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| the position of the frame in the relation to the subject it shows: above it looking down (a high angle): horizontal, on the same level (a straight on angle): below it, looking up (a low angle) also called camera angle. |
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| The standarized shape of the film frame established by the academy of motion picture |
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| a cue for suggesting depth in the image by presenting objects in the distance less distinctivly than those in the foreground |
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| a lens for making widescreen films using regular academy ratio frame size. The camera lens takes in a wide field of view and squeezes it onto the frame, and a similar projector lense unsqueezes the image onto a wide theater screen |
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| the relationship of the frame's width to its height |
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| sound that is not matched temporally with the movements occuring in the image as when dialogue is out of synchronization with lip movements |
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| in the continuity editing system, the imagry line that passes from side to side through the main actors defining the spatial relations of all the elements of the scene as being to the right or left. the camera is not supposed to cross the axis at a cut and thus reverse the spatial relations. also called the 180 line |
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| illumination cast onto the figures in the scene from the side opposite the camera, usually creating a thin outline of highlighting on those figure. |
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| a view in which the frame is not level; either the right or left side is lower than the other, causing objects in the scene to appear slanted out of an upright position |
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| a general term for all the manipulations of the film strip by the camera in the shooting phase and by the laboratory in the development phase. |
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| a framing in which the scale of the object shows is relatively large; most commonly, a persons head seen from the neck up, or an object of a coparable size that fills most of the sceen |
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| a system of cutting to maintain continuous and clear narrative action. relies on matching screen direction, position, and temporal relations from shot to shot. |
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| a shot with a change in framing accomplished by placing the camera above the subject and moving through the air in any direction |
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| an arrangement of mise-en-scene elements so that there is a considerable distance between the plane closest to the camera and the one farthest away. any or all of these planes may be in focus. |
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| the measurment of the closest and farthest planes in front of the camera lens between which everything will be in sharp focus. ex. a depth of field from 5 to 16ft., would mean that everything closer than 5 feet and farther than 16ft would be out of focus. |
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| any voice, musical passage, or sound effect presented as originating from a source within the films world. |
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| a transition between two shots during which the first image gradually disappears while the second image gradually appears; for a moment the two images blend in superimposition |
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