - Placing positive volumes along the z-axis to help the camera distinguish among various depth planes. |
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Term
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Definition
- Refers to placing people and their movements primarily along the z-axis – toward and away from the camera.
- Creates a dynamic volume duality
- Intensify the illusion of third dimension |
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Term
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Definition
| - Characterized by empty space delineated by positive space most of the time. Remember that negative volume is ALWAYS delineated by positive space, otherwise it is not defined as volume. |
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Term
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Definition
| - Characterized by mass and substance (objects, humans, etc) |
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Definition
- Confine movement
- Feeling restricted
- Stuff small spaces with many things |
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Term
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Definition
| - A set with fundamental objects (window, walls, door, desk) |
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Term
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Definition
| - Range of distance over which objects in a picture will remain in critical focus. |
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Term
| 2 types of depth of field |
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Definition
- shallow (where there is not a long range of objects in focus)
- great (where there is a long range of objects in focus). |
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Term
| narrow angle lens distortion |
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Definition
- A narrow angle lens (long focal length, zoomed in) reduces negative space and crowds objects.
- It shortens the z-axis
- Causes mass elements of visual pollution
- Rob of individuality
- Danger situations (closeness of cars, assault) |
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Term
| wide angle lens distortion |
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Definition
- A wide angle lens (short focal length, zoomed out) exaggerates size relationships
- A wide angle lens stretches the z-axis
- An object close to the camera appears much larger than a similarly object placed just - a short z-axis distance away.
- Message: importance, order, power, fear, stress, danger |
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Term
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Definition
| - thinking in pictures, or in individual shots or brief sequences. |
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Term
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Definition
- A series of visualizations
- It usually consists of a series of sketches in sequence.
- The storyboard is very detailed, and is a key part of preproduction.
- Storyboard shows sketches or still photos of the key points of view of an event in their proper sequence. |
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Term
| deductive visual approach |
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Definition
means moving from the general to the specific. Technically this means starting from a wide shot and closely getting to a close-up.
- In this way you are setting up visually all the elements of the story (time, characters, objects, location, etc) |
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Term
| inductive visual approach |
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Definition
means that you go from details of the event to a general overview.
- Begin with a close-up of a significant detail, then follow with a series of close- up details.
- May end the sequence with a wider orientation shot.
- Compels the viewer to use psychological closure. |
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Term
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Definition
| report an event the way it is. Think about someone who OBJECTIVELY observes an event. |
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Term
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Definition
you are scrutinizing the event as closely as possible, to look behind what is obvious. What is the essence of what has been shown?
- Communicate to the viewer what it would be otherwise overlooked. |
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Term
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Definition
| means that you are using the technical devices and potentials of the medium to build a unique screen event that depends entirely on the medium. |
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Term
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Definition
- refers to how far away or close we show an object or person on-screen.
- Also refers to how much territory a shot includes. |
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Term
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Definition
Extreme long shot (ELS)
Long shot (LS)
Medium shot (MS)
Close-up (CU)
Extreme close-up (ECU) |
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Term
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Definition
It can mean a certain character’s perspective.
- Point of View means that the camera takes on a bias of looking.
- It no longer describes an event, but comments on it from a certain perspective.
- Refers to the camera’s narrative involvement. |
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Term
| POV: looking up/ looking down |
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Definition
| - A low-angle or below-eye-level shot can give the subject a feeling of dominance, power, or authority. |
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Term
| POV: objective viewpoints to subjective viewpoints |
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Definition
| - With such a subjective camera shot, you can indicate what the person is thinking about or noticing by what you show. |
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Term
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Definition
- The camera is a participant in an event.
- Assuming the character’s point of view |
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Term
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Definition
| - Shifting a camera’s viewpoint |
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Term
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Definition
- A precise moment in time
- When a movie or TV show starts or stops
- Clock time exists whether in real life or on fictional television. |
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Term
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Definition
- The length of a program
- Films usually have longer running times than TV shows. |
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Term
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Definition
- how long several related scenes run when added together
a subdivision of running time. |
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Term
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Definition
- length of a scene
- a small part of an event that usually takes place in a single location within a single story time span
- a subdivision of sequence time. |
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Term
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Definition
- length of a shot
- the smallest operational unit in a film or TV show
- The time between cuts defines a shot
- subdivision of scene time. |
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Term
| all types of objective time |
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Definition
| - all clock time events of a show (TRT, scene length, time span covered by the show) |
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Term
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Definition
- The control and manipulation of objective time.
- The structuring of subjective time. |
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Term
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Definition
| - Pace, Tempo, Rate and Rhythm |
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Term
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Definition
- Pace: perceived speed of the event
- Rhythm: the flow within and among segments. |
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Term
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Definition
| - the objective and subjective time concerning the story of sequence of events. |
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Term
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Definition
| - the objective and subjective time elements concerning the character’s actions and feelings. |
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Term
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Definition
| event motion that occurs in front of the camera: performers, vehicles, any action at all. |
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Term
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Definition
| camera motions such as pan, tilt, pedestal, boom, dolly, truck, arc, and zoom. |
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Term
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Definition
| sequence motion, created by shot changes or transitions: cut, dissolve, fade, wipe. |
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Term
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Definition
- When something changes its position more or less continuously when compared to a stable environment, we perceive motion.
- A car moving toward or away from us
- A child running past a swing and slide on a playground. |
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Term
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Definition
- 24 frames per second
- The basic structural unit of film |
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Term
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Definition
- refers to how fast or slowly we sense something to move on-screen.
- It includes object speed (how fast the object was actually traveling when recorded)
- the focal length of the lens (a specific zoom position), and
- blocking (the camera’s point of view relative to the moving object). |
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Term
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Definition
| - the perceived screen motion is greatly dependent on the focal length of the zoom lens position and where you place the camera in relation to the event. |
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Term
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Definition
| - it’s when an event appears to be moving considerably more slowly on the screen than it would normally while being photographed. |
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Term
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Definition
- Motion on screen can be synthetically generated
- Each frame must be created digitally.
- In animation, the process is done by drawing each frame. |
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Term
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Definition
| a gradual transition to black (fade out) or from black (fade in); signifies a definite beginning or ending to a sequence; fades will stop the pace of your show, so use them only when indicating and ending and/or a beginning |
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Term
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Definition
| gradual transition from shot to shot |
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Term
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Definition
| - occurs when a subsequent shot is not sufficiently different in field or angle of view, and the image seems to jump in position on the screen. |
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Term
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Definition
| - is a cutting method designed to maintain a smooth and continuous flow of time and space from one shot to the next |
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Term
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Definition
| essentially a picture of the entire setting in your head, whether all of it is on screen or not. |
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Term
| graphic vector continuity |
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Definition
- they are weak
- In an outdoor scene, keep the horizon at the same level throughout the scene.
- Keep it consistent unless you move the camera to a new perspective during a shot.
- In an indoor scene, the back of a couch or a windowsill in the background should not change position. |
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Term
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Definition
| - If you start with an establishing shot of someone looking at an object, you must keep the index vector (the direction of their eyes) consistent when cutting to a close-up. |
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Term
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Definition
| - If you begin with a 2-shot with two people looking at one another (converging index vectors), the vectors must maintain their convergence in subsequent close-ups of each person. |
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Term
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Definition
| - Just like converging index vectors, if you begin with a 2-shot with two people looking away from each other (diverging index vectors), the vectors must maintain their divergence in subsequent close-ups of each person. |
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Term
| basic principle of index vector line |
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Definition
| DON'T CROSS THE 180o AXIS |
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Term
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Definition
| - The direction of motion of an object cannot change from shot to shot. |
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Term
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Definition
- Any motion vector other than a z-axis vector helps establish the motion vector line.
- Your camera must go on one side or the other of the motion vector line to maintain continuity. |
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Term
| continuity of environment |
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Definition
- Your scene should have the same elements in it from shot to shot
- Costumes and set pieces should remain consistent throughout a scene. |
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Term
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Definition
| - Keep colors and lighting consistent between shots unless you change the event to a different place or time. |
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Term
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Definition
- Avoid cutting from an extreme long shot to an extreme close-up (in a crowded room, for example).
- Your audience may not be able to tell whether the people in the close up were the ones in the long shot.
- Avoid cutting between extreme angles (unless it serves your purposes). |
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Term
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Definition
› Use cuts during the action (a single primary motion) to maintain continuity, not before or after it.
› If you cut before or after an action, you emphasize the beginning or end of a motion vector.
› If you cut during a secondary (camera) motion (pan, tilt, zoom) , you should continue the same motion in the next shot. |
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Term
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Definition
| - the juxtaposition of two or more separate event images that combine into a new whole (gestalt principle). |
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Term
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Definition
- Analyze an event for its thematic and structural elements.
- Select the essential elements.
- Synthesize those elements into an intensified screen event |
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Term
| sequential analytical montage |
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Definition
a scene is condensed into its key developmental events.
- It tells a story in shorthand – the main event is not actually shown but implied. |
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Term
| sectional analytical montage |
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Definition
| examines an isolated moment of an event from several viewpoints, revealing its tension and emotional power. |
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Term
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Definition
| - takes two seemingly disassociated events and puts them together to create a third idea or concept (tertium quid) not contained in either of the first two events. |
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Term
| comparison idea associative montage |
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Definition
| uses shots that compare and contrast two thematically related events to reinforce a theme or basic idea. Ex: a dog looking for food in trash, it is juxtaposed with a homeless person doing the same. |
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Term
| collision idea associative montage |
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Definition
| takes two opposite events and compares them in stark contrast to reinforce a basic idea or feeling. Ex: Poor child in rags walking along a dirt road + rich yuppie driving a BMW convertible = excessive materialism |
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Term
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Definition
- A rhythmic structuring device
- Consists of a series of related or unrelated images that are flashed on the screen at more or less equally spaced intervals. |
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Term
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Definition
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Term
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Definition
- Sound is a primary communication factor.
- TV is mainly reality based, shows draw on real events
- For example, if all you have is a long hallway, and you want to turn it into a hospital wing, just add the sound of an intercom call for a doctor |
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Term
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Definition
- The size of the TV screen is relatively small
- The picture resolution is low (analog, anyway)
- TV builds stories inductively, using a series of close-ups that limit the available information on-screen.
- Sounds are added to supply additional information so the audience can keep track of what is going on. |
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Term
| production restrictions and technical limitations |
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Definition
- These microphones are usually placed on booms so that they will not interfere with the shots.
- This restricts the area each mic can “hear” or pickup, even with high-quality microphones. |
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Term
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Definition
- Picture and sound should be balanced in quality.
- A high-quality audio signal should not be paired with a low-quality picture because the high-energy sound will overpower the low-definition picture.
- Now that HDTV has improved the picture quality of TV, the sound quality must be better as well. |
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Term
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Definition
- Film, in contrast to television, is primarily a visual medium.
- Films can be made without sound
- This does not mean that sound is not important, because film’s big, high-definition images require excellent sound. |
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Term
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Definition
| sounds include most background music and other sounds that might influence our feelings in some way. |
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Term
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Definition
| speech and environmental sounds, even sound effects. |
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Term
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Definition
| - To communicate specific information verbally through dialogue, direct address, or narration. |
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Term
| outer orientation function |
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Definition
- Similar to the same function of light: orientation in space, in time, to situation, and to external event conditions.
- One sound can fulfill several functions: If you hear a foghorn blowing you know that - we are near water (location), |
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