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to suggest the passage of time.
to stretch the moment to intensify its emotional quality.
to suggest superhuman speed and power.
to emphasize the grace of physical action. |
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| is often used to end a film. |
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has clear, crisp visual and aural rhythms
avoids the use of sound whenever possible |
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| When the cinematic point of view is subjective |
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| The objective point of view |
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treats the camera as a sideline observer.
tends to employ a static camera |
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| a strip of film produced by a single uninterrupted running of the camera. |
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used with slow, fluid camera movement gives the audience a sense of being remote, external, detached spectators.
tends to dwarf the subject and diminish its importance. |
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| begins with a frozen image that thaws and comes to life. |
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| An object can be "framed" |
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| by using objects or people in the near foreground. |
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| allows focusing simultaneously, with equal clarity, on objects anywhere from two feet to several hundred feet away. |
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| create the illusion of depth. |
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| Having objects or characters move toward or away from the camera can help |
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| High contrast areas and bright colors |
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| can be used to focus the audience's attention |
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| Large, blank areas of screen |
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| Moving the camera's line of sight in a horizontal plane, left to right |
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| One common visual concept is that curved lines |
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| evoke feelings of exaltation, euphoria, and joy |
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| draws the audience's attention to the object focused upon |
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| What two modern developments have greatly increased the potential of the mobile camera? |
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| the Steadicam AND the Animalcam |
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| refers to films that have been filmed with filters that give the film a mellow, aged quality. |
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| An objective shot that shows a character looking at something off-screen, leading to the "eye-line" shot |
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| Shows us subjectively what the "Look of outward regard" character is seeing. |
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| Suggest Strength, authority, and dignity |
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| Diagonal lines crossing the frame |
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| Suggest action and dynamic movement--the power to overcome obstacles |
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| Denote Fluidity and sensuality; compositions that suggest a circular movement evoke feelings of exaltation, euphoria, and joy. |
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| a stip of film produced by a single uninterrupted running of the camera. |
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| Size and Closeness of the object |
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| The eye is directed toward larger, closer objects. |
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| a shot of a person or object taken at close range. Tight or extreme close-ups make it impossible for the eye to look elsewhere |
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| The eye is drawn to an object in motion. Moving an object can divert attention away from a static one. |
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| Framing the objects of greatest significance with objects or people in the near foreground. |
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| Movement of Subject. The camera remains in one position pointing at one spot, as we might look at something with a frozen stare. Movement is put into the shot by moving the subject. |
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| Moving the camera's line of sight in a vertical plan, up and down. (like nodding your head) Airplane lift offs are a good example. |
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| a series of lenses that keep an image in constant focus--allows the camera to appear to glide toward or away from the subject, but without any movement of the camera. |
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| A portable, one-person camera with a built-in gyroscopic device that prevents any sudden jerkiness and provides a smooth, rock-steady image (even when the person carrying it is running up the stairs). |
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| a small, computerized, remote-controlled camera that can be mounted on the top of a lightweight magnesium pole or can "Fly" on wires at speeds of up to twenty miles an hour and can go practically anywhere that cables can be strung. |
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| A shot taken from a distance that shows the subject and their surroundings. |
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| In almost every shot, the director attempts to communicate a significant amount of information in each frame. |
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| slightly blurred to convey certain subjective states. |
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| Illusion of Depth is created using |
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Movement of Subject (Fixed Frame)
Movement of Camera
Apparent Camera Movement (Zoom Lens)
Change of Focal Plane (Rack Focus)
Deep Focus
Three Dimensional Arrangement of People and Objects
Foreground Framing
Special Lighting effects
Use of Reflections |
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| Cinematographer can create a kind of three-dimentionality |
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| The jerky, uneven movement Heightens the sense of reality provided by the subjective viewpoint |
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| camera is placed below eye level exaggerating the size and importance of the subject. |
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| exaggerates the perspective, so that the distance between and object in the foreground and one in the background seems much greater than it actually is. |
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| compresses depth so that the distance between the foreground and background objects seems less than it actually is. |
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| extreme wide-angle lens that bends both horizontal and vertical planes and distorts depth relationships. (used for dreams, fantasies, or intoxication) |
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| extreme form of fast motion used to greatly compress time. |
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| There are 4 points of view employed in a film: Director's Interpretive; Indirect-Subjective; Objective; Subjective |
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| Director's Interpretive Point of View |
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| Using the special techniques of the medium, the director manipulates us so that we see the action or the character in the way the director interprets them. |
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| Indirect-Subjective Point of View |
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| A view point that brings us close to the action and increases our involvement. Provides the feeling and sense of immediacy of participating in the action without showing the action through a participant's eyes. |
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| The viewpoint of a sideline observer, which suggests an emotional distance between camera and subject the camera seems simply to be recording, as straightforwardly as possible, the characters and the actions of the story. |
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| The viewpoint of a character participating in the action. |
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| There are 5 viewpoints in Literature: Dramatic or Objective; First Person; Omniscient narrator (third person); Stream of Consciousnes (interior monologue); Third-Person selective or limited. |
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