Term
|
Definition
Extreme Long Shot
FRAMING: Extreme Long Shot
PURPOSE:Used to orient the audience to the scene location. |
|
|
Term
|
Definition
Long Shot
FRAMING: head to toe
PURPOSE: Used to orient the audience to scene location and action. |
|
|
Term
|
Definition
Medium Long Shot
FRAMING: Top of the subject's head to knees.
PURPOSE: Used when you cannot get MS or LS. |
|
|
Term
|
Definition
Medium Shot
FRAMING: Top of the subject's head to waist.
PURPOSE: Used for dialogue ad usually framed on the third or half compliments (musical instruments). |
|
|
Term
|
Definition
Mid Close Up
FRAMING: Top of the subject's head mid-chest.
PURPOSE: Shot with compliments. Used for dialogue that is serious in tone. |
|
|
Term
|
Definition
Over the Shoulder
FRAMING: Shoulder on one side subject on the other.
PURPOSE: Semi Dramatic Conversation. Used when there is a slightly more subjective presentation of dialogue. |
|
|
Term
|
Definition
Reverse Angle
FRAMING: 180 view from the previous shot.
PURPOSE: Compliments. This is a common shoot structure used in dialogue or POVs. |
|
|
Term
|
Definition
Close Up
FRAMING: Top of the subject's head to neck.
PURPOSE: Used in dramatic dialogue, music or assigning importance to critical information. |
|
|
Term
|
Definition
Extreme Close Up
FRAMING: Very Narrow Field of View.
PURPOSE: Usually used after CUs to intensify emotional level. |
|
|
Term
|
Definition
Two Shot
PURPOSE: Establishment of groups. Two to four persons in the shot (2S, 3S, 4S). |
|
|
Term
|
Definition
| Five or more is Group Shot. |
|
|
Term
|
Definition
Low Angle
FRAMING: Prefix/Camera 45 degrees up to subject.
PURPOSE: LA can be LALS to LAECU, but to convey strength is typically wide. LA is ALWAYS a prefix. |
|
|
Term
|
Definition
High Angle
FRAMING: Camera 45 degrees down to subject.
PURPOSE: Conveys Weakness. This shot by itself is wide, but can be used as a prefix for tighter shots. |
|
|
Term
|
Definition
Overhead
FRAMING: Wide and perpendicular to shot plane.
PURPOSE: Used often to re-orient the audience quickly. |
|
|
Term
|
Definition
| "Safe Area" is the central of a full scan marked w/a 10% border. |
|
|
Term
|
Definition
| Off setting the subject to give the impression of looking off frame. |
|
|
Term
|
Definition
| The screen area is divided into nine equal areas. The rule is that subjects should be lined up on the vertical borders of these areas. |
|
|
Term
|
Definition
| To maintain continuity and flow you should never shoot outside field of view of the establishing shot. |
|
|
Term
|
Definition
| Using lines in composition to create "forced focus." |
|
|
Term
|
Definition
| Pivoting from side to side |
|
|
Term
|
Definition
| Pivoting the camera up and down |
|
|
Term
|
Definition
| Moving camera and mount forward and backward. |
|
|
Term
|
Definition
| Following slightly ahead of a moving subject. |
|
|
Term
|
Definition
•Not married to the system
•Isolates video signals for specific job
•Used by Shader for Iris control |
|
|
Term
|
Definition
•Is married to the system (Recordable).
•Capable of cuts only switching
•No audio (for monitoring purposes only). |
|
|
Term
| Production SWR (Switcher) |
|
Definition
•Different levels of adjustment
•It has fader bars (T-bars).
•ME/A and MA/B (Mix or Effect).
-Mix translates into Dissolve -Effects translate into Wipes
•Preview and Program (Dissolve or Cut)
-Program bus is Destination bus (LIVE/MASTER/HOT BUS) •Cross points are the input to a switcher
-Represented by number or letter
•The SMR mainframe is in the panel.
•The switcher is a remote control. |
|
|
Term
| Master Control Switcher (MC Switcher) |
|
Definition
•Very similar to Production SWR
-Lacking dissolves and wipes
-No production tools are needed
•Operated by specialized person
-Puts shows on the air at the exact time that is required.
-Operates commercial time as well.
•Main difference between MC and SWR
-Does not carry any audio (seperate audio mixer).
-In the case of broadcast video: clip will play while repoter
continues to talk. |
|
|
