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Definition
| a vertical movement, achieved by pivoting the camera upward or downward |
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Definition
| a horizontal movement, achieved by pivoting the camera back and forth |
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Definition
a vertical movement, achieved by raising or lowering the camera
on a linear path |
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Definition
a horizontal movement, achieved by moving the camera back
and forth along a linear path |
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Definition
changing the focal length of the camera; telephoto motion inward
or outward |
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Definition
| an inward or outward position change of the camera on a dolly |
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Definition
| panoramic scope that encompasses vast landscapes or interiors |
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Definition
| shows the subject’s entire body |
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| Medium long shot/”American” shot |
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Definition
| subject is framed from the knees up |
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Definition
| subject is framed from the waist up |
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Definition
| shows the subject’s face or another key object |
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Definition
shows a part of the subject’s face or a detail of an
object |
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Definition
| a shot length of several minutes or longer |
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Term
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Definition
| a shot length of 30 seconds to a minute |
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Term
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Definition
| a shot length of several seconds |
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Term
| Straight on/Perpendicular/90-degree shot |
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Definition
| the camera is oriented at a right angle to the subject |
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Definition
| the camera is oriented above the subject and looking down |
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Term
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Definition
| the camera is oriented below the subject and looking up |
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Term
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Definition
| the camera is oriented 30- to 90-degrees off the plane of action |
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Definition
| the camera is oriented on a sideways tilt so that the horizon is no longer level |
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Definition
| objects close to and far away from the camera are equally in focus; allows for abundant detail |
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Term
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Definition
| objects far away from the camera are out of focus |
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Term
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Definition
the focus shifts from the foreground to the background or
from the background to the foreground |
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Term
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Definition
| : lens filters are used to soften the focus for a dreamy or romantic effect |
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Term
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Definition
the initial shot of scene that is used to establish spatial
relationships among characters, objects and setting before the scene is
broken into closer shots (aka Establishing Shot) |
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Term
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Definition
| a shot in which the subject(s) is photographed by an encircling or moving camera. |
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Definition
| a close-up shot of a detail providing necessary narrative information |
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Definition
| a shot showing the scene from the physical vantage point of a character |
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Definition
Covering up or blocking out a portion of the frame with \
blackness. Common examples are an iris, or double-iris to suggest binoculars. |
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Term
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Definition
glass, plastic, or gelatinous substance placed before or behind a
camera lens to change the effect and character of the lighting within the film's frame |
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Term
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Definition
| an immediate transition (the most common and usually “transparent”); a direct change from one shot to another |
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Definition
| a gradual transition to or from a shot, effected by an increase or decrease of light |
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Term
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Definition
a transition between shots by superimposing the two fades
(overlapping them) so that one shot disappears at the same time the next shot is appearing |
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Term
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Definition
an optical process whereby the image of one shot appears to be pushing or wiping the preceding shot off the screen; a common device in
the 1930s and used in newer films to give them a deliberately “retro” feel |
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Term
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Definition
| a transition in which a circular masking of the camera lens contracts or expands |
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Definition
: A series of shots establishing a larger context in which
a scene will take place (ie a series of shots of NY before a scene in an office). |
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Term
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Definition
cutting with a sense of rhythm; refers to scenes whose
intense emotional impact and dynamic visual design are achieved through the
combination of many brief shots |
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Term
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Definition
a sequence edited into progressively shorter shots
to create a mood of tension or excitement |
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Term
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Definition
usually a shot (or series of shots) that together comprise a single,
complete and unified dramatic event, action, unit, or element of film narration,
or block (segment) of storytelling within a film. |
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Term
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Definition
| the system of editing used and perfected in so-called classical Hollywood narrative films. It consists of a number of techniques that maintain spatial and temporal continuity even when the narrative moves between locations or eliminates long time intervals. Usually this technique is employed so that elisions in movement or time are not noticed or disruptive, enabling the spectator to concentrate on the narrative. The general effect of these techniques upon the audience is to direct the viewing experience and thus to manipulate emotional and intellectual responses |
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Term
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Definition
cutting back and forth between different scenes that are taking
place simultaneously (aka Intercutting or Parallel Editing). |
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Term
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Definition
the shortening of the plot duration of a film achieved by deliberately
omitting intervals or sections of the narrative story or action |
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Term
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Definition
When a character looks off-screen, there will be a cut to show
what is being looked at—object view or another character. The ‘match’ will be
made by logically tracing the trajectory of the looking eye. |
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Term
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Definition
| when two successive shots are joined to emphasize a strong similarity of compositional elements (colors, shape, or motion that occurs in roughly the same position in the frame |
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Term
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Definition
: a shot that occurs in the middle of a larger scene or shot, usually a
close-up of some detail or object, that draws audience attention, provides
specific information, or simply breaks up the film sequence. |
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Term
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Definition
| when an edit takes place in the middle of an action |
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Term
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Definition
refers to the direction that characters or objects are moving
in a film's scene or visual frame |
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Term
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Definition
the camera is focused on one character and then, after a cut,
it is focused another character; usually used during conversations between
characters (aka Shot-Countershot). |
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Term
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Definition
| when an action or shot is repeated from a different point of view |
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Term
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Definition
a screen direction rule that camera operators must remain on
one side of an imaginary line, known as the axis of action |
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Term
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Definition
An approach to editing developed by filmmakers in the Soviet Union
in the 1920s. It emphasizes dynamic, often discontinuous, relationships between shots
and the juxtaposition of images. It’s primary focus was to engage with the viewer in an
intellectual manner |
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Term
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Definition
The creation of an artificial filmic landscape through
separates shots taken at different places and times. |
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Term
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Definition
When the time an action takes in the film does not
correspond to actual time, but is instead quicker or slower to evoke how long
such an action would feel to the character. |
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Term
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Definition
A recognition that a shot’s meaning is not only dictated by
what it contains, but by its relationship to other adjacent shots |
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Term
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Definition
| A cut intended to deliberately break with continuity |
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Term
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Definition
The juxtaposition of a series of images to create an
abstract idea not present in any one image, often through the use of metaphor
(aka Ideological Montage |
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Term
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Definition
| literally, French for “putting in the scene,” a term that describes everything within the shot, the aspects that are arranged or captured in front of the camera lens. It is the sum of all factors that create the artistic “look” or “feel” of a shot or scene. |
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Definition
| any voice, music or sound effect presented as originating from a source within the world described by the story |
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Term
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Definition
| any voice, music or sound effect that comes from beyond the story such as a voiceover or a musical soundtrack |
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Definition
| sound recorded during the making of the film |
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Definition
| sound that is recorded in post-production |
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Term
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Definition
a recurring musical phrase associated with a particular person, place
or idea. |
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Term
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Definition
| when a diegetic sound identifiable from an earlier part of the story is heard during a later scene, often conveying a memory |
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Term
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Definition
| when the sound from one scene carries over into the beginning of a subsequent scene |
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Term
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Definition
| Sound used in counterpoint, or contrast, to the image; opposite of direct sound, in which the sound is recorded simultaneously with the image. |
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