film

Long Shot

A long shot includes at least the full figure of the subjects, usually more.

ELS/ Extreme Long shot

 A panoramic view of an exterior location photographed from a

considerable distance.

Medium shot

 shot intermediate between CLOSEUP and a FULL SHOT.

Close up

Precisely, a shot of the subject's face only. (2) Generally, any close shot.

Two Shot

(both characters facing each other, visible from head down to shoulders or waist)

over-the-shoulder shots

(close shots of each character, with the shoulder and back of the head of the other character visible in foreground),

eye-level shot

when the level of your camera is placed at the same height as the eyes of the characters in your frame.

High Angle Shot

a filmmaking technique where the camera is placed above the subject's eye level and pointed downward

Aerial Shot

captures a scene from high above to provide a bird's-eye view.

Low Angle Shot

a camera technique where the camera is positioned below the subject's eye line and tilted upward

Canted Shot

unstable frame or crooked frame

Track/Dolly

When the camera moves from one point to another either sideways, in, or out.

Pan

Movement of the camera from left to right or right to left around the imaginary vertical axis

Tilt

The camera tilts up or down, rotating around the axis that runs from left or right.

Crane

A shot taken from a cran

Wide-angle

a camera framing technique that captures a subject from a distance along with a large portion of its surrounding environment

Fade out

Gradually the images become dark

Fade in

The image opens with brightening the image from dark

Dissolve

Transition between two shots in which one image dissolves into another through superimposition

Match action cut

transition cuts from one shot to another that matches the action in the first shot

Wipe

Shot B replaces Shot A by means of line that moves across the screen

180 rule

Which refers to the imaginary line passing from side to side through the main actors that define the spatial relations of all the elements of the scene as being left or right. The camera cant cross the axis at a cut and reverse those spatial relations.

Establishing shot

A shot, usually involving a distant framing, that shows the spatial

relations among the important figures, object, and setting in a scene

Reverse-shot

technique where the camera shows one character looking at someone off-screen, and then cuts to show the second character looking back from the opposite angle.

Eyeline match

Shot A person looks at something offscreen: shot B shows what is being

looked at. In neither shot the object and the looker are simultaneously present

Crosscut

Cutting between two different scenes. They flip flop between each other

Parallel editing

 editing technique where two or more scenes are cut together to imply they're happening at the same time.

Cutaway

a shot of another event elsewhere that will not last as long as the elided action.

Jump cut

An elliptical cut that appears to be an interruption of a single shot. Either the figure seems to change instantly against a constant background, or the background changes instantly while the figure remains constant.

Overlapping editing

a film technique where part of an action from one shot is repeated at the beginning of the next sh

Violation of 180° axis

s when a camera crosses the imaginary "axis of action" between two or more subjects in a scene, reversing their positions and screen direction. If character is on the right, character b should be speaking on left. However if ti breaks this, t shows the chaotc nature of the scene

Violation of the 30° rule: 

cut between two consecutive shots of the same subject where the camera angle shifts by less than 30 degrees. If shot 1 switches to shot 2 there must be a change in angle by 30 degrees. Jump cuts break this. breaks continuity

Intellectual Montage

In Eisenstein's concept of Montage, we find the following mathematical formula: a + b = c. The combination of two disparate images produces a third meaning, a concept, which is beyond the means of literal representation and can only be realized through intellectual, material, and associational cognition.

Association Montage

For example: the picture for water and the picture of an eye signifies 'to weep'; the picture of an ear near the drawing of a door = 'to listen'; a dog + a mouth = 'to bark'; a knife and a heart = 'sorrow.'"

Metric Montage

 the construction of length." The pieces are edited together according to their length in a formal and schematic manner according to a "beat." Repetition will thus evoke the musical idea of metric montage. CUt according to length

Rhythmic Montage

cut accroding to content of shots

Tonal Montage

Here the montage is based upon the characteristic emotional sound of the piece--of its dominant. It is the general tone of the piece. Cut according to tone

Overtonal Montage

Cut according to main tones and undertones

Sound bridge

When the sound of the previous shot "bleeds" over the next one.

Asynchronous sound

When sound goes out of sync

Diegetic Sound

A sound that has a source in the story world like character dialogue, or sound made by objects in the film.

Internal Diegetic

sound relates to subjective sound, or a sound that emerges from mental or psychological space of the character.

External Diegetic

sound that comes offscreen, it's not present in the real space of the screen

Graphic Match cut

a film editing transition that links two distinct shots by sharing similar visual elements like shapes, colors, lines, or frame composition