Film and Appreciation Chapters 5 and 6 study guide JDJ part 1
Low-key lighting-
When little or no fill light is used, the ratio between bright illumination and deep shadow is very high; the high contrast is know as _______ - _______ ______________ produces the harsh, gloomy atmosphere that we often see in horror films, mysteries, crime stories, and film noirs
Deep-space composition-
emphasizes depth by placing significant visual and narrative information on two or more of three planes of depth-foreground, middle ground, and background-in such a way that not only emphasizes depth but also conveys information, mood and meaning.
When a character is looking across the screen, she is typical placed on one end of the frame so that her gaze is balanced with what is called _______ _________
eye room
Movement within the frame, or __________ __________________. The word figure applies to anything concrete and potentially mobile with the frame.
figure movement
By framing a character's eyes at the level of the upper line, cinematographers can quickly and efficiently establish a practical and aesthetically pleasing amount of space, or ________________
headroom
Backlight-
is also known as a rim light or kicker, provides highlights in the hair and along the edges of the subject. These "rims" of light help make the actor stand out from the background.
Production designer-
is both an artist and executive and is responsible for the overall design concept (for the look of the movie - its individual sets, locations, furnishings, properties, and costumes) and for the supervising the heads of the many departments involved in creating that look.
Soft light-
is diffused: the beams of light are broken up or scattered on their way from the source to the subject. -This diffusion can be accomplished by bouncing the light or by passing it through a sort of cloudy paper descriptively dubbed diffusion. - is a low contrast: here illumination ends and shadow begin is less distinct
Hard light-
is direct: the beams of light shine directly from the source to the subject -creates a clear, sharp border between areas of bright illumination and dark shadows.
Pratical light-
is the light that reflects off a persons face
Three-point system-
is the most conventional method Used extensively since the Hollywood studio era (1927-47), it casts a flattering and natural -looking light on actors. The system uses three sources of light, each aimed from a different direction and position in relation to the subject : key light, fill light, and back light.
Composition-
is the organization, distribution, balance, and genera relationship of objects and figures, as well as of light, shade, line, color, and movement within the frame
Design-
is the process by which the look of settings, objects, and actors is determined.
One of the most efficient ways to analyze mise-en-scene is to study still images taken from a motion picture. So, it is easy to forget about movement (otherwise known _____________).
kinesis
Similarity, a character whose lateral screen movement is tracked by a moving camera is almost invariably given _________ ________ on the side of the frame toward which she is moving.
lead room
Top lighting-
light cast on a character from above usually looks comparatively normal, as the Sun our most natural light source, is usually in an overhead position.
Halloween lighting-
lighting from underneath a character
The person responsible for all these effects is the ___________________ __________________
makeup artist
The computer-generated animated layers over live performance using _______________ __________________ technology have been described as "digital makeup" by the actor Andy Serkis, whose performances have been used to animate characters such as Gollum in the Lord of the Rings and Hobbit films and Caesar in the most recent Planet of the Apes trilogy.
motion capture
Another application of apparent imbalance is something called _____________ ___________.
negative space
Setting-
of a film is the environment (realistic or imagined) in which the narrative takes place
Perhaps the most important decision that a filmmaker must make about setting is to determine when to shoot on location and when to shoot_______ _______________ and when to shoot on a set.
on location
Previsualization can include drawings of planned compositions called _____________________ , and software that creates three-dimensional models of sets and scenarios
overheads
Likewise, because lighting can help express mood, tell a story, and convey character, directors often incorporate lighting into the __________________ they use to plane the film. are the sketches of
storyboards
Lighting ratio-
the level of illumination on a subject, as compared with depth of the corresponding shadow, is called _______________ ___________
Fill light-
which is positioned at the opposite side of the camera from the key light., adjusts the depth of the shadows created by the brighter key light. it may also come from a reflector
Prop master-
works with the production designer to find and select props, then maintains each object and ensures it is ready when the actor needs it for shooting.
Describe the different approaches to mise-en-scene and the overall effects they seek to achieve.
While decisions about mise-en-scene are driven primarily by the needs of a film's story, mise-en-scene can also be highly personal and can help us distinguish one directors work from another's. Gene formulas can also have a powerful influence on the mise-en-scene of individual films within that genre.
Key light-
(also known as the main, or source light) is the primary source of illumination and therefore is customarily set first. Positioned to one side of the camera, it creates deep shadows.
Describe the process of developing a movie's mise-en-scene.
A film's mise-en-scene is everything we see in every shot: every object, every person, everything about their surroundings, and how each of these components is arranged, illuminated, and moved around. And very little of this is left to chance - virtually everything on-screen was carefully chosen and placed there by the filmmakers for a reason.
What is composition? Name and briefly discuss how composition? Name and briefly discuss how composition uses balance and depth.
A shot composition is the organization, distribution, balance, and general relationship of objects and figures, as well as of light, shade, line, color, and movement within the frame. Composition can minimize or enhance the appearance of depth in a shot. On the movie screen, that order often takes the form of a balanced composition. The inclination toward compositional balance is not limited to narrative movies. Documentary camera operators usually seek balanced visual arrangements when shooting interviews or even while recording impromptu events.
A cinematographer relies on two crews of workers. What is each crew responsible for?
Camera Crew -Camera -camera operator and assistant camera persons -everything having to do with the camera, lenses, supporting equipment, and the material shot on -Electricity and Lighting -get camera and lighting ready for shooting
Describe the differences and relationships between framing and composition?
Framing involves composition and vice versa. The composition is the organization, distribution, balance and general relationship of actors and objects within the space of each shot. How the camera frames those elements is a key part of how that arrangement appears on-screen. What distinguishes framing, it helps consider the term itself: framing directly engages the frame- the boundaries of the image, including the farthest visible depth and the fourth wall behind the lens-and how what we see and the way in which we see it shaped by those borders
Literal lack of depth can also convey figurative shallowness: a character lacking insight or courage may be lit with _____________ _______________
Frontal lighting
Set decorator-
a sort of cinematic interior decorator who is in charge of set dressing, supervises a variety of specialists.
Both theater and film use ________________: predetermined movement of actors that is planned according to the needs of the story.
blocking
Rule of thirds
breaks the frame into three vertical sections and three horizontal sections, resulting in a grid
Backlighting-
can create dramatic lighting effects, especially when it is the sole light source.
By purposely breaking the rule of thirds and denying our expectation of balance, filmmakers can create ___________________ _________
compositional stress
Cinematographer-
director of photography
Name and briefly discuss the major elements of cinematic design-
Setting, Decor and Properties -Setting- the environment in which the narrative takes place -creates mood that has social, psychological, emotional, economic, and cultural significance Set Decorator-in charge of all the countless details that go into furnishing and decorating a set -Decor-the color and texture of the interior decoration, furniture, draperies, and curtains, and properties -Properties- props or objects such as paintings, etc. that help us understand the characters by showing us their preferences in such things Lighting -light is fundamental to the movie Costume, Makeup, and Hairstyle Costume-the clothing worn by an actor in a movie -can contribute to that setting and suggest specific character traits -helps the movie tell its story Makeup and Hairstyle -Used to enhance or alter an actor's appearance -traditional materials -digital methods -makeup artist
Whether the scene is shot on location or on a set, interior shooting involves the added consideration of __________ ( the color and textures of the interior decoration, furniture, draperies, and curtains) and ________________ , which can be divided into two basic categories: __________ and __________________________ . Any object handled by actors is considered a prop.
1. decor 2. properties 3. props 4. set dressing
What are the two major components of mise-en-scene?
Design and composition
What are the basic types of camera movement?
Elements of framing change when the camera moves Camera movement opens up cinematic space. The moving camera leads the viewer's eye or focuses the viewer's attention and by moving into the scene, helps create the illusion of depth in the flat screen image It helps convey relationships -spatial, casual, and psychological 1. Tilt shot -Vertical movement of a mounted camera 2. Dolly shot -Camera fixed to a track, noiseless moving shots (tracking shot) -Most effective and common -Dolly In-a subject grows in the frame, gaining significance, gradual intensification used at moments when characters have realizations -Dolly Out-is often used for slow disclosure 3. Zoom -is a lens with a variable focal length can shift from wide-angle to long focus -illusion of camera movement -magnifies image 4. Pan -Horizontal movement of a camera -Larger, more panoramic view -Attempts to replicate what we see when we turn our heads to survey a scene or follow a character
The movie camera can shoot from various angles. What are they? What meaning does each imply? Do these implications always hold true?
Eye Level An eye-level shot is made from the observer's eye level and usually implies that the camera's attitude toward the subject being photographed is neutral. High Angle A high-angle shot (also called a high shot or down shot) is made with the camera above the action and typically implies the observer's sense of superiority to the subject being photographed. Low Angle A low-angle shot (or low shot) is made with the camera below the action and typically places the observer in the position of feeling helpless in the presence of an obviously superior force. In a Dutch-angle shot the camera is tilted from its normal horizontal and vertical position so that it is no longer straight, giving the viewer the impression page 247 that the world in the frame is out of balance. An aerial-view shot (or bird's-eye-view shot), an extreme type of point-of-view shot, is taken from an aircraft or very high crane and implies the observer's omniscience.
_____________ _______________________ was not interested in verisimilitude: design was used instead to give objective expression to subjective (and usually disturbed) human feelings and emotions.
German expressionism
What is kinesis? What are the two basic forms it takes, and how can each affect composition and our experience of the story?
Kinesis is to study still images taken from a motion picture (we don't want to forget about movement.) / movement of figures within the frame and the apparent movement of the frame Movies don't just move from shot to shot and scene to scene, obviously-people and things move around within the frame, and when the camera moves, the frame itself can move through space. Both of these forms of kinesis are used to "stage or put on an action or scene" and can thus be considered components of mise-en-scene.
What are the four major lenses used on movie cameras? What is the principal characteristic of the image that each lens creates?
Lens - a piece of curved, polished glass - bring the light that emanates from the subjects in front of the camera into a focused image on film, tape, etc Short Focal Length Lens (Wide Angle) -more depth -produces wide-angle views -exaggerates distance between foreground and background -subjects appear farther -elongates depth -objects or subjects moving from the background to the foreground appear to be moving faster than they actually are Long Focal Length -less depth -brings distant objects closer -makes subjects look closer together than they do in real life -flattens space and depth in the process -background to foreground slowly moving Middle Focal Length -normal lens -Day to day experience of depth and perspective Zoom Lens -Variable focal length lens -permits cinematographer to shrink or increase the focal length in a continuous motion thus simulates the effect of movement of the camera towards or away from subject -simply magnifies
How the lighting for any movie looks is determined, in part, by its quality, ratio, and direction. Explain these terms and the effects they produce.
Lighting shapes the way the movie looks and helps tell the story -Lighting creates our sense of cinematic space by illuminating people and things, creating highlights and shadow, and defining shapes and textures. Source -natural -still use reflectors and artificial lights cause they cannot count on nature to cooperate -Artificial light -instruments -hard and soft light -focusable spotlights -distinct shadows -floodlights -soft light Direction -light can be thrown from any direction:front, back, side, below, or above. Also angles, produce contrasts and shadows that suggest the location of the scene, the mood, and the time of day Three-Point Lighting -three sources of light -adjust relationship between illumination and shadow to help portray the subject in whatever manner the director desires -Key light- main primary source of illumination -Fill light- opposite side of main light, adjusts the depth of shadows created by the key light -Backlight- positioned from behind and above the subject -separates subject from background -creates three-dimensionality Low-key lighting -gloomy atmosphere -contrasts between light and dark imply ethical judgements -increased contrast High-Key lighting -produces an image with very little contrast between the darks and the lights -decreased contrast
How the lighting for any movie looks is determined, in part, by its source and direction. Explain these terms and the effect each has on the overall lighting.
Lighting shapes the way the movie looks and helps tell the story -Lighting creates our sense of cinematic space by illuminating people and things, creating highlights and shadow, and defining shapes and textures. Source -natural -still use reflectors and artificial lights cause they cannot count on nature to cooperate -Artificial light -instruments -hard and soft light -focusable spotlights -distinct shadows -floodlights -soft light Direction -light can be thrown from any direction:front, back, side, below, or above. Also angles, produce contrasts and shadows that suggest the location of the scene, the mood, and the time of day Three-Point Lighting -three sources of light -adjust relationship between illumination and shadow to help portray the subject in whatever manner the director desires -Key light- main primary source of illumination -Fill light- opposite side of main light, adjusts the depth of shadows created by the key light -Backlight- positioned from behind and above the subject -separates subject from background -creates three-dimensionality Low-key lighting -gloomy atmosphere -contrasts between light and dark imply ethical judgements -increased contrast High-Key lighting -produces an image with very little contrast between the darks and the lights -decreased contrast
What is a long take? What can it achieve that a short take cannot? What is a difference between a long take and a long shot?
Long take is a shot that lasts significantly longer than a conventional shot. There are two basic approaches to the long take: (1) those that exploit the mobile frame, and (2) those that hold the viewer in a state of relative stasis. The long shot presents background and subject information in equal measure and is as much about setting and situation as any particular character. Long shots are often used as establishing shots at the beginning of a scene to indicate where the scene is taking place, who is involved and what they are doing.
Does a movie's mise-en-scene happen by accident? If not, what or who determines it?
Mise-en-scene is the result of thorough planning. Advanced decisions about the placement of people, objects, and elements of decor, determining their movements, lighting, etc.
What is the literal meaning of the phrase mise-en-scene? What do we mean by this phrase when we discuss movies?
Mise-en-scene means literally "staging or putting on an action or scene" and thus is sometimes called staging. A film's mise-en-scene is everything we see in every shot: every object, every person, everything about their surroundings, and how each of these components is arranged, illuminated and moved around.
What are the differences among a setup, a shot, and a take?
Setup -one camera position and everything associated with is -the basic component of the film's production process Shot -one uninterrupted run of the camera -the recording on film, video, or other medium resulting from that run -the basic building block of the film Take -the number of times a particular shot is taken
Based on proximity to the camera, what are the three most commonly used shots in a movie? What principle is used to distinguish them?
Shot type depends on the implied distance between the camera lens and the subject Close Up -full head, sometimes shoulders, of character -can provide view of character's emotions of state of mind Long Shot - generally contains the full body of one or more characters -almost filling the frame but also shows some surrounding area above below and to the side Medium Shot -between long shot and close up -waist up -most frequently used because it replicates our human experience of proximity without intimacy -several characters
Special effects create images that might not be possible with traditional cinematography. What are the basic ways to create special effects?
Special Effects -technology that creates images that would be too dangerous, too expensive, or too impossible with traditional cinematography -to create verisimilitude within the world In-Camera Effects -created in the production camera -fade,wipe,dissolve, and montage Mechanical Effects -on the set, in front of the camera Laboratory Effects -on film stock Computer Generated Imagery -application of computer graphics to create special effects -live action movies or animated movies -motion capture= person wears body suit that enables a computer to record each movement as a digital image
What are the principal responsibilities of the production designer?
The production designer is both an artist and an executive and is responsible for the overall design concept (for the look of the movie - its individual sets, locations, furnishing, properties, and costumes) and for supervising the heads of the many departments involved in creating that look. These departments include- 1. art (development o the movie's look involves sketch artists, painters, and computer- graphics specialists) 2. costume design and construction 3. hairstyling 4. makeup 5. wardrobe (maintaining the costumes and having them ready for each day's shooting) 6. location (finding appropriate locations, contracting for their use, and coordinating the transportation of cast and crew between the studio and the locations) 7. properties (finding the furniture and objects for a movie, either from a studio's own resources or from specialized outside firms that supply properties) 8. carpentry 9. set construction and decoration 10. greenery (real or artificial greenery, including grass, trees, shrubs, and flowers) 11. transportation (supplying the vehicles seen on-screen) 12. visual effects (digital postproduction effects) 13. special effects (mechanical effects and in-camera optical effects created during production)
Ensuring that each shot's composition serves the movie's narrative, tone, and overall style requires a great deal of planning, so filmmakers use _______________________
previsualization
High-key lighting-
produces an image with very little contrast between the darks and the lights, is used extensively in dramas, musicals, comedies, and adventure films.
The traditional makeup used to enhance or alter an actor's appearance covers the full range of facial and body cosmetics familiar to consumers (often specially blended to comply with camera and lighting requirements) and ___________________.
prosthetics
Chiaroscuro lighting-
scene lit with extreme lighting, lots of shadows, some bright parts. Effect of low key lighting. also used to make location or character seem dramatic and unusual
