Term
|
Definition
| by the 1930s filmmakers were able to include color sequences in their films. Apart from the added realism or glamor that a color image could provide, color is also used to create aesthetic patterns and to establish character or emotion in narrative cinema. |
|
|
Term
|
Definition
| The ratio of dark to light in an image. Most films use low contrast to achieve a more naturalistic lighting |
|
|
Term
|
Definition
| deep focus involves staging an event on film such that significant elements occupy widely separated planes in the image and requires that elements at very different depths of the image both be in focus. |
|
|
Term
|
Definition
| A restricted depth of field, which keeps only one plane in sharp focus; the opposite of deep focus.Used to direct the viewer's attention to one element of a scene. |
|
|
Term
|
Definition
| The distance through which elements in an image are in sharp focus. |
|
|
Term
|
Definition
| An aperture that controls how much light passes through the lens and onto the film. |
|
|
Term
|
Definition
| he practice of changing the focus of a lens such that an element in one plane of the image goes out of focus and an element at another plane in the image comes into focus. |
|
|
Term
|
Definition
| A typical sound film is shot at a frame rate of 24 frames per second. If the number of frames exposed in each second is increased, the action will seem to move more slowly than normal when it is played back. |
|
|
Term
|
Definition
| An image shot with an extremely long lens is called a telephoto shot |
|
|
Term
|
Definition
| uses a lens with several elements that allows the filmmaker to change the focal length of the lens while the shot is in progress. |
|
|
Term
|
Definition
| used to indicate the relation between a character and the camera's point of view. Or can simply be used to create striking visual compositions. |
|
|
Term
|
Definition
| The ratio of the horizontal to the vertical sides of an image. |
|
|
Term
|
Definition
| the height can also be a significant element in a film. used to signify sympathy for characters who occupy particular levels in the image, or just to create pleasurable compositions. |
|
|
Term
|
Definition
| 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 positon. |
|
|
Term
|
Definition
| A shot with framing that shifts to keep a moving figure onscreen. |
|
|
Term
|
Definition
| Short panning or tilting movements to adjust for the figures' movements, keeping them onscreen or centered. |
|
|
Term
|
Definition
| A shot taken with the camera placed approximately where the character's eyes would be, showing what the character would see; usually cut in before or after a shot of the character looking |
|
|
Term
|
Definition
| A lens of short focal length that affects a scene's perspective by distorting straight lines near the edges of the frame and by exaggerating the distance between foreground and background planes. |
|
|
Term
|
Definition
| A framing in which the scale of the object shown is very small; a building, landscape, or crowd of people will fill the screen. |
|
|
Term
|
Definition
| A framing in which the scale of the object shown is small; a standing human figure would appear nearly the height of the screen. |
|
|
Term
|
Definition
| Framing such than an object four or five feet high would fill most of the screen vertically. |
|
|
Term
|
Definition
| A framing in which the scale of the object shown is fairly large; a human figure seen from the chest up would fill most of the screen. |
|
|
Term
|
Definition
| A framing in which the scale of the object shown is relatively large. In a close-up a person's head, or some other similarly sized object, would fill the frame |
|
|
Term
|
Definition
| A framing in which the scale of the object shown is very large; most commonly, a small object or a part of the body usually shot with a zoom lens. |
|
|
Term
|
Definition
| A shot with a change in framing rendered by having the camera above the ground and moving through the air in any direction |
|
|
Term
| HANDHELD CAMERA, STEADYCAM |
|
Definition
| The use of the camera operator's body as a camera support, either holding it by hand or using a gyroscopic stabilizer and a harness. |
|
|
Term
|
Definition
| A camera movement with the camera body turning to the right or left. |
|
|
Term
|
Definition
| A camera movement with the camera body swiveling upward or downward on a stationary support |
|
|
Term
|
Definition
| A mobile framing that travels through space forward, backward, or laterally |
|
|
Term
|
Definition
| An extremely fast movement of the camera from side to side, which briefly causes the image to blur into a set of indistinct horizontal streaks. |
|
|
Term
|
Definition
| In the continuity editing system, a cut which purports to show continuous time and space from shot to shot but which actually mismatches the position of figures or objects in the scene. |
|
|
Term
| CROSSCUTTING, aka PARALLEL EDITING |
|
Definition
| Editing that alternates shots of two or more lines of action occurring in different places, usually simultaneously. |
|
|
Term
|
Definition
| An instantaneous shift from a distant framing to a closer view of some portion fo the same space, and vice versa. |
|
|
Term
|
Definition
| 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 |
|
|
Term
|
Definition
| A round, moving mask that can close down to end a scene (iris-out) or emphasize a detail, or it can open to begin a scene (iris-in) or to reveal more space around a detail. |
|
|
Term
|
Definition
| An elliptical cut that appears to be an interruption of a single shot. Either the figures seem to change instantly against a constant background, or the background changes instantly while the figures remain constant. |
|
|
Term
| ESTABLISHING SHOT/REESTABLISHING SHOT |
|
Definition
| A shot, usually involving a distant framing, that shows the |
|
|
Term
|
Definition
| Two or more shots edited together that alternate characters, typically in a conversation situation. |
|
|
Term
|
Definition
| The exposure of more than one image on the same film strip |
|
|
Term
|
Definition
| A transition betwen shots in which a line passes across the screen, eliminating the first shot as it goes and replacing it with the next one. |
|
|
Term
|
Definition
| techniques that join as well as divide two shots by making some form of connection between them. |
|
|
Term
|
Definition
| A cut obeying the axis of action principle, in which the first shot shows a person off in one direction and the second shows a nearby space containing what he or she sees |
|
|
Term
|
Definition
| Two successive shots joined so as to create a strong similarity of compositional elements (e.g., color, shape). |
|
|
Term
|
Definition
| A cut which splices two different views of the same action together at the same moment in the movement, making it seem to continue uninterrupted. |
|
|
Term
| LONG TAKE, aka PLAN-SEQUENCE |
|
Definition
| A shot that continues for an unusually lengthy time before the transition to the next shot. |
|
|
Term
|
Definition
| Cuts that repeat part or all of an action, thus expanding its viewing time and plot duration. |
|
|
Term
|
Definition
| The perceived rate and regularity of sounds, series of shots, and movements within the shots. |
|
|
Term
|
Definition
| The patterned use of transitions, matches and duration |
|
|
Term
|
Definition
| A system of cutting to maintain continuous and clear narrative action. |
|
|
Term
|
Definition
| 1. A synonym for editing. 2. An approach to editing developed by the Soviet filmmakers of the 1920s such as Pudovkin, Vertov and Eisenstein; it emphasizes dynamic, often discontinuous, relationships between shots and the juxtaposition of images to create ideas not present in either shot by itself. |
|
|
Term
|
Definition
| Shot transitions that omit parts of an event, causing an ellipses in plot and story duration. |
|
|
