FDM 1304 Chapter 6-11 Canvas Quizzes
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)
