FILM 1 - part 2; ch 9, 6, 8

Which of the following directors often uses silence as a sound?

Akira Kurosawa

short-focal-length lens

also known as wide-angle lens, starting as low as 12.5mm. produces wide-angle views and stretches appearance of depth. -makes subjects look farther than they actually are. -exaggerates spatial perspective -bc of this, subjects moving at normal speed toward/away from camera can look like they're moving faster. -most smartphones have short-focal-length lens. depth of field: offers a nearly complete depth of field, rendering almost all objects in focus.

External sound comes from a source within the world of the story and can be heard by the characters in that world.

True

slow motion

achieved by filming at a HIGHER film rate. to create a shot where action happens at half of normal speed, the camera frame rate must be doubled to 48 fps, so it will take up twice the screen time.

fast motion

achieved by filming at a LOWER frame rate. to make it appear twice as fast, cinematographer would shoot it at 12 fps so that when it is projected at 24 fps, it will take up only half as much screen time.

long-focal-length lens

aka the telephoto lens, ranging from 85mm to as high as 500mm -compresses the appearance of depth -makes distant objects look closer -subjects moving toward the camera can appear really slow -binoculars depth of field: generally a very narrow range. It leaves the area in front of and behind the in-focus objects dramatically out of focus.

quality

aka timbre, texture, or color. the quality of a sound includes those characteristics that enable us to distinguish sounds that have the same pitch and loudness. the same note played at same volume on 3 different instruments (piano, violin, oboe) will produce tones that are identical in frequency and amplitude, but very different in quality.

aperture , iris

ape: the opening in an iris through which light passes to fall upon the camera film or sensor iris: an adjustable diaphragm that controls the amount of light passing through the lens of the camera

rhythm

applies to the practice of changing the pace, either gradually or suddenly, during a scene or sequence.

The editing technique of joining together two shots is called ____________.

cutting

The effect of perceiving spatial continuity between two shots, including two shots filmed at different times in different places, is called ____________.

the Kuleshov effect

What is the difference between an iris-in and an iris-out?

An iris-in begins with a small circle that expands, while an iris-out gradually closes an image.

widescreen aspect ratio

Any aspect ratio wider than 1.33:1, the standard ratio until the early 1950s.

Who do the textbook authors call the first sound designer in American film history?

Orson Welles

loudness , amplitude

The loudness (or volume or intensity) of a sound depends on its amplitude, the degree of motion of the air or other medium within the sound wave.

passage of time

The transition from one scene or act to another

Why is the axis of action also called the 180-degree system?

There are 180 degrees of space on the chosen side of the axis of action in which the camera may be placed to preserve screen direction.

resolution

a more detailed, thus sharper, image.

An editor's control of _____________ can determine the pace or rhythm of a movie.

duration

prime lenses

fixed focal lengths -most feature films use prime lenses

offscreen space , on-screen space

offscreen: outside of the frames on-screen: inside the frame

long take

shot that lasts significantly longer than a conventional shot. 2 basic approaches 1. those that explode the mobile frame 2. those that hold the viewer in a state of relative stasis.

pan shot

the camera pivots horizontally on a stationary axis. camera looks from side to side -more panoramic view

extreme long shot (XLS or ELS)

typically photographed at a great distance, the subject is often a wide view of a broad locale surrounding more specific locations where the action takes place. typically present general background information, rather than a particular featured subject. -when used to provide spatial content at beginning of scene XLS is also an establishing shot. -may also depict a character dwarfed by their environment or for depicting large-scale action -battle scene

fisheye lens

ultra wide-angle lens that produces strong visual distortion intended to create a wide panoramic or hemispherical image. focal lengths as short as 8mm

mobile framing

uses a moving camera and blocking to present multiple viewpoints, compositions, and actions within a single unified shot

optical effects

were created by manipulating the image and/or film negative "in camera" during production and or during the film stock processing after the negative had been exposed.

montage

a montage of sounds is a mix that ideally includes multiples sources of diverse quality, levels, and placement and usually moves as rapidly as a montage of images.

steadicam

a patented harness device worn by the operator and uses a sophisticated system of counterweights and hydraulics combine the mobility of a handheld camera with the smoothness of a tracking shot.

dutch-angle shot

a shot in which the camera is tilted from its normal horizontal and vertical positions so that it is no longer straight, giving the viewer the impression that the world in the frame is out of balance

black and white

audiences associate this with realism. used in documentary films before the 1960s, in newspaper and magazine photographs. somber, elegant, abstract, or simply different than our way of seeing. often used to convey dreams, memories, flashbacks, and historical events. also can have moral or ethical connotations. black=evil, white=good.

overlapping sound

carries the sound from a first shot over to the next before the sound of the second shot begins. creates continuity

point of view editing

also uses characters eyeline to create connections between subjects in separate shots, but instead of simply imparting a spatial relationship between interaction characters, point of view edit seeks to convey the viewpoint and perspective of a characters offscreen gaze.

double-system recording

dialogue sound is recorded (not with camera for images) but with a separate sound recorder, an approach known as double-system recording.

diegetic and nondiegetic sounds

diegetic: comes from a source within the films world. They are the sounds heard by both movies audience and characters. Most familiar. Occurs simultaneously with the image. Footsteps, knock on a door, phone ring, fired gun, ordinary dialogue. -Diegetic and on-screen sound is simultaneous. nondiegetic: comes from a source outside the world, are heard only by the audience. Off-screen and recorded during postproduction. Assumed to be inaudible to the characters on-screen. Musical scores, narration spoke by voice that doesn't originate from same place and time as the characters on-screen. "Barry Lyndon" we hear piano, violin, and cello but the instruments are nowhere to be seen. This kind of music reflects the historical period but does not emanate from the world of the story.

The French New Wave film Breathless (1960) often violates conventional continuity with what editing technique that calls attention to the movie's construction?

jump cut

lenses

lens: a piece of curved, polished glass or other transparent material. "eye" of the camera primary function to bring the light that reflects off the subjects in front of the camera (actors, objects, settings) into focused images on the film or sensor inside camera zoom lens: variable focal length prime lens: fixed focal length normal lens: middle focal length

master scene technique

meaning that the action is photographed multiple times with a variety of different shot types and angles

In the climactic scene of Bonnie and Clyde (1967), what form of editing is used for the series of shots that extends moments of time just prior to and during the machine-gun fire?

overlapping action

wipe

transitional device often indicating and change of time. place, or location in which shot B wipes across shot A vertically, horizontally, or diagonally to replace it.

fade

transitions between shots over multiple frames

Holding a shot after the peak of the content curve, past the point where the viewer has processed all of the immediately available information, generally makes the viewer feel ____________.

trapped

terms used to describe the general characteristics of film sound

quality loudness pitch

duration

quantity of time

An open frame is generally employed in _____________ films, while a closed frame is generally employed in ____________ films.

realistic; formalist

tilt shot

the camera pivots vertically looks up and down

montage editing

the creation and communication of meaning through juxtaposition

dolly shot

tracking shot. mounted on a wheeled platform called a dolly. moves smoothly and freely along the ground, moving camera slow disclosure: a dolly out movement can be used for this technique. dolly-in: MOVES through space vs zoom-in: does not move through space

birds-eye view

over head, aerial-view shot cranes, drones, or aircraft

zoom lense

"variable-focal-length" -assistant cameraperson can reduce or increase the focal length of the lens between takes or setups without having to change lenses. -changing focal length in continuous motion during a shot can made the image "zoom" in or out. -simulating the effect of movement toward or away from subject. -require move light -do not produce images as sharp as lenses with fixed focal lengths -documentary-style films

cinematography

-process of capturing moving images on film -3 Greek roots: kinesis (movement), photo (light), graphia (writing). -intricate language that can contribute to a movies meaning as much as the story, mise-en-scene, and acting do. -cinematographer; aka director of photography,* DP -uses the camera as an expressive instrument -director and DP are in constant communication as the DP translates the directors vision into specific decisions about how each shot will be photographed.

aspect ratio

-relationship between the frames two dimensions -the ratio fo the width of the image to its height. -almost all movies are made to be shown in one aspect ratio from beginning to end. most common: -1.375:1 Academy (35mm flat) -1.66:1 European widescreen (35mm flat) -1.85:1 American widescreen (35mm flat) -2.2:1 Super Panavision and Todd-AO (70mm flat) -2.35:1 Panavision and CinemaScope (35mm anamorphic) -2.75:1 Ultra Pranavision (70mm anamorphic)

4 four general categories of types of film sound

1. vocal sounds (dialogue and narration) 2. environmental sounds (ambient sound, sound effects, and Foley sounds) 3. music 4. silence

pixels and codex

A digital filmmaker's camera stores the image information as pixels, which are compressed into specialized formats called codecs. pixels: the digital camera uses an electronic sensor that captures fragments of image as digital pixels. the large amount of resulting data is stored on a hard drive or a solid-state drive (SSD), in the format of a codec codec: specialized digital format that compresses all the pixel information into manageably sized files for editing and viewing.

camera crew

DP relies on assistance from them. Divided into 1 group of technicians concerned with the camera, and 1 concerned with electricity and lighting. Camera group: camera operator (controls the camera) and the assistant camerapersons (AC's). 1st AC oversees everything having to do with the camera and lenses and adjusting focus. 2nd AC prepares the slate that is used to identify each shot and take as the camera rolls, notes the lens, exposure, other info for each shot, moves the camera to each new setup. Electricity and lighting group: gaffer (chief electrician), best boy (first assistant electrician), other electricians, and grips (all-around handy persons)

asynchronous sound

Either a sound closely related to the action but not precisely synchronized with it, or a sound that either anticipates or follows the action to which it belongs. -cannot see its source -seems mysterious and raises our curiosity and expectations -builds tensions and surprise used expressively in some of the first sound movies by King Vador, Rouben Mamoulian, and Rene Clair. Ex: -Rene Clair uses asynchronous sound for humorous effect when we see characters scrambling to find a valuable lottery ticket and hear the sounds of a football game. -Alfred Hitchcock. Landlady enters a room, discovers dead body, looks at camera and opens her mouth to scream, instead, we hear a high-pitches sound of a train whistle. Then cuts to a shot of a train speeding out of a tunnel. Sound seems to come from lady's mouth, but it is an asynchronous sound bridge linking two simultaneous actions happening in different places.

ambient sound

If the sounds in this sequence were the result of the filmmaker capturing them during shooting, then they are ambient. emanates from the ambience (or background) of the setting or environment being filmed. Is either recorded during production or added during postproduction. may incorporate other types of film sound - dialogue, narration, sound effects, Foley sounds, music. Should NOT include any unintentionally recorded noise made during production, such as sounds of cameras, static from sound-recording equipment, car horns, sirens, footsteps, voices from outside production. helps set the mood and atmosphere of scenes, may contribute to the meaning of a scene.

Foley sounds

Jack Foley invented a special category of sound effects. created and recorded in sync with the pictures. Opposite of sound effects (created or recorded "wild"). Traditional sound effects can be taken directly from a library of prerecorded effects. Foley artists - have a studio equipped with recording equipment and a screen for viewing the movie as they create sounds in sync with it. Ex: Lord of the Rings - needed sounds of arrows so they set up stationary microphones in a quiet graveyard and shot arrows past the mikes to record those sounds.

sound design

Name by film editor Walter Murch. the art of creating the sound for a film. Sound design combines the craft of editing and mixing and involves matters both theoretical and practical. Assumptions: -sound should be integral to all three phases of film production (pre, production, post). -potentially as expressive as its images. -image and sound can create different worlds. -image and sound are co-expressible.

harmonic content

can be measured by wavelengths. sound produced by each instrument.

master shot

a wide angle shot that covers the actions of a scene in one continuous take

rack focus

a change of the point of focus from one subject to another. guides our attention to a new, clearly focused point of interest while blurring the previous subject in the frame.

interior monologue

a variation on the mental, subjective point of view of an individual character that allows us to see the character and hear his or her thoughts in their own voice, even though the characters lips don't move.

iris shot

appears on the screen in two ways. iris-out: begins with the image shown as a large circle, which shrinks and closes in around the subject, leaving the rest black. iris-in works in the opposite direction. The image begins as just a small circle in a field of black, then expands.

The first assistant electrician on the camera crew is called the _____________.

best boy

subtractive color systems

by the early 1930s, the additive process was replaced by a three-color subtractive color system that laid the foundation. primary colors -red, green, blue. mixing them can create all different colors. white if mixed all together the subtractive process takes away unwanted colors from the white light when additive primary colors are removed from spectrum on single strip of film, what remains are complimentary colors (cyan, magenta, yellow). first film made in three-color subtractive: Rouben Mamoulian's Becky Sharp (1935) Cine: ray rennahan.

high-angle shots

camera is positioned above eye level, so it aims down at the subject. to "look down on someone" indicates that we consider that someone to be inferior. when we look down on someone, we are often viewing them from a position of superiority.

The member of the camera crew who controls the camera during the shot is called the _____________.

camera operator

What do sounds and musical themes connected to individuals in a film give the audience a sense of?

characterization

color temperatures

cinematographers. Any light source will emit carious light wavelengths that register as different colors. Sunlight: blue end of the spectrum incandescent lights: orange side of the spectrum

The process of capturing moving images on film or a digital storage device is called _____________.

cinematography

color grading

color correction the process of altering and enhancing the color of a motion picture with specialized software.

The title of the movie Tangerine (2015) was inspired by what process during postproduction?

color grading

external sound

comes from a place within the world of the story, and we assume that it is heard by the characters in that world. Can be either on-screen or offscreen.

sound production

consists of four phases: design, recording, editing, and mixing.

jump cut

created when two shots of the same subject taken from the same camera position are edited together so that the action on-screen seems to jump forward in time. -usually amounts to a matter of moments -the effect is often created using a single shot of an ongoing action

match-on-action cut

cutting during a physical action helps hide the instantaneous and potentially jarring shift from one camera viewpoint to another

What does a take refer to?

each time a planned shot is captured

split screen

editing can also break the screen into multiple frames and images.

classical cutting

editing decisions made for dramatic emphasis

ellipis

editing is used to jump from one moment to another in ways that are more evident and more expressive

sequence shot

enables filmmakers to present a unified pattern of events within a single period of time in one shot.

speed

exposure index; another aspect of film stock. how sensitive it is too light.

Which type of cut joins a point-of-view shot of a person looking offscreen with a shot of the object of his or her gaze, as found in this clip from Spam-ku?

eyeline match cut

A _____________ film stock is extremely sensitive to light and is therefore useful in low-light situations.

fast

loader , digital imaging technician, gaffer, best boy, grips

feed the stock into magazines that are then loaded onto the camera If the production is using digital cameras, the loaders responsibilities are handled by a digital imaging technician (DIT) - archives and manages the digital date being captured. gaffer - chief electrician best boy- first assistant electrician grips - all around handy persons who work with both camera crew and electrical crew to get the camera and lighting ready.

extreme close-up (XCU or ECU)

fills the frame with a part of a subjects face or, oftentimes with an object revealed in great physical detail.

formats

film stock is available in several standard formats (also called gauges, widths measured in millimeters) 8mm, Super 8mm, 16mm, Super 16mm, 35 mm, 65 mm, 70 mm, and IMAX which is 10x bigger than a 35 mm. today mostly used is 35mm. film formats that capture and hold more fragments of visual information have higher resolution

eye-level shots

filmmakers set the camera angle at roughly the same level as they eyes of the characters in the scene.

sound

for most narrative films, sound provides cues to help us from expectations about meaning. film sound: 3 general categories source type perceptual characteristics film sounds can help audiences identify the temporal dimensions of what they're watching. The transition to sound film began in 1927. What are the four basic perceptual characteristics of sound? pitch, loudness, quality, fidelity

medium shot (MS)

frames subjects from somewhere around the waist up, making them large enough in the frame to reduce background to the point of insignificance. -most frequently used type of shot because its replicates our human experience of proximity without intimacy. -often used to convey interactions between multiple subjects: 2 subjects: two-shots, 3 subjects: three-shot, more than 3 people: group shots

This member of the camera crew is the chief electrician for the production

gaffer

special effects

general term reserved for technology used to create images that would be too dangerous, too expensive, or simply impossible to achieve with traditional cinematographic approaches

This member of the camera crew is the all-around handyperson who works with both the camerapersons and the electricians to get the camera and lighting ready for shooting.

grip

match cuts

help create a sense of continuity between contiguous shots in the same scene or between shots that connect different scenes. editors use a match cut to carry an element from one shot into the next using action, graphic content, eye contact.

graphic match cut

implies a direct link between the events and content presented in the two different shots

sound effects

include all sounds artificially created for the sound track that have a definite function in telling the story. all sound effects (expect those made on electronic equipment to deliberately create electronic sounds) comes from the "wild" recordings of real things. responsibility of the sound designer* and sound crew* to pick and combine these sounds. Traditional sound effects can be taken directly from a library of prerecorded effects.

associative editing

intellectual editing uses juxtaposition to impart meaning in a way that we usually can't help but notice. pairs contrasting or incongruent images in a manner that implies a thematic relationship

content curve

interplay between duration and information is known as the content curve.

fidelity

is a sounds faithfulness or unfaithfulness to its source. faithful ex: "The Ice Storm" faithfully explodes the sounds of a violent ice storm to underscore the tragic lives of two dysfunctional families. Icey branches that crackle in the wind and crash to the ground. Ice storm has a powerful, mystical effect on their lives, serving as a metaphor for their lives while providing an audibly faithful reminder of the power of nature. not faithful ex: "Love Me Tonight". Baron tells Princess he is not royalty. Ppl freak out, Someone accidentally knocks over a vase and it shatters. We hear the incongruous sound of a bomb exploding, as if it suggests the social order is under attack.

montage sequence

is an integrated series of shots that rapidly depicts multiple related events occurring over time.

crane shot

is made from a camera mounted on an elevating arm, making it capable of moving freely and smoothly through vertical space.

focal length

is the distance (measured in millimeters) from the optical center of the lens to the focal point on the film stock or other sensor when image is sharp and clear. affects how we perceive perspective -the appearance of depth -perception of size, scale, movement 4 major types of lenses are designated by their respective focal lengths

framing

is the process by which the cinematographer or camera operator uses the boundaries and dimensions of the moving image to determine what we see on the screen. involves composition -framing directly engages the frame -turns the comparatively infinite sight of the human eye into a finite movie image -unlimited view into a limited view process requires decisions about: -the implied proximity to the camera of main subjects -the depth of the comoposition -the camera angle and high space within and outside the frame -point of view -the type of camera movement, if any

mixing

is the process of combining all of the different individual edited tracks of dialogue, sound effects, music, and so forth, into one sound track.

automatic dialogue replacement (ADR)

looping. During editing process, if the dialogue sounds weird or a noise interrupts, the actors are called back in to redo it. They watch a looped recording of the moment they are redoing. essentially lip-syncing, actors perform dialogue while watching a recording to replace faulty sound.

A low-angle shot is often used to _____________.

make the subject seem powerful

coverage

many scenes are recorded using coverage - multiple angles and shot types covering the same action - in order to provide the editor the freedom to select the best possible viewpoint for each dramatic moment.

Which type of shot frames the subject from somewhere around the waist and up, making him or her large enough in the frame to reduce the background to the point of insignificance?

medium shot

middle-focal-length

most feature films are made with this. from 35mm to 50mm, often called the "normal lens" -create images that correspond to our day-to-day experience of depth and perspective. depth of field: like human eyes. Relatively generous field of focus around whatever the camera is focused on.

postproduction sound

most film sounds are constructed during the postproduction phase, rather than recording during filming.

film stock

movies have been shot on film stock since 1880s. celluloid used to record movies. Different film stocks capture light, color, contrast, and depth of fields in different ways, so cinematographers exercise the care when selecting a film stock. A FAST film stock is extremely sensitive to light and is therefore useful in low-light situations.

Werner Herzog's style is frequently called hallucinatory due to what sound design element in his films that produces a feeling in the viewer of being somewhere between fantasy and reality?

music and silence

medium long shot (MLS)

neither a medium shot nor a long shot, but one in between. -used to photograph one or more characters, usually from the knees up. -background is reduced, subjects begin to predominate. -MLS often used to moments of physical action -widely used in Hollywood movies, French call this "plan American" (American shot).

dialogue

only type of sound typically recorded during production. Also recorded during postproduction. Everything else is added in the editing and mixing stages of postproduction. speech of characters who are either visible on-screen or speaking offscreen. one of the principal means of telling a story.

open frame , closed frame

open: designed to depict a world where characters move freely within an open, recognizable environment (realistic films) closed: is designed to imply that other forces (such as fate, social, educational, economic background, or repressive government) have robbed characters of their ability to move and act freely. (formalist films)

parallel editing

or crosscutting a technique that cuts back and forth between two or more actions happening simultaneously in separate locations

pitch , frequency

or level. of a sound can be high or low, or somewhere in between. defined by the frequency (or speed) with which it is produced (the number of sound waves produced per second).

internal sound

occurs whenever we hear what we assume are the thoughts of a character within a scene. character might be expressing random thoughts or a sustained monologue. When Shakespeare wants us to hear a characters thoughts, he uses a soliloquy to convey them, but the device lacks verisimilitude.

eyeline match cut

on set, camera positions are calculated so that if one actors gaze is aimed in a particular direction offscreen in one shot, the director of the other actors eyes is mirrored in the corresponding shit. the direction in which an actor looks is known as his or her eyeline.

on-screen sound off-screen sound

on-screen: emanates from a source that we can see. (simultaneously) off-screen: can be either diegetic or nondiegetic, derives from a source that we do not see. When off-screen sound is diegetic, it consists of sound effects, music, or vocals that emanate from the world of the story. When off-screen sound is nondiegetic, it takes the form of a musical score or narration by someone who is not a character in the story.

What is a setup?

one camera position and everything associated with it

shot/reverse shot

one of the most prevalent and familiar of all editing patterns, in which the camera is repeatedly crosscutting between shots of different characters, usually in a conversation when used in continuity editing, the shots are typically framed over each characters shoulder to preserve screen direction.

sound during pre, production, and post

preproduction: -sound designers encourage directors/collaborators to know what ppl hear is as important as what they see. -especially true for point-of-view shots, attention on specific sights and sounds. -encourage screenwriters to consider all kinds of sound. -working with directors, indicate in shooting scrips what voices, sounds, music is appropriate for a part. -plan settings, lighting, cinematography, acting with awareness of sound. production: -sound designers supervise the implementation of sound design. postproduction: -they aid to editing team

long shot (LS)

presents background and subject information in equal measure and is as much about setting and situation as any particular character. often used as "establishing shots" at beginning of a scene to indicate setting, who's involved, what they're doing. -full bodies of characters can be seen

implied proximity

refers to the distance between the camera (ad thus the viewer) and the subject on-screen. lens with a long enough focal length can allow a camera to film a close-up standing a hundred feet away distance between the camera and the subject is not always what it seems... "implied proximity"

depth of field

refers to the distance in front of a camera (and its lens) in which subjects are in sharp focus. -light, aperture setting, and gauge or sensor size can influence the size and placement of that focused area.

dailies

rushes. Filmmakers first screen the dailies, which are synchronized picture/sound work prints of a day's shooting. Then they select the usable individual shots, sort out the outtakes (unusable footage), log the usable footage, and decide which dialogue needs rerecording and which sound effects are necessary.

continuity editing

seeks to keep viewers oriented in space and time, to ensure a smooth and subtle flow between shots, and to maintain a logical connection between adjacent shots and scenes. ensures: -what happens on screen makes as much narrative sense as possible -screen direction is consistent from shot to shot -graphic, spatial, and temporal relations are maintained from shot to shot

3 key terms used in shooting a movie

shot, takes and setup. shot is the building block of cinema, one of the most common words you'll find. we define shot as an unbroken span of action captured by an uninterrupted run of the camera. Duration of the shot is determined by the editor take refers to each time that planned shot is captured. setup is one camera position and everything associated with it. The crew may shoot a number of different shots from a single camera position. cinematographers responsibilities for each shot, setup, and take: 1. cinematographic properties of the shot (film stock, lighting, lenses) 2. framing of the shot (proximity to the camera, depth, camera angle and height, scale, camera movement. 3.speed and length of the shot 4. special effects

medium close-up (MCU)

shows a character from approximately the middle of the chest to the top of the head face, gestures, and posture can begin to provide the kind of physical and psychological detail and implied proximity we associate with close-up.

omniscient point of view

shows us what the camera/narrator sees.

dissolve

similar to a fade. both are commonly used to transition between scenes but are sometimes used within scenes or sequences. both gradual. dissolve: the first shot is gradually replaced with a second shot, with no intervening period of solid color. the first shot appears to dissolve into the second, so that both images exist simultaneously for a moment before the first shot is completely replaced.

simultaneous sound non-simultaneous sound

simultaneous: diegetic and on-screen. non-simultaneous: occurs familiarly when a character has a mental flashback to an earlier voice that recalls a conversation or an earlier sound that identifies a place.

As light and dark create the image, so ____________ create the sound track

sound and silence

Kane

sound montage in party scene functions in many ways. -guides our attention to all parts of the room, making us aware of characters relative positions. -helps define the spatial and temporal dimensions of the setting and the characters placement within the mise-en-scene. -conveys the mood and the characters states of mind -helps represent time -fulfills our expectations -creates rhythm beyond that provided by the music -reveals, through the dialogue, aspects of each main character -underscores one principal theme of the entire movie -arouses our expectations about what's going to happen as the film evolves. -enhances continuity with sound bridges (the smooth transition from shot to shot and scene to scene within the sequence) -provides emphasis -enhances the overall dramatic effect of the sequence.

The editing technique in which the screen is broken into multiple frames and images is known as ____________.

split screen

30-degree rule

states that the camera should shift at least 30 degrees between different shot types of the same subject not jarring filmmakers sometimes intentionally break this rule to "jump" in at or away from a character or object multiple times in a quick succession, called three-shot salvo.

freeze-frame

suddenly stops a shot to hold a single frozen image of the arrested action

fragmentation

the breaking up of stories, scenes, events, and actions into multiple shots that provide a diversity of composition and combinations with which to convey meaning draws upon a sort of cinematic gestalt: the idea that our minds can intuitively organize a continuous stream of incomplete pieces into a coherent whole.

low-angle shots

the camera is positioned below eye level A low-angle shot is often used to make the subject seem powerful.

Schufftan process

the actor onstage is the only figure moving; the theater and audience are from a previous shot, miniaturized and then reflected in an etched mirror.

additive color systems

the first methods of creating color images in 1895. added color to black and white film stock. these processes included -hand-coloring (drawing color directly onto the processes film) -tinting (soaking the film in dye) -toning (a chemical process that replaces the silver halide crystals that make up the dark areas of the image with colored silver salts) -- tinting and toning were often used together to extend the color of a single image.

Unlike a static painting or picture, a motion picture moves and thus shifts its point of view. Point of view is implied by _____________.

the framing of a shot

sound crew

the group that generates and controls the sound physically, manipulating its properties to produce the effects that the director desires.

intercutting

the insertion of shots into a scene in a way that interrupts the narrative

camera angle

the level and height of the camera in relation to the subject being photographed.

viewfinder

the little window you look through or into when taking a picture

deep-focus cinematography

the process of rendering the figures on all planes (background, middle ground, and foreground) of a deep-space composition in focus. keeps all three planes of depth in sharp focus.

tonality

the range of tones from pure white to darkest black the distinguishing quality of black and white film stock.

recording

the recording of production sound is the responsibility of the 'production sound mixer' and a steam of assistants, which includes (on the set): a sound recordist, a sound mixer, a microphone boom operator, wanglers (in charge of power supply, electrical connections, cables).

overlapping action

the repetition of parts or all of an action using multiple shots

editing

the selection and arrangements of shots and sounds functions of editing: 1. organize fragmented action and events 2. create meaning through juxtaposition 3. create spatial relationships between shots 4. create temporal relationships between shots 5. establish and control shot duration, pace, and rhythm. basic building block of film editing is the shot, and its most fundamental tool is the cut.

pace

the speed at which a shot sequence flows accomplished by using shots of the same general duration

close-up (CU)

the subjects face fills the frame, so the camera is up close and personal with the subject. close enough to communicate maximum physical and psychological detail- even subtlest shift in expression can feel monumental. intimate proximity imparts a heightened sense of significance.

Tangerine movie

title came from process of color grading

180-degree rule

uses an imaginary line called the axis of action drawn between the interacting characters being photographed. camera remains on the same side of the line as it moves from position to position to capture different shots two people facing each other/ looking in the correct direction toward one another

mechanical effects

were those created and photographed on set

single-character point of view

when framing and editing shows us what a single character is seeing. typically indicated by a preceding shot showing a character looking offscreen.

motion capture

where a person wears a bodysuit fitted with reflective markers that enables a computer to record each movement as digital images.

discontinuity editing

which emphasized dynamic, often discontinuous relationships between shots, including contrasts in movements, camera angle, and shot type.

group point of view

works much like single-character POV, but has many characters.