A/V Final Terms
EXTREME CLOSE-UP
(ECU) A minutely detailed view of an object or a person. An extreme close-up of an actor generally includes only his eyes, or his mouth.
LONG SHOT
(LS) also known as Wide Shot (WS)The subject takes up the full frame, or at least as much as comfortably possible. Includes an amount of picture within the frame which roughly corresponds to the audience's view of the area within the proscenium arch of the legitimate theater.
MEDIUM SHOT
(MS) A relatively close shot, revealing a moderate amount of detail. Generally includes the body from the knees or waist up.
PAN
(abbreviation of panorma) Movement of the camera from left to right or right to left around the imaginary vertical axis that runs through the camera. A panning shot is sometimes confused with a tracking shot.
RULE OF THIRDS
A compositional rule of thumb in photography, which states that an image can be divided into nine equal parts by two equally spaced horizontal lines and two equally spaced vertical lines. The four points formed by the intersections of these lines can be used to align features in the photograph.
STORY BOARD
A series of drawings and captions (sometimes resembling a comic strip) that shows the planned shot divisions and camera movements of the film.
LOW ANGLE SHOT
A shot in which the subject is photographed from below.
ZOOM SHOT
A shot taken with the aid of a zoom lens. The lens changes focal length during the shot so that a dolly or crane shot is suggested.
SCENE
A unit of film composed of a number of interrelated shots, unified usually by a central concern -- a location, an incident, or a minor dramatic climax.
POINT-OF-VIEW SHOT
Any shot which is taken from the vantage point of a character in the film. Also known as the first person camera.
EMPHASIS
Calls attention to important areas of a design and subdues everything else on the picture plane. It creates the CENTER OF INTEREST which causes our eye to return again and again.
CLOSE-UP
Close shot. (CU) A detailed view of a person or object, usually without much context provided.
HEAD ROOM
Headroom is the space between the top of your subjects head and the top edge of the frame.
TAKE
One version of a shot.A film-maker shoots one or more of each shot or set-up. Only one of each group of takes appears in the final film.
CUT-IN
Shows some (other) part of the subject in detail.
CAMERA ANGLE
The angle at which the camera is pointed at the subject: Low, High, Tilt
TILT
The camera tilts up or down, rotating around the axis that runs from left to right through the camera head.
POSTPRODUCTION
The final stage of making, including tasks like editing video footage and sound, adding titles and graphics, etc.
EDITING
The joining of one shot (strip of film or digital footage) with another. The shots can picture events and objects in different places at different times.
GOLDEN MEAN
The mathematical formula for aesthetically pleasing composition.
COMPOSITION
The organization of space or arranging of visual elements of an image so they relate to each other in purposeful fashion.
SYMMETRICAL BALANCE
The parts of an image or object organized so that one side duplicates, or mirrors, the other.
EYE LEVEL SHOT
The placement of the camera approximately 5 to 6 feet from the ground corresponding to the height of an observer on the scene.
PREPRODUCTION
The planning stage, the process of preparing all the elements involved, concrete concerns like scripting and storyboarding, casting, finding location as well as conceptual concerns like aims, style, key messages and audience.
EDIT
The process of assembling video clips, audio tracks, graphics and other source material into a presentable package.
FOCUS
The sharpness of the image. A range of distances from the camera will be acceptably sharp. Possible to have deep focus, shallow focus.
LEAD ROOM or ACTION SPACE
The space left in a composition for action to move into. Place subjects toward the side opposite the direction they are moving.
CUT
The splicing of 2 shots together. this is made by the film editor at the editing stage of a film. Between sequences it marks a rapid transition between one time and space and another, but depending on the nature of it it will have different meanings.
SCRIPT
The text of a play, broadcast, or movie
SHOT
Those images which are recorded continuously from the time the camera starts to the time it stops. That is, an unedited, uncut strip of film.
ESTABLISHING SHOT
Usually an extreme long or long shot offered at the beginning of a scene or sequence providing the viewer with the context of the subsequent closer shots.
VIDEO
a recording of moving visual images made digitally.
FONT
a set of type of one particular face and size
JUMP CUT
an abrupt transition from one scene to another
FORM
are three-dimensional shapes, expressing length, width, and depth. Balls, cylinders, boxes, and pyramids are forms.
PRINCIPLES
combinations of two or more of the elements which are used to effect a desired response to a compostion.
ELEMENTS
components of an image that can be isolated and defined. They are the building blocks used to create an image.
PARALLEL EDITING
cutting back and forth between two or more scenes in which the action is taking place simultaneously or in which one action is compared or contrasted with another (also referred to as cross-cut)
LOCATION SHOOTING
filming in an actual setting rather than on a sound stage or back lot
SHAPE
is a closed line, and is used to give contrast between areas in a picture frame. Shapes can be geometric, like squares and circles; or an organic, free-form natural shape, like a leaf or clouds. A shape can be implied by grouping things together or through relationship. It can be an outline and a means to identify an object in a picture, think about a silhouette, (ex: a shadow of a person, chair or car). They can be abstract, and just areas of light, dark, color, texture.
CENTER OF INTEREST
is an area that first attract a viewers attention in a composition. This area is more important when compared to the other objects or elements in a composition.
RHYTHM
is created when one or more elements of design are used repeatedly to create a feeling of organized movement. It creates a mood like music or dancing.
SUBORDINATION
is making an element appear to hold secondary or lesser importance within a design or work of art.
SPACE
is the area between and around objects. Often called negative space; negative space has shape. Can also refer to the feeling of depth. Real space is three-dimensional.
BALANCE
is the distribution of the visual weight of objects, colors, texture, and space. If the design was a scale, these elements should be balanced to make a design feel stable. It seeks equilibrium in a design.
DOMINANCE
is the importance of the emphasis of one aspect in relation to all other aspects of a design.
CAMERA MOVEMENT
motion of the camera when shooting (examples of specific types of it - tilt, pan, zoom, pedestal, dolly, or truck)
SHOT TYPE
names for camera work, and guidelines to common types of shots, framing and picture composition. Standard in video, film and television. Film shots are an essential aspect of a movie where angles, transitions and cuts are used to further express emotion, ideas and movement.
AUDIO
recorded and digital sound
CONTRAST
the degree of difference between any design element. Lines, shapes, tones and textures can have it.(ex: "dark vs. light" and "organic vs. geometric")
UNITY
the feeling of harmony between all parts of the composition, creating a sense of completeness.
THE INVENTION OF PHOTOGRAPHY
the first photograph 1826- Joseph Nicephore Niepce
CONTINUITY
the kind of logic implied in the association of ideas between edited shots and space
SUBJECT
the main object or person(s) in a composition
AUDIENCE
the people giving attention to something, the assembled spectators or listeners at a public event such as a play, movie, concert, or meeting.
PRODUCTION
the process in which footage is recorded to make communications, entertainment or information for an audience.
FRAMING
to frame the center of interest within objects, texture, light. This can give a picture the feeling of depth it needs.
ASYMMETRICAL BALANCE
when one side of a composition does not reflect the design of the other. The parts of a design are organized so that one side differs from the other and yet still preserves harmony.
