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| The range or distance before and behind the main focus of a shot within which objects remain relatively sharp and clear |
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| A lens with a short focal length (typically less than 35mm) that allows cinematographers to explore a depth of field that can simultaneously show foreground and background objects or events in focus |
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| Smaller, lightweight cameras (such as the Arriflex) that can be carried by the operator rather than mounted on a tripod. Such cameras, widely used during World War II, allowed cinematography to become more mobile and fostered the advent of on-location shooting |
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A lens with a focal length of at least 75mm, capable of magnifying and flattening distant objects; also zoom lens
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A camera stabilization system introduced in 1976 that allows a camera operator to film a continuous and steady shot without losing the freedom of movement afforded by the handheld camera
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: Shooting with a camera that records and stores visual information electronically as digital code
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| In the editing process, the join or splice between two pieces of film; in the finished film, an editing transition between two separate shots or scenes achieved without optical effects. A version of the edited film, as in rough cut, final cut, or director’s cut |
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| The position from which a person, event, or object is seen or filmed; in narrative form, the perspective through which events are narrated |
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| A point of view that recreates the perspective of a character |
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| A point of view that does not associate the perspective of the camera with that of a specific character |
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The point or area in the image that is most precisely outlined and defined by the lens of the camera; the point at which light rays refracted through the lens converge
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The eye’s retention of a visual imprint for approximately one-fifth to one-twentieth of a second after the object has disappeared; as a result, the continuous projection of a series of still images at a rate of sixteen or more frames per second will give the illusion of movement; see phi phenomenon
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The portion of the filmed subject that appears within the borders of the frame; it correlates with camera distance, e.g., long shot or medium close-up
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Framing that shows details of a person or object, such as a character’s face
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A framing that places considerable distance between the camera and the scene or person so that the object or person is recognizable but defined by the large space and background; see establishing shot
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| it shows most of an individual’s body |
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| A shot directed at a downward angle on individuals or a scene |
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| A shot from a position lower than its subject |
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| A shot that depicts the action from above, generally looking directly down on the subject; the camera may be mounted on a crane |
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| A shot taken from a camera mounted on a crane that can vary distance, height, and angle |
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| A subjective shot that reproduces a character’s optical point of view, often preceded and/or followed by shots of the character looking |
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| A focus in which multiple planes in the shot are all in focus simultaneously; usually achieved with a wide-angle lens |
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| A shot in which only a narrow range of the field is in focus |
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| A left or right rotation of the camera, whose tripod or mount remains in a fixed position that produces a horizontal movement onscreen |
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| A type of animation that employs stop-motion photography (or instead simply cuts out images from a continuous piece of filmed action) to transform the movement of human figures into rapid jerky gesture |
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| A special effect that combines two or more images as a single shot, such as filming an actor in front of a projected background |
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| A shot that joins two pieces of film, one with the central action or object and the other with additional background, figures, or action (sometimes painted or digitally produced) that would be difficult to create physically for the shot |
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| A disjunctive edit that interrupts a particular action and intentionally or unintentionally creates discontinuities in the spatial or temporal development of shots |
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| A cut that juxtaposes two images whose dramatic difference aims to create a jarring visual effect |
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| An optical effect in which a black screen gradually brightens to a full picture; often used after |
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| An optical effect that briefly superimposes one shot over the next. One image fades out as another image fades in and takes its place; sometimes called a lap dissolve because two images overlap in the printing process |
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A transition used to join two shots by moving a vertical, horizontal, or sometimes diagonal line across one image to replace it with a second image that follows that line across the frame
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| Generally, an initial long shot that establishes the location and setting and that orients the viewer in space to a clear view of the action |
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| A shot depicting two characters |
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| A shot during an edited sequence that returns to an establishing shot to restore a seemingly "objective" view to the spectator |
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An editing pattern that begins with a shot of one character taken from an angle at one end of the axis of action, follows with a shot of the second character from the "reverse" angle at the other end of the line, and continues back and forth through the sequence; often used in conversations
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A shot that depicts a character’s response to something shown in a previous shot
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| A sequence that connects an image set in the present with one or more future images and that leaps ahead of the normal cause-and-effect order |
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| A shot of relatively long duration |
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| An editing technique that alternates between two or more strands of action in separate locations often presented as occurring simultaneously; see crosscutting |
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| The French word for "editing." It can be used to signify any joining of images, but it has come to signify a style that emphasizes the breaks and contrasts between images joined by a cut, such as in Soviet silent-era filmmaking or in certain rapid sequences in Hollywood films used for descriptive purposes or to show the rapid passage of time |
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| A work that foregrounds patterns, rhythms, movements, shapes, or colors either abstracted from real actions and objects or created independently of recognizable figures in order to depict a more purely formal art |
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| A sequence that follows images set in the present with images set in the past; it may be introduced with a dissolve conveying a character’s subjective memory or with a voiceover in which a character narrates the past |
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: Sound that has its source in the narrative world of the film, whose characters are presumed to be able to hear it
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| Sound that does not have an identifiable source in the characters’ world and that consequently the characters cannot hear |
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| Diegetic music; music whose source is visible onscreen |
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| A member of the sound crew who generates live synchronized sound effects such as footsteps, the rustle of clothing, or a key turning in a lock, while watching the projected film. Named after their inventor, Jack Foley, foley tracks are eventually mixed with other audio tracks |
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The term for sound carried over a picture transition, or a sound belonging to the coming scene playing before the image changes
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| The process of determining where music and effects will be added to a film |
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An on-camera interview that typically shows the speaker from the shoulders up, hence "talking head."
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| A film’s background music; contrasts with source music |
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| An image or sound recorded on a loop of film to be replayed and layered |
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| The aural properties of a location that are recorded and then mixed in with dialogue and other tracks to achieve a more realistic sound |
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| An important stage in the postproduction of a film that takes place after the image track, including the credits, is complete; the process by which all the elements of the soundtrack, including music, effects, and dialogue, are combined and adjusted; also called re-recording |
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A voice whose source is neither visible in the frame nor implied to be offscreen; it typically narrates the film’s images, such as in a flashback or the commentary in a documentary film
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