Exam 2 Film

Contrast

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Contrast

refers to the comparative differences between the darkest and lightest areas of the frame

Exposure

regulates how much light passes through the camera lens

speed of motion

Depends on rate at which the film was shot and rate at which the film is projected, fast motion and slow motion

perspective

focal length of the lens affects our perception of scale and depth

Special effects

combining two planes of action in one shot, superimposition and rear projection

Depth of field

the range of distances before the camera lens within which objects can be photographed in sharp focus

Racking focus

Change of focal length during a shot

Frame dimensions and shape, aspect ratio

Academy aspect ratio (Flat 1:33:1), Cinemascope (Anamorphic 2:35:1), Cinemascope (Anamorphic 70mm, 2:76:1), Matted widescreen (1:85:1), Matted widescreen (1:66:1)

Camera position

angle, level, height, distance

Angle

Extreme high angle, high angle, straight on, low angle, extreme low angle

level

level shot is parallel to the horizon, canted angle aka dutch angle

distance

extreme long shot, long shot, medium long shot, medium shot, medium close up, close up, extreme close up

the mobile frame

reframing, independent movement

types of camera movement

pan, tilt, tracking shot (dolly tracks, crane shot, Steadicam, handheld)

early editing

edwin s porter, dw griffith, sergei Eisenstein

transitions

cut, fade out/fade in, dissolve, wipe

cut

end of shot A is attached to the beginning of shot b

fade in/ fade out

shot a fades to darkness, then shot b fades in from darkness

dissolves

shot A fades out as shot B fades in, temporary overlap

lap dissolve

a particularly drawn out dissolve

wipe

shot a appears to be pushed off the screen by shot b in any direction

graphic relations

graphics may be edited to achieve smooth continuity or abrupt contrast

graphic match

matches shapes, lighting patterns, colors, lines, movement, or stillness

rhythmic relations

patterning of shot lengths to create the films tempo

spatial relations

the use of editing to relate any two points in space through similarity, differences of development

constructive editing

the Kuleshov effect

temporal relations

the use of editing to manipulate story time, flashbacks/flashforwards

discontinuity editing

editing that violates the rules of continuity editing, thus making space and/or time discontinuous

360 degree space

action were a point in the center of a circle and the camera can be placed on any point of its circumference

jump cut

two shots of the same character or object edited together but not different enough in-camera angle and distance to avoid a jump, the angle must be changed by more than 30 degrees to avoid a jump cut

nondiegetic insert

an action has been established and an unrelated image is edited into that action that doesnt belong in the space and time of the narrative.

temporal dislocation

story events are not edited in chronological order

spatial dislocation

shots are edited in a way that purposefully confuses or misleads the viewer regarding spatial relations

continuity in JFK

180 degree line, establishment-breakdown-re establishment, eyeline match, shot/reverse shot, match on action

discontinuity in JFK

360 degree space, ju,p cuts, nondiegetic inserts, temporal and spatial dislocation

fundamentals of movie sound

loudness, pitch, timbre

diegetic

sound derives from someone or something that is part of the story

nondiegetic

sound derives from a source outside the world of the story

sound bridges

a sound that links two scenes together

vocals

dialogue spoken by characters in the movie

sound effects

all the sounds in a film other than dialogue and music

music

typically used to support a films action and emotions

rhythm

the relation of sound to other elements in the film

fidelity

the extent to which the sound is faithful to the source as we conceive it

space

sound has a spatial dimension because it comes from a source