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Depth of field
Distance between the nearest and farthest objects in a scene that appear acceptably sharp in an image
3 ways to change the depth of field
Aperture, distance, focal length
F-stop
the value assigned to the size of the iris opening
The higher the f-stop
the less amount of light that comes through
The smaller the f-stop
more amount of light that comes through
What are the different ways you can change exposure?
ISO, F-stop, shutter speed
ISO
how much light the camera lets in (how light/dark the image will be)
Shutter speed
exposure depends on how long the camera’s shutter is open and how quickly it closes, affecting motion blur and overall brightness.
Telephoto lens
Longer focal length, over 50 mm
Normal lens
around 50 mm
Wide angle lens
Under 50 MM, shorter focal length
Shutter speed is slower…
more light
Shutter speed is faster…
less light
Diegetic
sound comes from within the film’s world
Non-diegetic
not a part of the film’s world (like a musical score)
3-Point Lighting includes
Key light, fill light, back light
Key light
bright light source casting primary shadows, gives a sense of directionality
Fill light
Fills in the shadows produced by the Key, soften than the Key, usually soft or bounced light
Back light
Separates the subject from the background: hair, rim, or edge light, creates highlights, often called a kicker
Hard light
lots of contrast
Soft light
low contrast, gentler
High key
Low contrast, sitcoms, comedies (soft light)
Low key
High contrast, more specific
High Key and Low Key lighting are dependent on
the ratio between the key light and the fill light.
Vsevolod Pudovkin’s Five Editing Techniques
Contrast, parallelism, symbolism, simultaneity, leitmotif
Contrast
contrasting images to create a juxtaposition
Parallelism
matching elements between shots and scenes to convey meaning (match cuts)
Symbolism
a cut that is meant to symbolize an emotional or thematic elements of the film
Simultaneity
cross cutting – shows us that scenes are happening at the same time
Leitmotif
in a musical sense, it refers to a recurring musical phrase that correlates with a certain person, place, or idea
Sergei Eisenstein
Juxtaposition of images put together to create new meaning; when you combine images in sequence, the total emotional affect is greater than the individual images themselves
Lev Kuleshov
The “Kulveshov Effect”: combination of images creates a new meaning
J-cuts
the next scene's audio plays before the image changes
L-cuts
the audio from the preceding scene carries over, and then the visuals shift
180 rule
uses an imaginary line (called “the line” or the axis of action) drawn between the interacting characters being photographed
Coverage
Master shot (covers both characters and the full action of the scene), 2 close ups, 2 over the shoulders
Elements of mis-en-scéne
Actors/blocking, camera placement + movement, composition, lighting, depth and space, location, set design/set decoration, props, costumes, hair and makeup
On-set safety
Don’t touch a light without gloves, be wary of loose wires, secure sandbags, always double check screws, knobs, and joints are tight and secure, make sure to announce “strike” when lighting something
Types of microphones
Dynamic, large/small diaphragm condenser, ribbon
