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| Using the short-focal-length lens to capture deep-space composition and its illusion of depth. Does not focus on a particular point. |
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| A shot that is made with the camera above the action and that typically implies the observer's sense of superiority to the subject being photographed. |
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| A shot that is made with the camera below the aciton and that tyupically places the observer in a position of inferiority. |
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| Dutch-angle shot; oblique-angle shot; canted shot |
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| A shot in which the camera is tilted from its normal horizontal an dvertical positions so tha tit is no longer straight, giving the viewer the impression that the world in the frame is out of balance. |
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| Bird's-Eye angle; Aerial-View shot |
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| An omniscient-point-of-view shot that is taken from an aircraft or extremely high crane and implies that the observer can see all. |
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| The horizontal movement of a camera mounted on the gyroscopic head of a stationary tripod; like the tilt shot, the pan shot is a simple movement with dynamic possibilities for creating meaning. |
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| The vertical movement of a camera mounted on the gyroscopic head of a stationary tripod. Like the pan shot, the tilt shot is a simple movement with dynamic possibilities for creating meaning. |
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| Tracking Shot; Dolly shot; Traveling shot |
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| A shot taken by a camera fixed to a wheeled support called a dolly. When the dolly runs on tracks(or when the camera is mounted to a cran or an aerial device such as an airplane, a helicopter, or a balloon) the shot is called a tracking shot. |
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| A shot that is created by movement of a cambera mounted on an elevating arm (crane) that, in turn, is mounted on a vehicle that, if shooting requires it, can move on its own power or be pushed along tracks. |
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| A camera suspended from an articulated arm tha tis attaced to a vest strapped to the cameraperson's body, permitting the operator to remain steady during "handheld" shots. The Steadicam removes jumpiness and is now often used for smooth, fast, and intimate camera movement. |
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| A shot in which the image is magnified/decreased* by movement of the cabera's lens only, without the camera itself moving. *the essential difference between the zoom and the dolly |
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| P.O.V. (point of view) Shot |
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| The position from which a film presents the acitons of the story; not only the relation of the narrator(s) to the story but also the camera's act of seeing an dhearing. The two fundamental types of cinematic POV are omniscient and restricted |
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| A state-of-the-art concept, pioneered by director Francis Ford Coppola and film editor Walter Murch, combining the crafts of editing and mixing and, like them, involving both theoretical and practical issues. In essence, sound design represents advocacy for movie sound (to counter some people's tendency to favor the movie image). |
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| The process by which the editor combines and coordinates individual shots into a cinematic whole; the basic creative force of cinema |
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| The process of combining different sound tracks onto one composite sound track that is synchronous with the picture. |
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1. Preproduction
2. Production
3. Postproduction |
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| The initial, planning-and-preparation stage of the production process. |
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| The third stage of the production process, consisting of editing, preparing the final print, and briging the film to the public (marketing and distribution). |
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| The second stage of the production process, the actual shooting. |
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| A sound belonging to a special category of sound effects, invented in the 1930s by Jack Foley, a sound technician at Universal Studios. Technicians known as Foley artists create these sounds in specially equipped studios, where they use a variety of props and other equipment to simulate sounds such as footsteps in the mud, jingling car keys, or cutlery hitting a plate. |
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| The total world of a story - the events, characters, objects, setting, and sound - that helps form the world in which the story occurs. |
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| Sound that originates from a source within a film's world. |
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| Something that we see and hear on the screen that comes from outside the world of the story (including bacground music, titles and credits, and voice-over narration). |
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| Sound that originates from a source outside a film's world. |
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| A style of editing that seeks to achieve logic, smoothness, sequential flow, and the temporal and spatial orientation of viewers to what they see on the screen. Continuity editing ensures the flow from shot to shot; creates a rhythm based on the relationship btwn cinematic space and cinematic time; creates filmic unity (beginning, middle, and end); and establishes and resolves a problem. In short, continuity editing tells a story as clearly and coherently as possible. |
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| Linking shots in a montage through sound. |
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| 1. In France, the word for editing, from the verb monter, "to assemble or put together." 2. In the former Soviet Union in the 1920s, the various forms of editing that expressed ideas developed by theorists and filmmakers such as Sergei Eisenstein. 3.In Hollywood, beginning in the 1930s, a sequence of shots, often with superimpositions and optical effects, showing a condensed series of events. |
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| A match cut that joins shot A (often a point-of-view shot of a character looking offscreen in one direction) and shot B (the person or object that the character is seeing). |
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| One of the most prevalent an dfamiliar of all editing patterns, consisting of parallel editing (crosscutting) between shots of different characters, usually in a conversation or confrontation. When used in continuity editing, the shots are typically framed over each character's shoulder to preserve screen direction |
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| Placing an image on top of another. |
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| Fade (in/out/to black)/Dissolve/Wipe |
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Definition
| Trasitional devices in which --a shot fades in from a black field on black-and-white film or from a color field on color film, or fades out to a black field (or a color field). --shot B, superimposed, gradually appears over shot A and begins to replace it at midpoint in the transition. Dissolves usually indicate the passing of time. |
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| Framing: symmetrical/asymmetrical composition |
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| A still photograph that, recorded in rapid succession with other still photographs, creates a motion picture. |
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| PAN & SCAN vs. Widescreen (letterbox) |
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Definition
| Pan&Scan is cropping and re-editing a movie to fit a square screen. Widescreen is seeing the movie with the black bars on it (as the director intended) |
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| The fundamental means by which filmmakers maintain consistent screen direction, orienting the viewer and ensuring a sense of the cinematic space in which the actions occurs. The system assumes 3 things: a. the action within a scene will always advance along a straight line, either from left to right or from right to left of the frame; b. the camera will remain consistently on one side of that action; and c. everyone on the production set will understand and adhere to this system |
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| Aspect Ratio (OAR and MAR) |
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Definition
Aspect ratio defines the length compared to the height. For example- 1.33:1 means the lenght is 1/3 times bigger than the height OAR is the original Aspect Ratio.
MAR: Modified Aspect Ratio |
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Narrative Structure
-Casual (linear)
-Non-linear
-Flashback
-Flashforward |
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Definition
How the story is told
-events follow a specific timeline linearly
-events do not follow a timeline
-Going to past events
-Going to events in the future |
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Hays Production Code
5 Don'ts |
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Definition
-No sympathy for those who committ crimes, wrongdoing, evil, or sin.
-Law, natural or human, shall not be ridiculed
-No illegal drug traffic
-No liquor |
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| Perhaps the best-known lighting convention in feature filmmaking, a system that employs three sources of light--key light, fill light, and backlight--each aimed from a different direction and position in relation to the subject |
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| Telling a story using characters that express themselves with song and/or dance. |
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| A form of modern mythology that offers narrative representations of Americans as rugged, self-sufficient individuals taming a savage wilderness with common sense and direct action. |
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| A dark, edgy, cynical genre in outlook, tone, and style. |
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| Comedy involving very physical comedy. |
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