FDM 1304 Chapter 6-11 Canvas Quizzes

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Over-the-shoulder shooting

Like cross shooting except near person partially in shot

If all prominent horizontal lines appear to converge at one point, we call this perceptual phenomenon:

Linear perspective

How do we perceive the origination of the z-axis in traditional television and film presentations?

From the screen to the background horizon

The visual approach that uses the technical devices and the potentials of the medium to build a unique screen event that depends entirely on the medium is called

Creating an event

A vertical line suggests stress, dynamism.

False

Generating the impression of distance by having parallel lines converge "faster" and making distant objects appear smaller than we would ordinarily perceive is an example of relative perspective

False

Graphic vectors have a relatively high magnitude because their screen direction is most conspicuous or noticable

False

High-magnitude index and motion vectors cannot override graphic weight and frame magnetism.

False

Highly saturated colors seem closer than less saturated colors

False

Holding a smartphone sideways to display a scene in the 4x3 aspect ration will display a letterbox image

False

Many HDTV crime series use high-definition effects, such as fast-falloff lighting or color distortion to intensify especially brutal scenes

False

Modular units are not interchangeable, thus they are not effective for creating a variety of scenic structures

False

Monocular means that we are looking at the world with both eyes

False

The aspect ratio of wide-screen movies is 4x3

False

The most elementary use of camera angles is to use jump cuts and to break continuity in a shot series.

False

The narrow angle lens makes parallel lines converge much "faster" (more drastically) than when seen normally

False

The physical size of a picture cannot alter our perceptions and feelings about screen images

False

The smaller the graphic mass, the larger the attractive power

False

The standard (single-lens) video and film z-axes extend from the screen to the viewer and from the screen to the horizon

False

The technique for showing a full frame of a wide-screen image on a standard television by leaving black borders at the top and bottom of the screen is called pillarboxing

False

The three most popular current separation methods for watching 3D images are anaphylactic quantization, and the shutter system

False

The wide-angle lens greatly understates relative size

False

The wide-angle lens has a shallow depth and thus emphasizing aerial perspective

False

The wide-angle refers to a long focal length

False

The x-axis measures the diagonal of the frame

False

There are two basic ways of looking and using the medium for optimal communication: looking into an event and creating an event.

False

This image illustrates how using the magnetism of the side edge helps to intensify the danger of working up high

False

Using the magnetic force of a screen edge will not help emphasize the width of an object

False

When using polarization, the light waves for the left-eye image are lined up vertically and for the right eye, horizontally

False

With moving images, all traditional static compositional principles of proportion and balance become invalid.

False

With standard (STV) aspect ratio, you can establish a scene without having to go to an extreme long shot.

False

object size alone is not enough to give an image graphic weight

False

when showing only part of an object or a person on-screen, you should not frame the subject so that the viewer can easily fill in the missing parts and perceive the whole

False

when using shutter or active glasses, the light waves for the left eye image are lined up horizontally and for the right eye image, vertically

False

with a wide-angle lens overlapping planes become a major depth cue for separating one object from another and separating foreground, middleground, and background objects

False

What can cause the miniaturization effect?

When the object in front of the window does NOT appear to be larger than an identical one or behind the window

Which lens zoom position seems to maximally stretch the z-axis?

Wide angle

The screen or any other 2D surface on which the 3D image is displayed is called the

Window

How do we achieve a compression effect on the z-axis?

With a narrow-angle lens

A screen shot shows only the eyes of actor in an action thriller. This is an example of a:

XCU

What are the names of the stereo z-axis pair?

Zh and Zv

Which of the following represents a POV?

Subjective camera

all of the following are examples of strong motion vectors except

a couple walking

rule of thirds

a fail-safe composition where the screen is divided into three horizontal and three vertical fields

relative size paradox

a guest who is seen in the background in second-order space is larger than the host who is in the foreground and in first-order space

what creates a graphic vector

a line

When held vertically, the smartphone records:

a narrow image

PARAPROXEMICS

a pseudo-interpersonal relationship established by camera position/angle

open set

a set whose background scenery is not continuous or not connected by a common background

Pillarboxing refers to:

a technique for changing the aspect ratio to show standard 4 x 3 video on a 16 x 9 wide screen by leaving empty vertical side bars or dead zones on the sides of the screen.

Letterboxing refers to:

a technique for changing the aspect ratio to show wide-screen material on the standard 4 x 3 video screen by leaving black borders called dead zones at the top and bottom of the screen.

moving camera

a way to overcome fixed aspect ratio

What is meant by negative volume?

a. empty space that surrounds or is described by positive volumes

Heavier graphic mass can be shown by using:

a. highly saturated colors.

Depth of field refers to: a

a. how much of the frame is in focus.

An example of premature closure is:

a. improperly framing a subject's head by not leaving enough of the neck in the frame, thereby creating the illusion of a floating, independent head.

If not managed or placed effectively, increased screen density can result in:

a. increased viewer confusion.

The zh-axis and zv-axis deal with:

a. screen-to-horizon and screen-to-viewer, respectively, by manipulating screen location.

A wide-angle lens:

a. will distort by spreading out objects spatially.

Moisture and dust in the atmosphere make objects close to us appear sharper than those farther away. This density gradient is called:

aerial perspective

moisture and dust in the atmosphere make objects close to us appear sharper than those farther away. this density gradient is called

aerial perspective

What creates a motion vector

an object moving on-screen

depth of field

area along the z-axis that is in focus

An example of using secondary frames is:

artificial masking

dynamic balance

asymmetrical balance where the graphic weight and the vectors are not equal on both sides of the screen

Which of the following best describes asymmetry of the screen?

b. We see the left and right sides of the screen as unequal.

Personification refers to:

b. audience familiarity or identification with people appearing in first-order space.

A POV shot that looks down at person in the frame can be used to:

b. diminish the person.

"Rule of thirds" refers to:

b. dividing the screen into a virtual tic-tac-toe pattern.

A storyboard is:

b. frames that show how a film or television show is going to be visualized.

You are filming a reporter on location for a news show. The reporter is seen on screen with what seems to be a tree growing out of his head. This is an example of:

b. illogical closure.

Nose room refers to:

b. increasing the magnitude of the index vector when someone on screen is looking to the side.

Psychological closure is when:

b. our perceptual system automatically fills in the missing parts of an image.

The use of various camera angles and degrees of close-ups to affect the viewers' emotions and attitudes is referred to as:

b. paraproxemics.

Head room refers to:

b. placing the talent on the screen with space above the head to counteract the pull of the top edge of the frame.

Selective focus:

b. shows some screen elements to be in focus while others are out of focus.

Shooting talent from a high-angle position can:

b. weaken the power of that person.

A narrow-angle lens:

b. will distort by spatially shrinking space between objects.

A secondary screen refers to:

c. a frame within the main frame.

"Golden section" refers to:

c. dividing the screen into approximately 3 x 5 units.

In an over-the-shoulder (O/S) shot the camera literally:

c. looks over the shoulder of the camera-near person.

A scene shows 15 people in various places walking along a long school hallway, ranging from close to the camera to far from the camera. The camera pans and follows one person as she turns and walks down another hallway that is also filled with people. This is an example of:

c. multiple z-axis blocking.

Forced perspective refers to:

c. parallel lines seem to converge faster making distant objects look smaller.

Field of view refers to:

c. the area a shot includes, which ranges from XCU to XLS.

Visualization refers to:

c. thinking about individual shots and sounds in your production.

SUBJECT CAMERA

camera assumes role of event participant

Subjective Camera

camera assumes role of event participant

looking at an event

camera utilizes a normal angle lens, set on a tripod, and films what takes place in front of it

The camera much like the human eye

can take in large numbers of objects along the z-axis and can cope with even extremely fast movements toward and away from the camera

The most stable position on screen is:

center

looking into an event

character is shot form an extreme low angle giving the character more power

golden section

classical proportional system in which the smaller section of a line is to the greater section as the greater is to the total length of the line

aerial perspective

close objects appear sharper and their colors more saturated

vector field

combination of vectors operating within a single field (frame)

which factor is most important in determining whether to frame a shot with static or dynamic balnce

communication intent and context

what is the easiest way to create a static balance

create a symmetrical arrangement

graphic depth factors

create the illusion of space on a two-dimensional surface (without the use of motion)

graphic vector

created by lines of by stationary elements arranged in such a way to suggest a line

The visual approach that uses the technical devices and the potentials of the medium to build a unique screen event depends entirely on the medium is called

creating an event

Parallax refers to:

d. binocular disparity, how far the right-eye image is shifted from the left-eye image, usually measured as an angle.

When we shift the camera's viewpoint, we create a variety of distinct vector fields that can help clarify and intensify a screen event. This refers to using different:

d. camera angles.

A metamessage refers to a message that:

d. carries an underlying meaning.

Volume duality refers to:

d. the interplay between negative and positive volumes.

An example of a graphic cue is being able to:

d. visualize the rest of an actor's body when only seeing their XCU on screen.

Direct address refers to:

d. when performers speak directly to us, the viewers.

When you want to keep a tall object fully in frame when using a wide aspect ratio, you can frame it

diagonally

creating an event

digital stretching

motion vector

directional force created by an object actually moving or perceived as moving on the screen

Stereo base

distance between the left and right eye lenses

interocular distance

distance between the pupils of our eyes (with the norm set at 2.5 in)

An example of a topological change would be using:

e. a peel-off effect as you go from one scene to the next.

What best describes a positive volume?

e. anything that has substance, shape, weight

Which of the following best describes dynamic balance?

e. asymmetrically balanced

Depth planes deal with:

e. foreground, middleground, background.

A scene shows a situation comedy in which five characters are seen congregated near or on a sofa from three different, stationary camera angles. This is an example of:

e. multiple z-axis blocking.

An example of managing the amount of screen information and screen density effectively is by:

e. placing screen elements consistently in discreet areas or graphic blocks on the screen.

Depth of field refers to: e

e. the area along the z-axis that is in focus.

A jump cut refers to:

e. when an object seems to jump from one screen position to another.

Point of convergence refers to:

e. where index vectors of both eyes intersect when fixating on an object.

selective focus

emphasizing an object in a shallow depth of field through focus while keeping its foreground and background out of focus

An inductive approach would be starting with a wide establishing shot of a sorority building, followed by a medium shot of a student leaving the building, followed by a close-up of her phone.

false

Relative size is not important in determining depth with a wide-angle lens.

false

Viewpoint and point of view refer to the same thing.

false

Point of view (POV)

for camera, describes narrative involvement

external vector

force with a direction and a magnitude operating outside of us

internal vector

force with a direction and a magnitude operating within us

scenery and some properties can be built in such a way that they accelerate physically the convergence of lines and trick the spectator into spectator into perceiving greater depth than actually exists. this is generally called

forced perspective

A good way to frame a large, horizontal image on a 16:9 aspect ratio screen is to:

frame it horizontally

what is an effective way to facilitate closure in off-screen space

frame the object so that its natural diving lines do not coincide with a screen edge

A vector field is a combination of vectors operating from all of the following except

frame to sequence

the perspective lines of the building in the figure produce fairly strong ___ that lead our eyes naturally along the downhill diagonal from screen-left to screen-right

graphic vectors

natural diving lines

graphic vectors that occur at prominent points on a body, such as the horizontal ones formed by the eyes or the bottom of the nose

which of the following is not listed by Zettl as a natural dividing line

hands

POV

has a bias often making the viewer associate with what the character sees and feels

pillarboxing

has empty bands on either side of the frame

letterboxing

has empty bands on the top and bottom of the fram

LS

has less aesthetic energy

CU

has more aesthetic energy

windowboxing

has vertical and horizontal bands that surround the frame

What contributes to illogical closure

having the background object be perceived as an integral part of the foreground

liable balance

heightened stage of dynamic balance

digital cinema

high-resolution digital cameras instead of traditional film

high definition

high-resolution picture (consisting of great number of pixels) or high-fidelity sound

linear perspective

horizontal parallel lines converge toward the distance at the vanishing point, which lies on the eye-level horizon line

Jump cut

image jerks from one position to another during cut

which of the following is true

index vectors generally have a lower magnitude than motion vectors

A suggestion for optimizing images shown on a small, mobile screen is to use:

inductive sequencing

a vertical orientation within the frame

is generally more powerful and exciting than a horizontal one

How much is the production equipment involved in structuring the image when using the "creating" approach

it is an essential structuring element

The television or movie screen is, according to Zettl, like an empty page because

it represents a defined space...an area within which we can orient ourselves

The "z-value" of a point indicates

its relative depth, how far it is from the frontal plan of the frame

figure/ground paradox

keyed-in graphical box is placed in the foreground, overlapping the newscaster's shoulder, but we perceive the newscaster to be in the foreground

When a viewer participates physically in a screen event (by yelling, clapping, and the like), he or she is said to be reacting

kinesthetically

relative size

knowledge of object or object's context enables estimate of distance

The visual approach used to provide an insight into the nature and the emotions of an event is called

looking into an event

The visual approach used to provide an insight into the nature and the emotions of an event is called:

looking into an event

z-axis index vector

looking or pointing directly at the camera

When we look down at a person or event with a camera, the object or event:

loses significance

low-definition

low resolution picture (consisting of relatively few pixels) or low-fidelity sound

Visualization

mentally seeing an image, also the particular characteristics of a video/audio image

Compared to foreground, background is perceived to be:

more stable

z-axis motion vector

movement directly towards or away from the camera

Movies that emphasize landscape and spectacle will have the greatest aesthetic energy when presented on a

movie screen with surround sound

INDUCTIVE VISUAL APPROACH

moving from event detail to general overview

Deductive visual approach

moving from overview to event detail

screens with screens

news show with secondary or tertiary frames

overlapping plane

one object partially covering another

the symmetrical arrangement of mass looks balanced

only is all vectors are adequately stabilized

psychological closure

our minds fill in gaps in visual information into more complete and eaily manageable patterns

Which of the following is synonymous with "binocular disparity"

parallax

Gestalt

pattern that results in perceiving a whole that transcends its parts

height in plane

perceived distance tends to increase as an objects y-axis value increases

size constancy

perception of the actual size of an object regardless of the distance and the angle of the view

cross shot

person facing the camera is seen in a tight shot

Windowboxing refers to:

placing a smaller picture in the center of the actual display screen, with the leftover space of the 16 x 9 frame surrounding it.

windowboxing

placing a smaller picture in the center of the actual display screen, with the leftover space of the larger frame surrounding it

what do we call our perceptual urge to group visual information into simple and relatively stable configurations

psychological closure

Why do we have to wear red/cyan glasses in anaglyphic 3D?

To prevent one eye from seeing what the other is seeing

What effect is occurring in this image that helps to emphasize the enormity and the weight of the millstone

pull of entire frame

magnetism of the frame

pull that the frame (screen edges) exerts on objects within the frame (screen)

graphic weight

relative lightness or heaviness we perceive from a specific graphic mass

scale refers to

relative size of soemthing

balance

relative structural stability of objects or events within the screen

all of the following are factors that influence graphic weight except

resolution

window

screen or any other 2D surface on which the 3D image is displayed

When we look up at a person or event with a camera, the object or event

seems more pwerful

using a shallow depth of field and controlling the precise portion of the z-axis to be in focus is called

selective focus

Continuing vectors result when two or more index or motion vectors point n the same direction

True

STORYBOARD

series of sketches of key visualization points

rack focus

shift of emphasis from one z-axis plane to another by changing (racking through) optical focus from one object to another in a shallow depth of field

superimposition

shows ambiguity between figure/ground relationships

superimposition

simultaneous overlay of two pictures on the same screen

The concept that we perceive people and their environment as normal-sized regardless of their screen size is know as

size constancy

on-screen space

space actually contained within the borders of the video or motion picture screen

headroom

space between the top of the head and the upper screen edge

off-screen space

space immediately surrounding the video or motion picture screen

noseroom

space in front of a person looking or pointing toward the edge of the screen

Height in a plane no longer serves as a reliable distance cue when shooting straight down from the top of a building to the street

True

Height in a plane no longer serves as a reliable distance cue when the camera is no longer shooting parallel to the ground

True

In an unbalanced composition, aesthetic structure is typically arbitrary and uncontrolled.

True

In over the shoulder shooting, the camera literally looks over the shoulder of the camera-near person at the camera-far person.

True

In over-the-shoulder shooting, the camera literally looks over the shoulder of the camera-near person at the camera-far person and vice versa

True

leadroom

space in front of a person or an object moving toward the edge of the screen

Our peripheral vision is greater horizontally than vertically

True

The horizon line always lies at eye level

True

When accommodating an HDTV image shown as full screen on a STV (4:3) screen:

squeezing will occur

When accommodating an STV image shown as full screen on a HDTV screen:

stretching will occur

letterboxing

technique for changing aspect ratio to show wide-screen material on narrower screen by leaving black borders at the top and the bottom of the image

pillarboxing

technique for changing the aspect ratio to show standard 4:3 video material on a wider screen by leaving empty vertical side bars on the sides of the image

Field of view

territory a shot includes

z-axis

the axis in the coordinating system that defines depth

artificial masking

the camera shot is blocked with objects, thereby showing only part of the scene in the frame

The most common way of using point of view is to have the camera first focus on a person looking in a particular direction and then follow with a shot of what the person sees.

True

The narrow angle lens makes objects appear closer together along the z-axis than they actually are.

True

vector magnitude

the degree of the directional force of energy or direction we perceive

wide-screen format

the most common aspect ratio used for American movies - 1.85:1

Size constancy refers to:

the perception of the actual size of an object regardless of the distance and the angle of view.

What is the direct-address method

the performer speaks directly to the camera (viewer)

What is the effect of tilting (canting) the horizontal plane?

the picture becomes less stable

The point at which all parallel lines converge and discontinue is called

the vanishing point

What is aspect ratio?

the width-to-height dimensions of a frame (4:3, 1:1.85, 16:9, etc.)

why do we have to wear the red/cyan glasses in anaglyphic 3D

to prevent one eye from seeing what the other is seeing

A narrow-angle lens enlarges the background, making background objects seem more crowded and similar in size than they actually are.

true

Height in a plane no longer serves as a reliable distance cue when shooting straight up from the bottom of a building.

true

In most cases, the standard uses of depth of field in a 2D image do not apply to stereo 3D in the same way.

true

Linear perspective is an important depth clue with wide-angle lenses.

true

One of the most basic ways of stabilizing the two-dimensional field is to balance forces of graphic mass and frame magnetism.

true

Screen continuity refers to shooting and editing for smooth transitions and clarity.

true

We perceive the z-axis as originating from the screen and going backward, from the camera lens to the horizon.

true

a wide angle lens increases the illusion of depth in a scene because the z-axis is accelerated

true

over the shoulder shot

two shot in which camera looks over the shoulder of the camera-near person

Labile dynamics refer to:

unstable force

natural masking

using buildings, trees, furniture to frame the image

Creating an event means

using the event only as a raw material for a film or video creation

horizon line

vanishing points are located here

Angles

variety of camera viewpoints

the main directions of a rectangular television or movie screen are

vertical and horizontal

high-definition television (HDTV)

video image with an aspect ratio of 16x9 and higher resolution than a standard TV image

mental map

viewer's understanding of where things are supposed to be in on and off screen space

An example of a positive space modulator is:

walls, pillars

When focusing on a far object, the lenses of our eyes get relatively thin; when focusing on a near object, they get relatively thick

True

overlapping planes are often the most important depth clues in a narrow-angle shot

True

graphic mass

a precisely defined screen area that is seen as a figure against a ground

viewpoint

what the camer is looking at and from where

Height in a plane no longer serves as a reliable distance cue in all of the following except:

when shooting from above the normal eye level

how do we achieve a compression effect on the z-axis

with a narrow-angle lens

stereoscopic projection

z-axis extends not only from screen to horizon, but also toward the viewer

Which of the following statements is true?

d. All screen edges exert a virtual "pull" on objects close to the edges of the frame.

A triple z-axis vector would be seen with a screen showing three guests in which:

d. all three guests face the camera.

On a three-dimensional plane, the z-axis deals with:

depth

Volume duality is best represented below by:

e. scenery and set pieces in a large studio.

All of the following are traditional designations of fields of view EXCEPT:

extreme medium shot

The relatively large, wide space of the theater stage and the wide motion picture screen make what kind of action an effective blocking technique in theater and film?

lateral

OVER THE SHOULDER SHOOTING

like cross shooting except near person partially in shot

Which of the following does Zettl not list as a factor for designing media for a mobile device

long shots

The visual approach used to report an event from an objective point of view is called:

looking at an event

information crammed into the bottom of the screen is a common technique in television news is called the

lower third

What does asymmetry of the screen mean

objects in the right half of the screen command more attention than if they were placed in the left half

When held in a horizontal position, a smartphone will display a ___ 4x3 image, with empty areas on both sides of the screen

pillarboxed

diverging vectors

point or move in opposite directions

z-axis vector

points or moves toward or away from the camera

mobile media

portable devices with a very small viewing screen, such as smartphones

In some societies people stand much closer when talking to one other than in other cultures, a phenomenon called:

proemics

asymmetry of the frame

right and left, top and bottom of frame are unequal, not interchangeable

We pay more attention to what part of the screen?

right side

Continuing vectors

succeed each other in the same direction

psychological closure

taking a minimal number of clues and mentally filling in nonexistent information

the most stable position within the screen is

the center of the frame

what is most likely to produce a dynamic balance

the golden section

the formula for the golden section is

the smaller section is to the greater as the greater is to the whole

What is aspect ratio

the width-to-height dimensions of a frame (4:3, 1:1.85, 16:9, etc)

A reverse-angle over-the-shoulder shot typically shows dialogue partners in their respective left-right screen positions.

true

If limited to a small screen, you should use blocking along the z-axis.

true

multiple screens

various-sized second order screens keyed into the first-order primary screen, or separate screens set side-by-side that show different, usually related, scenes

According to Zettl, television and film screens are horizontally oriented because

we live and operate basically on a horizontal plane

When we see on object partially covering another

we perceive the one doing the covering as lying in front of the other

Viewpoint

what camera is looking at and from where

Z-axis blocking

Arranging events along z-axis

A camera is always necessary for a medium-created event.

False

A large depth of field intensifies aerial perspective

False

A larger graphic mass is less stable and more likely to move than smaller ones.

False

A narrow-angle lens accelerates the convergence of lines of linear perspective

False

A narrow-angle lens position aides on perception of linear perspective

False

A scene in which a child is shown running through the woods and then the camera shows what he sees is an example of objective camera work.

False

A tilted horizon (diagonal or canted angle) implies stability, calmness.

False

A vector is a perceivable force with a direction but no magnitude

False

A wide 3D interocular distance increases the apparent length of the zh-axis

False

A wide angle refers to a long focal length or telephoto

False

According to Zettl, a low-definition image is helpful only if it stops rather than helps closure

False

According to Zettl, it is best to keep video designed specifically for mobile media to a maximum of one minute

False

According to Zettl, not all commercials are carefully storyboarded before they go into production.

False

According to Zettl, the industry's claim of binocular stereo 3D being close to how we actually see the world is quite accurate

False

According to Zettl, using a universal size reference is not an effective tool for indicating an object's actual size on the screen

False

An advantage of active glasses it that they pull less strain on out perceptual mechanism

False

An example of a deductive approach would be the audience first seeing an extreme close-up of keys, followed by a close-up of someone's footsteps on the street, followed by a long shot of them walking away in the shadows while facing the camera.

False

An objective camera assumes the role of an on-screen character, substituting for the performer's eyes and actions.

False

Angles cannot be used to intensify an event or to reveal the underlying feelings of a person in a particular situation.

False

Angles show different viewpoints but do little for even intensification

False

Angles show different viewpoints but do little for event intensification

False

As much as possible, our perceptual system tries to keep index vectors of our eyes parallel

False

Asymmetry of the screen becomes less important or forceful when dealing with web media.

False

Balance always translates into a static picture composition

False

Because the objects along the z-axis look more stretched out with the wide-angle lens, it renders overlapping planes essential as a depth indicator

False

Continuing vectors result when two or more index or motion vectors point in the opposite direction

False

Director D.W. Griffith's use of artificial masking by blacking out both sides of the screen resulting in a secondary frame, is an example of the letterboxing technique

False

Even when we "create" an event, the event must be a picture taken of an actual object or happening

False

Field of view refers to the camera's simulating the index vector of a particular person or persons on-screen

False

Fitting 16x9 movie images on the 4x3 television screen was not a problem until HDTV

False

Fitting a fell-sized 4x3 image in the middle of a 16x9 screen is called windowboxing

False

Frame-by-frame drawings of an event without the audio are the principal elements of a storyboard

False

Generating the impression of distance by having parallel lines converge "faster" and making distant objects appear smaller than we would ordinarily perceive is an example of false perspective

False

Headroom does not neutralize the magnetism of the frame

False

Headroom represents a POV.

False

Height in a plane no longer serves as a reliable distance cue when shooting from above the normal eye

False

Height in plane is a stronger depth cue than overlapping planes

False

Holding a smartphone vertically to display a scene in the 4x3 aspect ratio will display a pillarboxed imahe

False

If the actions and the attitudes of the on-camera people dictate to a large extent the basic use of angles, you are restricted in which angels to use and how to use them.

False

If we are unfamiliar with an object, we do not tend to judge its size by how much screen area it takes up

False

If you were looking at an event, you would use the camera to reveal the psychological implications and the emotional tensions of the on-screen actions.

False

If your basic visualization is determined by looking-into context, keep the angels and the points of view to a minimum.

False

In a great depth of field, only a relatively small portion of the z-axis shows objects in focus

False

In cross shooting, the camera literally looks over the shoulder of the camera-near person at the camera-far person and vice versa

False

In over-the-shoulder shooting, the camera moves past the shoulder of the camera-near person to get a tighter close-up of the camera-far person and in each shot the camera-near person has temporarily moved into off-screen space

False

In practice, the three basic ways of looking never overlap.

False

In stereo 3D we can alter the apparent length of the zh-axis, the space between the screen and the viewer.

False

In the anaglyph system, the image for the left and right eyes are delivered alternately in rapid succession

False

It is not possible for the subjective camera to persuade us to associate closely with the camera's point of view or with its action.

False

Leaving enough headroom in close-up will not help counteract the pull of the top screen

False

Linear perspective is an important depth clue with narrow-angle lenses.

False

Linear perspective is the strongest depth cue

False

Looking into an even refers to building a screen event synthetically through various electronic and optical special effects for even clarification, intensification and interpretation.

False

Looking into an event refers to building a screen event synthetically through various electronic and optical special effects for event clarification, intensification and interpretation.

False

Monocular projection is an old technique of displaying the 3D world on a 2D plane that uses two-lens photography or computer programs to simulate our actual two-eyed perception process

False

Most decisions about structuring our field of view rarely depend on the context and our interpretation of the event.

False

Most decisions about structuring our field of view rarely depend on the context of and our interpretation of the event

False

Narrow-angle lenses tend to increase the illusion of a third dimension

False

Overlapping planes is a useful cue in 2D photographic systems, but is problematic in 3D stereoscopic photography, film, and video

False

People look short and chubby in a 16x9 image that has been digitally squeezed to fit a 4x3 aspect ration

False

Point of view refers to how far away or close we show on screen an object or a person, or how much territory a shot includes.

False

Regardless of what direction we learned to write from, we seem to read diagonals from right to left

False

Scale does not remain constant, regardless of whether you perceive it on a large movie screen or smartphone display

False

T/F: NOT all types of 3D glasses reduce the overall brightness of images

False

T/F: The least serious window violation is to have an object partially cropped by the screen edge yet floating in front of the window

False

T/F: When there is no POC in stereo 3D, the whole event plays behind the window

False

The auto-focus feature of our eyes helps when watching stereo 3D images on-screen

False

The deductive approach is essential for producing effective video for the small mobile media display.

False

The difference between the right and left-eye images is called the monocular disparity

False

The distance from the viewer to the screen is not important when setting an optimal stereo base.

False

The edges of the screen lay out boundaries, but have no physical forces themselves which a director must consider

False

The figure is more stable than the ground

False

The ideal transformation of the viewer from event spectator to event participant frequently occurs

False

The inductive approach favors long-shots.

False

The inductive visual approach is ideally suited to a large, horizontally stretched HDTV or movie screen

False

The inductive visual approach means moving from the general to the specific

False

The least stable position of an object is screen-center

False

Using a shallow depth of field and controlling the precise portion of the z-axis to be in focus is called controlled focus

False

Using a shallow depth of field and controlling the precise portion of the z-axis to be in focus is called precision focusing

False

Using a shallow depth of field and controlling the precise portion of the z-axis to be in focus is called rack focus

False

When focusing on a near object, the lenses of our eyes get relatively thin; when focusing on a far object, they get relatively thick

False

When shooting up or down a large object, the height in plane cue is a valid depth indicator

False

a single web page design should be considered a static image, similar to a magazine page

False

a vector is any aesthetic element that leads us in a general space, emotional, or time direction

False

according to Zettl, the industry's claim of binocular stereo 3D being close to hw we actually see the world is quite accurate

False

according to the rule of thirds, placing subjects where a vertical and horizontal line intersect will not achieve a pleasing composition

False

always try to frame a person so that the natural dividing lines fall within the screen edges but never outside

False

an effective way to facilitate closure in off-screen space is to frame the object so that its natural dividing lines coincide with the lower screen edge

False

because directionality is more certain for a smaller graphic mass that is in motion than a larger one, its vector magnitude is higher

False

because graphic vectors have relatively low magnitude they cannot be used to stabilize the two dimensional field

False

converging vectors point in the same direction, diverging vectors point toward each other, and continuing vectors point away from each other

False

counterweighting an object with another object of similar graphic weight will not achieve balance

False

graphic weight is a powerful structural element that usually overrides the lesser forces of vectors and magnetism of the frame

False

height in plane is a stronger depth cue than overlapping planes

False

if you want to show several events that are happening simultaneously in different location, you should avoid using variously shaped secondary frames within the primary screen

False

if you want to show several events that are happening simultaneously in different locations, you should avoid using variously shaped secondary frames within the primary screen

False

in a great depth of field, only a relatively small portion of the z-axis shows objects in focus

False

in the anaglyph system, the images for the left and right eyes are delivered alternately in rapid succession

False

in the anaglyph system, the images for the left and right eyes are delivered alternately in rapid uccession

False

magnetism of the frame is a powerful structural element that usually overrides the lesser forces of vectors and graphic weight

False

persons or objects should be framed so that they are "cut off" at their natural dividing lines

False

the figure-ground relationship will not change if the camera's field of view is altered

False

the force of an index vector does not have a direct influence on how we frame a shot

False

the wide-angle refers to a long-focal-length

False

using a shallow depth of field and controlling the precise portion of the z-axis to be in focus is called controlled focus

False

when framing somebody in profile, you do not need to leave proper noseroom to give the index vector room to play out

False

If we know two objects are similar or identical in actual size, we perceive the smaller screen image as the ___ object and the larger screen image as the ___ object.

Father; Closer

The types of vectors according to Zettl are

Graphic, index, and motion

Volume duality

Interplay between positive & negative volumes

Which of the following does Zettl not identify as a result of creating a secondary frame within a primary frame

It changes and expands the original aspect ration of the screen

Which lens (zoom lens position) retards the convergence of lines in linear perspective?

Narrow angle

Special effects can combine pictures to create arrangements that go against out perceptual habits called spatial ______.

Paradoxes

Which of the following is synonymous with "binocular disparity?"

Parallax

Which of the following is not another word for gestalt

Part

Personification

Perceive person in first order space as real

Exaggerated stereo effects are appropriate for the following genres except?

Romance

What aids a rack-focus effect?

Shallow depth of field

What is the most accurate of actual object size when shown onscreen

Showing the object in relation to a person

Cross shooting

Similar to O/S shooting except camera-near person is out of shot

Which of these video effects works against the figure-ground principle?

Superimposition

What is the most accurate definition of visualization

Thinking in pictures and sound

A "normal" lens position is in the middle of the zoom range.

True

A 3D illusion is not a natural process but an artificially constructed one

True

A combination of vertical and horizontal planes suggests normalcy.

True

A drawback of active glasses is that they put an additional strain on our perceptual mechanism.

True

A dynamic composition can be either balanced or unbalanced.

True

A great depth of field is also called deep focus

True

A high-definition image requires a great deal more closure than does a low-definition image to arrive at a meaningful understanding of it.

True

A horizontal line suggests calm, tranquility, rest.

True

A jump cut is when an object seems to jerk from one screen position to another and is a direct consequence of slight but significant misalignments of camera to object from one shot to the next

True

A jump cut is when an object seems to jerk from one screen position to another and is a direct consequence of slight but significant misalignments of camera to object from one shot to the next.

True

A large graphic mass is likely to be disturbed in its course than a small one

True

A narrow-angle lens position aides on perception of aerial perspective

True

A scene in which a child is shown running through the woods and then the camera shows what he sees is an example of subjective camera work

True

A simultaneous display of various viewpoints by changing from shot to shot, provides a new visual reality that permits us to experience the complexity of an event all at once

True

A simultaneous display of various viewpoints by changing from shot to shot, provides a new visual reality that permits us to experience the complexity of an event all at once.

True

A simultaneous display of various viewpoints by changing from shot to shot, provides a new visual reality that permits us to experiences the complexity of new event all at once

True

A subjective camera assumes the role of an on-screen character, substituting for the performer's eyes and actions.

True

A wide 3D interocular distance increases the apparent length of the zv-axis

True

A wide angle lens accelerates that convergences of lines of linear perspective

True

A wide angle lens increases the illusion of depth in a scene because the z-axis is accelerated

True

A wide angle lens position aides our perception of linear perspective

True

A wide-angle lens makes objects close to the camera appear much larger than they actually are.

True

A z-axis motion vector can have high or low magnitude.

True

According to Zettl, a low definition image is helpful only if it helps rather than hinders closure

True

According to Zettl, all commercials are carefully storyboarded before they go into production

True

According to Zettl, your shooting angles should not become the communication; instead they should simply be a reflection of your personality and aesthetic sensitivity.

True

Although it is difficult to keep a moving object or camera in focus in a shallow depth of field, the advantage of this critical focal plane is that you can use selective focus to emphasize events

True

An ECU requires more psychological closure than an LS

True

Angles can be used to intensify an event or to reveal the underlying feelings of a person in a particular situation.

True

Angles show different viewpoints and add to even intensification

True

Angles show different viewpoints and add to event intensification.

True

Anything in front of the point of convergence will be projected on the zv-axis

True

Arial perspective is a generally useful depth cue in 2D photographic systems, but is problematic in 3D stereoscopic photography, film, and vide

True

Assuming that no contradictory distance cues are evident and that the camera is shooting parallel to the ground, you will perceive people and objects as being more and more distant the higher they move up in the picture field

True

Because inductive sequencing provides detailed close-up shots it is well suited to the small video school.

True

Because the objects along the z-axis look more stretched out with the wide-angle lens, it renders overlapping planes less essential as a depth indicator

True

Because the wide-angle lens generates a great depth of field, it deemphasizes aerial perspective

True

Being discovered refers to when the screen action is aimed directly at us in our viewing position and thus inevitably links us with the screen event

True

Being discovered refers to when the screen action is aimed directly at us in our viewing position, and thus position, and thus inevitably links us with the screen event.

True

Being slightly "cross-eyed", having left and right eyes each turned inward toward each other, is a normal part of human visual perception

True

Binocular means that we are looking at the world with both eyes

True

By changing angles from shot to shot, you introduce directional shifts that are perceived as a change in viewpoint rather than positional jumps.

True

Canting the camera can destabilize a scene or make an otherwise uninteresting building or object look dynamic

True

Close-ups seem physically and psychologically closer to us than medium and long shots.

True

Converging vectors can be useful to increase the aesthetic energy of a high-magnitude event such as two trains on a collision course

True

Depth of field is dependent on the focal length of the lens.

True

Even if the actions and the attitudes of the on-camera people dictate to a large extent the basic use of angles, you still have wide latitude in which angles to use and how to use them.

True

Even if the actions and the attitudes of the on-screen camera people dictate to a large extent the basic use of angles, you still have wide latitude in which angles to use and how to use them

True

Even if the actions and the attitudes of the on-the-camera people dictate to a large extent the basic use of angles, you still have wide latitude in which angles to use and how to use them

True

Familiarity with an object on a screen plays a part in our interpretation of the object's size

True

Filling the sides of the screen with scenic elements, such as buildings, trees, or furniture to alter the screen's aspect ratio is an example of organic masking

True

Fitting a full-sized 4x3 image in the middle of a 16x9 screen is called pillarboxing

True

Generally, wide shots have a great depth of field; close-ups have a shallow one

True

Generating the impression of distance by having parallel lines converge "faster" and making distant objects appear smaller than we would ordinarily perceive is an example of forced perspective

True

Graphic depth factors create the illusion of three-dimensional space on a two-dimensional surface (without the use of motion).

True

If your basic visualization is determined by a simple looking-at context, keep the angles and the points of view to a minimum

True

If your basic visualization is determined by looking-into context, you can cover an action from various extreme angles.

True

In a great depth of field, you cannot easily focus on only one spot along the z-axis while keeping the rest of the z-axis out of focus

True

In a shallow depth of field, only a relatively small portion of the z-axis shows objects in focus

True

In over-the-shoulder shooting, the camera literally looks over the shoulder of the camera-near person at the camera-far person and vice versa.

True

In practice, the three basic ways of looking usually - and should - overlap.

True

In stereovision (3D) the z-axis appears to extend to the horizon and also through the screen to the viewer.

True

In the shutter, or active-glasses system, the images for the left and right eyes are delivered alternatively in rapid succession

True

It is important to focus on graphic weight and distribution of vectors when trying to stabilize the two-dimensional field

True

Looking at the structure of an event or going beyond outer appearances refers to "looking into an event"

True

Most decisions about structuring our field of view are relative and depend largely on the context and our interpretation of the event.

True

Moving the camera will affect a fixed aspect ratio

True

Objects placed in the right half of the screen command more attention than if they were placed in the left half because of asymmetry of the screen

True

Objects that lie close to the camera photograph as relatively large, whereas similar objects positioned on the z-axis only a short distance behind the close object show up in a dramatically reduced image size.

True

Over the shoulder shooting must include some portion of the camera-near person in frame

True

Over-the-shoulder and cross shooting are especially advantageous for the small video screen and the mobile media display

True

Over-the-shoulder and cross shooting are especially advantageous for the small video screen and the mobile media display.

True

Overlapping planes are a stronger depth cue than height in plane

True

Overlapping planes is a major depth clue for narrow-angle lenses.

True

Overlapping planes is the strongest depth cue

True

People look thinner and taller in a 16x9 image that has been digitally squeezed to fit a 4x3 aspect ratio

True

Point of view refers to the camera's simulating the index vector of particular person or persons on-screen.

True

Premature closure means that you are not encouraged to project into off-screen space

True

Rack focus changes focus from one location on the z-axis to another without changing the shot through a dolly, zoom, cut, or dissolve.

True

Relative size is greatly exaggerated by a wide-angle lens

True

Setting an optimal stereo base must take into account the size of the screen on which the 3D images are projected

True

Shots are generally wider when looking at an event and quite a bit tighter when looking into one.

True

Smaller screens favor close ups.

True

Standard television is ideally suited for a direct address method of communication

True

Stretching means to fill a 16:9 screen with an uncropped 4:3 image

True

T/F: A dominant negative volume isolates us & can make us feel insignificant & humble in the presence of so much emptiness

True

T/F: Heavy graphication in second-order space with no graphication in first-order space increases the personification factor in the first-order space

True

T/F: If you move closer to a 3D screen displaying a round ball, it will start to flatten out & looked squeezed

True

T/F: In standard 2D single-lens photography you only have one z-axis, extending from camera (or screen) to horizon, whose apparent length can be most readily manipulated by the focal length of the lens

True

T/F: Most experienced stereographers recommend staying away from depth-of-field manipulations for 3D

True

T/F: The process by which the three-dimensional lens-generated screen image is deliberately rendered in a two-dimensional, graphic-or picture like format, is called graphication

True

T/F: The standard (2D single-lens) z-axis stretches from the camera lens or screen to the horizon

True

The 1.77:1 aspect ratio is wider than the 1.33:1 ratio

True

The asymmetry principle that the right side of the screen commands more attention is important when designing web pages

True

The deductive visual approach is ideally suited to a large, horizontally stretched HDTV or movie screen

True

The deductive visual approach means moving from the general to the specific.

True

The direct-address method, where the performer speaks directly to the camera, is a form of subjective camera.

True

The figure-ground relationship can change as the camera's field of view is altered

True

The guiding principle for unusual compositions must be the intensification of the message rather than making it simply look odd

True

The horizon line is defined as an imaginary line parallel to the ground at eye level.

True

The ideal transformation of the viewer from event spectator to the event participant rarely occurs.

True

The inductive approach is essential for producing effect video for the small mobile media display

True

The interocular distance is the distance between you two eyes (measured from the lens center of one eye to the lens center of the other eye).

True

The most common way of using point of view is to have the camera first focus on a person looking in a particular direction and then follow with a shot of what the person sees

True

The narrow angle lens shows objects placed along the z-axis squeezed; the z-axis therefore appears shortened

True

The optical character of lenses can greatly enhance or hinder the illusion of a third dimension.

True

The point of convergence marks the location of the window and, with it, what appears in back of it, on it, and in front of it.

True

The rule of thirds suggests dividing the screen into three horizontal and three vertical lines

True

The wide angle refers to a short focal length

True

The z-axis refers to the virtual line extending from the camera lens to the horizon

True

The z-axis stretches from camera lens or screen to the horizon

True

There are three basic ways of looking and using the medium for optimal communication: looking at an event, looking into an event, and creating an event.

True

Tilting up the camera can help overcome the basic restrictions of the fixed aspect ratio just as panning sideways will

True

To establish scale, we must have some norm, a clue that tells us just what is large and what is small.

True

To reproduce the parallax for binocular seeing, the left eye must be kept from peeking at what the right eye is seeing and vice versa

True

Unless you want to achieve the entire stereo 3D effect through digital manipulation in postproduction, you need two separate recording devices, one for the left eye and another for the right eye.

True

Using a shallow depth of field and controlling the precise portion of the z-axis to be in focus is called selective focus.

True

Using the magnetic pull of the entire frame is not recommended for framing close-ups

True

Visualization depends on event context

True

Visualization depends on event context.

True

Visualization depends on the context of each shot and the overall visual approach of how you want to tell the story.

True

We automatically interpret relative size as distance

True

We cannot alter the physical aspect ratio of a video, movie, or computer screen

True

When creating scenery, you should paint the background objects slightly bluer and less sharp than the foreground objects to enhance the illusion of depth

True

When several simultaneous events are shown in separate, isolated secondary frames, the direction of the index and motion vectors within such frames is relatively unimportant.

True

When using polarization, the light waves for the left-eye image are lined up horizontally and for the right eye, vertically

True

When viewing on screen both the host and guest in secondary frames, the personification for both parties is eliminated.

True

When we look down with the camera using a high angle, the subject generally diminishes in significance and becomes less powerful

True

When we look down with the camera using a high angle, the subject generally diminishes in significance and becomes less powerful.

True

When we look up with the camera using a low-angle, the subject seems more important and more powerful.

True

When you shoot a scene out of sequence for postproduction, a change of angle between shots will generally facilitate smooth cutting during postproduction editing

True

Whereas you can actually point at traditional (single-lens) depth cues in a 2D photo or video, the 3D stereoscopic depth exists only in your mind.

True

With a moving image, figure/ground on-screen relationships change with the camera's point of view.

True

With a narrow-angle lens overlapping planes become a major depth cue for separating one object from another and separating foreground, middle ground, and background objects.

True

You can capture stereo images with a twin-lens housing that directs the output of each lens into its own dedicated camera unit and recorder

True

You can capture stereo images with two video cameras that are mounted side-by-side

True

Zooming-in or zooming-out is a way to create a z-axis motion vector.

True

a 3D illusion is not a natural visual process but an artificially constructed one

True

a low-definition image requires closure than a high-definition image does to arrive at a gestalt

True

a narrow-angle lens position aides out perception of aerial perspective

True

a simple conversation between two people created converging index vectors whether you show them in a single shot or in individual close-ups

True

a static balance is solid, extremely stable, and not about to mve

True

a title that divides the screen into the golden section proportions gains dynamism and visual compared with one that is centered

True

a wide 3D interocular distance increases the apparent length of the zv-axis

True

a wide angle lens position aides our perception of linear perspective

True

according to Zettl, all commercials are carefully storyboarded before they go into production

True

according to Zettl, instant access to information has become necessity and a means of power

True

an overlooked aspect of heightened density is the increased amount of simultaneous information crammed into a single screen display

True

an overlooked aspect of heightened information density is the increased amount of simultaneous information crammed into a single screen display

True

balancing the forces of graphic mass and the magnetism of the frame can help stabilize the two dimensional field

True

converging index vectors of equal magnitude balance each other

True

external vectors operate within or beyond the screen, while internal vectors operate within ourselves

True

in temporary moving image and film, an unbalanced structure can be startling and an attention-getter

True

leaving enough headroom in close-ups can counteract the pull of the top screen edge

True

liable balance refers to a heightened stage of dynamic balance

True

motion vectors generally have a higher magnitude than index vectors

True

motion vectors have a relatively high magnitude because their screen direction is most conspicuous or noticeable

True

o tell a story, a good storyboard will show not only the visualizations of the individual shots but also their sequencing.

True

shot composition can facilitate psychological closure

True

situating on-screen information into graphic blocks can help viewers locate the desired information quickly without having to scan the whole screen

True

the auto-focus feature of our eyes can cause trouble when watching stereo 3D images on-screen

True

the screen-center position is ideal for a single newscaster because it signifies the newscaster's credibility

True

the window refers to the screen or any other 2D surface on which the 3D image is displayed

True

the z-axis stretched from camera lens or screen to the horizon

True

to reproduce the parallax for binocular seeing, the left eye must be kept from peeking at what the right eye is seeing and vice versa

True

we automatically interpret relative size as distance

True

we need a minimum amount of information to apply psychological closure to perceive a pattern

True

when following a laterally moving object, you need to leave proper leadroom

True

when multiple screens show people who talk to one another, their index vectors must connect so that none of the screens remains isolated

True

when similar elements (such as dots in a row) lie in close proximity to each other, we tend to see them together

True

you can capture stereo images with a twin-lens housing that directs the output of each lens into its own dedicated camera unit recorder

True

you can facilitate psychological closure by arranging the vector field within the screen area so that all the vectors contribute to the intended stage of balance

True

"Creating an event" means:

Using the event only as raw material for a film or video creation

Content snacking refers to

Using the same character in different stories

Seeing individual shots or short shot sequences in a specific way is called:

Visualization

Building sequential screen space means:

We build screen space from shot to shot

Which of the following is the strongest depth cue?

Overlapping planes

Which aspect ratio has the widest horizontal stretch?

2.39:1

Which refers to the Aspect Ratio commonly used in Panavision 35 motion pictures?

7x3 or 2.35:1

Which statement best describes the inductive approach?

A sequence of close-up details

Which statement best describes the inductive approach to a shot sequence

A series of close-up details that best portrays the whole event.

Which of the following graphic depth factors can often be problematic in stereoscopic 3D?

Aerial perspective

What is one of the most effective ways to block a crowd for the small video screen?

Along the z-axis

How do we perceive relative size of known objects positioned along the z-axis?

As farther away or closer to each other

Middleground

Between foreground & background

Which of the following is NOT true of human vision?

Binocular depth cues also apply to monocular vision

Subjective camera

Camera assumes role of event participant

Metamessage

Carries latent meanings

Second-order space

Clearly defined space within video screen

Digital video effects

Created by a computer

Background

Depth plane farthest from camera

Shooting angles can be useful in building effective screen space for all of the following EXCEPT

Dialogue

How does a cross-shot differ from an over-the-shoulder shot?

The camera near person is out of the shot

What does looking into an event mean?

The camera scrutinizes the event as closely as possible.

What is the direct address method

The performer speaks directly to the camera (viewer)


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