Tingus Pingus

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who the FUCK is tingus pingus

114 Terms

1

Bird’s eye view

A shot that shows the action from above, providing a unique perspective. Think bird’s eye

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2

High angle shot

A shot taken from a higher position looking down on the subject, often making them appear smaller or vulnerable.

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3

Eye level shot

A shot taken from the height of the subject's eyes, creating a neutral perspective.

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4

Low angle shot

A shot taken from a lower position looking up at the subject, often making them appear powerful or imposing.

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5

Dutch tilt

A shot that is tilted so the horizon line is not level, creating a sense of unease or tension, often reflecting the character's unbalanced mental state.

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6

Frame rate

The frequency at which consecutive images called frames are captured or displayed, typically measured in frames per second (fps).

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7

24 frames/sec

The standard frame rate for films, providing a cinematic look.

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8

Overcrank

Filming at a higher frame rate than normal; when played back at a standard frame rate, this results in slow motion.

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9

Undercrank

Filming at a lower frame rate; when played back at standard speed, this creates the effect of fast motion.

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10

Lexicon

A technique to slightly speed up the framerate to create a shorter film runtime without noticeably affecting the visual quality.

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11

Aspect ratio

The relationship of the width to the height of a frame, crucial in determining the composition of the visual field.

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12

Letterboxing

A technique for adapting wide films to fit standard television screens without cropping, preserving the original aspect ratio.

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13

Pan

The camera moves horizontally from side to side while remaining in a fixed position, allowing the viewer to follow action.

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14

Tilt

The camera rotates vertically while fixed in place, moving up or down.

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15

Tracking shot/dolly

A moving shot in which the camera is mounted on a wheeled platform, allowing it to glide smoothly along the ground.

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16

Crane

A shot taken with the camera mounted on a crane or jib, allowing it to move smoothly both vertically and horizontally.

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17

Hand held

A shooting technique where the camera is held in the operator's hands, often resulting in a more dynamic, gritty, or intimate look.

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18

Steadicam

A stabilizing mount for a camera that allows for smooth movement while filming, combining the flexibility of handheld shots with the stability of a tripod.

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19

Motivated movement

Camera movement that follows or corresponds to an action in the scene, drawing attention to key actions or movements.

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20

Unmotivated movement

Camera movement that does not correspond to any visible action in the frame, which can create disconnection or unease.

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21

Long take

An extended shot that lasts for an unusually long duration without cuts, often allowing for uninterrupted action and immersion.

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22

Three point lighting

A foundational lighting technique that uses three light sources: a key light (main light), a fill light (to reduce shadows), and a backlight (to separate the subject from the background).

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23

Key light

The primary light source used to illuminate the subject, creating highlights and defining shapes.

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24

Fill light

A softer light used to fill in shadows created by the key light, helping to balance the overall illumination.

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25

Backlight

Light placed behind the subject, creating separation from the background and adding depth.

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26

High key lighting

A lighting style with a predominance of fill light that reduces shadows, often creating a bright, cheerful atmosphere.

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27

Low key lighting

A lighting approach characterized by a dominant key light and minimal fill light, resulting in dramatic contrasts between light and shadow.

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28

Chiaroscuro

A dramatic effect achieved by using strong contrasts between light and dark to create depth and volume in the image. Characterized by singular light source in a frame

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29

Camera focus

The control of which elements are sharp and clear in the image, impacting how viewers perceive the scene.

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30

Depth of field

The range of distance within a shot that appears acceptably sharp, influencing viewer focus and narrative emphasis.

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31

Deep focus

A technique where foreground, midground, and background are all in sharp focus, allowing for complex compositions.

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32

Shallow focus

An approach where only a specific subject is focused, with the background blurred, directing viewer attention.

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33

Rack focus

A technique where the focus shifts from one subject to another within the same shot, guiding viewer attention selectively.

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34

Zoom in and out

A camera technique that changes the focal distance, magnifying or minimising the subject's appearance.

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35

Lens filter

A transparent or semi-transparent accessory placed in front of a camera lens to modify light, reduce glare, or create special effects.

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36

Composition

The arrangement and organization of visual elements within the frame to create a harmonious or impactful image.

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37

Frame

The boundaries of the visual image on screen; each individual image in motion pictures is often referred to as a frame.

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38

Masking

A technique involving the blacking out of portions of the frame, creating the illusion of a different aspect ratio without physically cropping the image.

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39

Dominant contrast

The primary area of the image that draws the viewer's attention due to its high contrast against surrounding elements.

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40

Subsidiary contrasts

Secondary visual elements that counterbalance the dominant contrast, adding complexity to the visual narrative.

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41

Density

The amount of light or visual weight in an image; darker images may convey different emotions than lighter ones.

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42

Intrinsic weight/interest

The inherent importance or appeal of an object or character in a scene, often determined by its size, placement, or the context.

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43

Top

The part of the frame often suggests themes of aspiration, superiority, or transcendence.

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44

Bottom

The section of the frame typically conveys subservience, vulnerability, or danger.

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45

Left/right edges

The part of the frame often represent insignificance or elements that are near the unexplored or unknown.

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46

Off frame side

Elements that exist outside of the visible area of the frame, creating an implied use of space that can evoke curiosity or suspense.

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47

Off frame behind set

Forces viewers to imagine what is beyond the visible scene, often inducing curiosity and speculation.

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48

Off frame just in front

Creates a feeling of unsettlement as characters or objects are close yet unseen.

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49

Figures

The characters or subjects presented in the frame; can focus on their isolation or interaction.

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50

Isolated

A figure appearing separately and more prominently than others, attracting more attention.

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51

directions/lines

Element in a visual composition serve as guides for the viewer's eye, influencing how the image is perceived.

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52

horizontal lines

Convey stability, calmness, and tranquility, often establishing a sense of peace.

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53

Diagonal/oblique lines

Lines that create movement and tension, suggesting dynamics or conflict.

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54

Tension between composition and context

The contrast between the visual arrangement and the narrative context, enhancing emotional or thematic resonance.

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55

Structures

The overall framework or composition that gives meaning to the visual elements within a shot.

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56

Favored shapes for composition

Commonly used forms such as S-curves, X shapes, triangles, and circles, which guide the viewer's eye.

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57

Binary structures

Visual pairings or contrasts, such as duality or opposition, represented in composition.

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58

Triadic composition

The dynamic interplay among three primary elements in a frame, creating tension and balance.

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59

Circular compositions

Forms that create a sense of security, enclosure, or femininity within the visual narrative.

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60

Tightly framed

Close-up shots that make subjects feel restricted or confined.

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61

Loosely framed

Shots that allow for more space around subjects, suggesting freedom and openness.

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62

Spatial hierarchy

The arrangement where dominant characters or elements occupy more visual space, indicating their importance.

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63

Full front

The most intimate position, with the character facing the audience directly, revealing vulnerabilities.

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64

Quarter turn

A position between full and profile, maintaining intimacy while reducing emotional engagement.

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65

Profile

A shot of a character in profile, suggesting distance or introspection.

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66

Three quarter turn

A position between facing the camera and profile, often indicating more anonymity.

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67

Back to camera

A figure facing away from the audience, suggesting alienation, mystery, or concealment.

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68

Depth composition

The arrangement of elements at different distances from the camera, adding layers and complexity.

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69

Directors compose on foreground, midground, background

Creating depth by strategically placing elements at varying distances.

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70

Can alter dominant contrast as a qualifier

Using elements to modify or enhance the viewer's perception of dominant contrast.

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71

Figures in midground with foreground comment

Elements in the foreground providing context or commentary on the main subjects behind.

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72

Character proxemics

The study of spatial relationships and distances between characters in a scene.

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73

Intimate distance

Physical proximity where characters are touching, indicative of close relationships.

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74

Personal distance

Distance of about 18 inches, typical in conversations between friends.

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75

Social distance

About 4 feet, often used in professional or casual interactions.

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76

Public distance

Distance of 12 feet or more, typical for public speaking or formal situations.

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77

Cut

The editing technique of joining two strips of film together at the point where one shot ends and another begins.

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78

Continuity editing

Editing techniques designed to create a seamless flow, minimizing viewer awareness of cuts.

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79

Matching on action

Editing technique where a piece of action is continued from one shot to the next for continuity.

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80

Eyeline matching

A principle where the direction of the character's gaze is matched to what they are looking at in another shot.

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81

Graphic matching

A technique of editing that matches shots based on visual elements or shapes rather than narrative.

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82

Shot/reverse shot

A conversational technique where the camera alternates between characters during dialogue, capturing individual reactions.

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83

180 rule

A guideline that maintains spatial relationships by ensuring the camera remains on one side of an imaginary line between two characters.

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84

Score

The original music composed for a film, enhancing emotional and narrative depth.

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85

Sound effects

Any sound other than dialogue or music that contributes to the atmosphere or realism of a scene.

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86

Dialogue

All spoken words and conversations in a film, essential for character development and plot progression.

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87

Diegetic sound

Sound that originates from the world within the film, such as dialogue or ambient noises.

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88

Nondiegetic sound

Sound that comes from outside the film's world, such as a score or soundtrack.

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89

Synchronous sound

Sound that corresponds directly to the source on screen, creating a realistic experience.

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90

Nonsynchronous sound

Sound that does not match the time of its visual source, often used for stylistic transitions.

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91

Sound bridge

An audio transition that maintains a sense of continuity or eases changes between scenes.

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92

Asynchronous sound

Sounds heard without an accompanying visual source, often creating atmospheric effects.

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93

Ambient sound

Background noise that enhances the realism of a scene by representing the environment.

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94

Room tone

The ambient sound of a space recorded separately, used in dialogue scenes to fill gaps.

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95

Voice-over narration

Word audio, conveying additional information or the internal thoughts of characters.

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96

Vertical lines

Lines that extend from the bottom to the top of the frame, symbolizing strength, growth, and ambition.

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97

Amplitude

Loudness of sound in film

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98

Pitch

The perceived frequency of a sound, determining how high or low it sounds.

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99

Timbre

Quality or color of sound in film that distinguishes different types of sound sources.

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100

Jump cut

a film editing technique that breaks a continuous shot into two parts, making it appear as if time has jumped forward

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