Intro to motion exam 3
Medium Shot (MS)
figure from the waist up
Medium Close up (MCU)
figure mid-chest to top of head
Close-up (CU)
figure's face
best boy
first assistant electrician
computer-generated imagery (CGI)
first used in late 1960s. allows movies to be set in wholly imagined places
Artificial lighting (instruments)
focusable spotlights and floodlights
Long take
has the double potential of preserving both real space and real time. can present a unified pattern of events within a single period of time in one shot
a low-angle shot can place the observer in the position of feeling ______________
helpless
Design
how the look of the setting is determined
Closed frames
imply that other forces have robbed characters of their ability to move and act freely; generally employed in antirealistic films; the frame encloses or limits the world by closing it down and providing only one view
High-angle shot has the traditional meaning of making the subject seem ________
inferior
deep-focus cinematography
keeps all three planes in sharp focus using a short-focal-length lens
zoom
lens has a variable focal length, lens does not move through space, provides the illusion of the camera moving toward or away from the subject. can appear arifical of self-conscious
crane shot
made from a camera mounted on an elevating arm that is mounted on a vehicle. Horizontal and vertical movement
kineses
movement on screen. Apparent movement of the frame itself
dolly-out
moving away from subject; often used for slow disclosure
lighting guides viewers' eyes through the _________ ______ , helps tell the movie's story, and calls attention to shapes and textures
moving image
An eye-level shot implies
neutrality
Mechanical effects
objects or events created mechanically on the set and in front of the camera
setup
one camera position and everything associated with it
Medium Long shot (MLS)
one or more figures from the knees up with some background
Long Shot (LS)
one or more full figures
Shot
one uninterrupted run of the camera
composition
organization, distribution, balance, location, and relationship of actors
assistant camerapersons (ACs)
oversee the camera lens, supporting equipment, and the material on which the movie is being shot. prepare the slate, file the reports, fill the magazines, and load the camera
Camer movement: shot types
pan shot/tilt shot dolly shot/ zoom crane shot handheld camera/steadicam
Kodak's Eastman Color system
standard color film stock today
dolly-in
subject grows larger in the frame, gaining significane
lens
the camera's "eye", whose primary function is to bring the light that emanates from the camera's subjects into a focused image for the camera's recording medium
production
the cinematographer determines the lighting once the camera setups are chosen
tonality
the complete range of tones from black to white
Speed (exposure)
the degree to which it is light-sensitive: fast/slow
pan shot
the horizontal movement of a camera mounted on a stationary tripod. Offers a larger, more panoramic view
take
the number of times a particular shot is taken
Tilt shot
the vertical movement of a camera mounted on a stationary tripod. A simple movement with dynamic possibilities for creating meaning
Lighting has a
three-point system (key light, fill light, and backlight)
high-key lighting
very little contrast between darks and lights
Extreme close-up (XCU)
very small detail of figure
production designer
works with the director and director of photography. Responsible for the overall design concept. Supervises departments that create a movie's look. Creates visual continuity, balance, and dramatic emphasis
Gauges (also called formats)
8mm, super 8mm, 16 mm, 35mm, 65mm, 70mm, IMAX
Mise-en-scene
French for "what is put into the scene". Overall look and feel of a movie, sum of what we see and experience
Rule of thirds
a convention that takes the form of a grid pattern that when superimposed on an image, divides it into horizontal thirds representing the foreground, middle ground, and background planes and into vertical thirds that break up thos planes into further elements. Helps achieve onscreen distribution and balance, and visual continuity between shots
Lighting
a key component of composition. Lighting shapes the way the movie looks and helps tell the story
color
a primary property of light, the movie camera exaggerates colors, film stock is then chosen to match the color temperature of the light source
Deep-space composition
a total visual composition that can place significant information or subjects on all three planes of the frame and thus creates an illusion of depth
tracking
a type of dolly shot that moves the camera along with the action
soundstage
a windowless, soundproofed, professional shooting environment.
Fast motion
accelerates action by photographing it at less than the normal filming rate, projecting it at normal speed so that it takes place cinematically more rapidly
Nothing in a film's mise-en-scene is ever ____________; it is all designed to help tell the story
accidental
grips
all around handypersons
production values
amount and quality of human and physical resources devoted to the image determines a film's overall style
camera movement
any movement of the camera within a shot changes the image because the elements of framing are modified
Figure
anything concrete within the frame (object, animal, person)
lighting ratio
balance between key and fill
types
black and white or color
Film artists and technicians
carefully plan art direction to manipulate colors for various effects and moods
gaffer
chief electrician
Responsibilities of a DP:
cinematographic properties of the shot, framing of the shot, speed and length of the shot, special effects
source, quality, direction and ____________ work together with other elements to determine the overall mood and meaning of a scene
color
process shot
combines action in front of a rear-projection screen of images
Special effects general goal is to
create verismilitide within the imaginative world of even the most fanciful movie
Optical effects
created by manipulating the image and/or film negative "in-camera" camera
visual effects
created using computers in postproduction
Slow motion
decelerates action by photographing it at a rate greater than the normal 24 fps. Emphasizes the power of memory
Open frames
depict a world where characters move freely within an open, recognizable environment
Two major components of mise-en-scene
design and composition
preproduction
designers include an idea of the lighting in their sketches
Handheld camera
device attached to the operator's body that steadies the camera and is used for smooth, fast, and intimate camera movement. Small, portable, lightweight instrument
soft lighting (high-key lighting)
diffused; light hits the subject from many directions
depth of field
distances in front of a camera and its lens in which the subjects are in apparent sharp focus
Camera operator
does the actual shooting
Extreme long shot (XLS)
emphasis not on figure
blocking
planning the positions and movements of the actors and the cameras
cinematography
pleasurable to the viewer but also contributes to the film's overall meaning
Framing implies
point of view (POV)
cinematographer
primary person responsible for transforming the other aspects of movie making into moving images. makes very specific decisions about how the movie will be photographed. Translates the director's visions into realities
low key lighting
ratio between lights and darks is harsh
basic aspect ratios
ratio of the width of the image to its height
Natural lighting
reflector boards, a device used to help control natural light
How is the look of the setting determine?
set design, décor, prop selection
hard lighting (low-key lighting)
shining directly on the subject, creating crisp details
Dolly/tracking shot
shot taken by a camera fixed to a wheeled support
Scale
size and placement of a particular object in relation to the rest of the objects. Relationship is determined by the type of shot used and the camera position
properties of lighting
source, quality, direction, and style
