Term
| Seeing individual shots or short shots sequences in a specific way is called: |
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Definition
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Term
| A thoroughly stabilized vector field reflects: |
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Definition
| Solidity, least dynamic, boredom, sensible |
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Term
| If several objects are placed along the z-axis, some objects will appear in focus, others will not. The positions of the z-axis, which are in focus, are: |
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Definition
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Term
| Camera movement, performers moving in and out of frame and the movement of the event itself combine to create: |
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Definition
| A changing structural pattern |
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Term
| The interplay between positive and negative volumes is called: |
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Definition
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Term
| In the context of structuring 3D space, what is an open set? |
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Definition
| A set that consists of specific set areas without continuous background scenery |
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Term
| We organize our environment into stable reference points against which the less stable elements can be assessed and check. This is called: |
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Definition
| The figure/ground principle |
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Term
| In the classical motion picture screen and TV screen, there is one unit in height for every ____ units of width. |
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Definition
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Term
| Which aspect ratio has the widest horizontal stretch |
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Definition
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Term
| What vertical camera position and what focal length should you use to intensify the power of a big truck? |
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Definition
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Term
| What is second-order space? |
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Definition
| A clearly defined space within the video screen, the screen space of a TV set within first-order, or any other clearly defined framed space on the primary video screen. |
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Term
| The main directions of a rectangular TV or movie screen are: |
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Definition
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Term
| What do we call the configurative resulting from mentally filling in missing pattern info? (Psychological closure) |
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Definition
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Term
| Why do we leave headroom? |
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Definition
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Term
| The types of vectors are: |
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Definition
| Graphic, Index, and Motion |
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Term
| What aids a lack-focus effect? |
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Definition
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Term
| How do we perceive the organization of the z-axis in traditional TV and film? |
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Definition
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Term
| What is the strongest depth cue? |
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Definition
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Term
| The strongest forces operating within the screen that lead our eyes: |
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Definition
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Term
| The space in front of a person or an object moving toward the edge of the screen: |
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Definition
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Term
| What is an effective way to facilitate closure in off screen space? |
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Definition
| Frame so natural dividing lines do not coincide |
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Term
| Which part of the video and film exerts magnetic pull? |
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Definition
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Term
| Which lens seems to max stretch the z-axis? |
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Definition
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Term
| Tilting horizontal plane causes: |
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Definition
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Term
| Perceiving people as normal size regardless of screen size: |
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Definition
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Term
| Which situation describes relative-size paradox between people appearing in first and second order of space? |
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Definition
| Image of second-order person is larger than the first |
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Term
| TV and film screens are horizontally oriented because: |
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Definition
| We live and operate on a horizontal plane |
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Term
| The line that indicates the width of frame: |
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Definition
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Term
| The symmetrical arrangements of mass look balanced: |
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Definition
| If all vectors are adequately stabilized |
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Term
| If we know two objects are similar or identical in size, we perceive the smaller screen image as the: |
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Definition
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Term
| Blocking along z-axis is important in TV because: |
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Definition
| Lateral action is generally preferred |
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Term
| What is meant by aspect ratio? |
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Definition
| Relationship of frame width to height |
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Term
| Objects placed in light half of screen that command more attention are called: |
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Definition
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Term
| Perceived size of an object when it appears on the screen is determined by: |
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Definition
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Term
| Some motion pictures don't seem to come across as well of TV because: |
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Definition
| Aesthetic impact/power is often related to image size |
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Term
| In TV and film as in painting and photography, 3rd dimension is: |
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Definition
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Term
| When a viewer participates physically in a screen event, he said to be reacting: |
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Definition
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Term
| Most basically we structure the 3D field into depth planes. These are: |
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Definition
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Term
| If we see two sides of a building, with one corner closest to us, we perceive two sets of converging lines going opposite, with two vanishing points: |
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Definition
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Term
| If all prominent lines appear converge at one point we called this phenomenon: |
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Definition
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Term
| The larger the graphic mass: |
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Definition
| The greater attractive power and more independent it seems in comparison |
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Term
| "Proper placement" of positive volumes means that props and people are placed in the scene in such a way that: |
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Definition
| The larger negative volumes of the studio or location is maculated and articulated into smaller, organically related negative volumes |
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Term
| Universal reference to the actual size of an object: |
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Definition
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Term
| (T/F): Z-axis blocking is more appropriate for the small traditional TV screen that for the wide movie screen. |
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Definition
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Term
| (T/F): The z-axis stretches from camera lens or screen to the horizon |
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Definition
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Term
| (T/F): The main characteristic of an open set is discontinuous background scenery. |
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Definition
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Term
| (T/F): TV is more a "people" medium than a "landscape". |
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Definition
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Term
| (T/F): The wide screen ratio makes it quite easy for the camera to concentrate on a single pictorial element or event. |
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Definition
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Term
| (T/F): When showing an object on the screen perceptual cues as to the objects actual size and shape are not very important. |
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Definition
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Term
| (T/F): The borders of the screen set definite limits beyond which the vector field can not extend. |
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Definition
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Term
| (T/F): Persons or objects should be framed so that they are "cut off" at their natural dividing lines. |
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Definition
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Term
| (T/F): The horizon line always lies at eye level. |
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Definition
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Term
| (T/F): Improper framing may lead to premature psychological closure. |
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Definition
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Term
| (T/F): The edges of the screen lie out boundaries, but have no physical forces themselves that a director must consider. |
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Definition
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Term
| (T/F): We pay more attention to an object when it's placed on left rather than right. |
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Definition
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Term
| (T/F): Moving the camera from an outdoor to an indoor setting causes volume duality. |
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Definition
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Term
| (T/F): We need positive volumes to articulate negative space. |
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Definition
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Term
| (T/F): Vectors are aesthetic elements. |
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Definition
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Term
| (T/F): In a typical two shot for TV, 2 people engaging in a conversation must be filmed closer together. |
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Definition
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Term
| (T/F): The z-axis is virtual dimension. |
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Definition
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Term
| (T/F): Faster the objects speed, the higher is vector magnitude. |
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Definition
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Term
| (T/F): Relative size is greatly exaggerated by wide-angle lens. |
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Definition
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Term
| (T/F): When framing someone in profile, you need to leave proper noseroom to prevent index vector from clashing. |
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Definition
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Term
| (T/F): Among vector types, graphic vectors have the highest magnitude. |
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Definition
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Term
| (T/F): The direct-address method is a form of subjective camera. |
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Definition
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Term
| (T/F): Perception of motion is not affected by the above or below eye level placement of the camera. |
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Definition
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Term
| (T/F): The optical character of lenses can greatly enhance or hinder the illusion of 3D. |
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Definition
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Term
| (T/F): Wide-angle lens distortion should be avoided when possible. |
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Definition
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Term
| (T/F): Strong vectors pulling in one direction can easily override a mass centrally located. |
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Definition
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Term
| (T/F): Our mind will apply psychological closure no matter how little info is actually given. |
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Definition
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Term
| (T/F): Most decisions about structuring our field of view are relative and depend on context and interpretation. |
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Definition
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Term
| (T/F): Wide-angle lens increases distance between objects placed along z-axis. |
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Definition
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Term
| (T/F): A wide-angle lens increases illusion of depth in a scene because z-axis is accelerated. |
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Definition
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Term
| (T/F): The aspect ratio of HDTV is 16:9 |
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Definition
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