Media Techniques Exam #2

Unit 2 (Chapter 4-5, 10)

POV

main clue to choosing visual components (first step to building structure)

3 types of documentaries

found footage, controlled doc, uncontrolled doc

found footage doc

made from archival photos and already available materials

controlled doc

filmmaker has control over all visual components

uncontrolled doc

POV is the only stable component, editors control

4 approaches to how visual components can be chosen

instinctual choice, analytic choice, research choice, arbitrary choice

instinctual choice

flash of an idea, can be incomplete or unreliable

analytic choice

written description conveys mood and emotion

research choice

use work of others as a guide (like an inspo board)

arbitrary choice

random selection allows you to get past indecision

new latin american cinema (NLAC)

• 1960s-1980s

• political action/choice

• typically conveyed through docs (w/ sociopolitical context)

we see lines because of…

tonal contrast

7 ways the describe where we see lines:

edge, contour, closure, intersection of planes, axis, imitation through distance, and track

edge

any lines around borders of 2d objects (e.g., shadows cast by objects)

contour

apparent line around 3d objects

closure

primary points of interest that cause the effect of an imaginary line (e.g., people looking at each other/objects facing each other) — NO background distractions

intersection of planes

when two planes meet and form an angle

axis

invisible line that goes through multiple objects (promotes alignment)

imitation through distance

objects appear to reduce themselves to fewer lines as it gets farther away

track

paths of moving objects (e.g., plume of smoke — airplane)

• actual: physical

• virtual: imaginary

linear motif

any picture can be reduced to its basic lines (squinting helps to identify this as the motif will stand out/survive this act)

contrast and affinity with lines is associated with…

orientation, direction, and quality

line orientation

angle or position of non-moving, stationary objects (max. contrast: horizontal/diagonal lines)

• canted angles and diagonal lines shown in natural born killers to illustrate the mc’s psychotic behavior/tendencies)

line direction

angle or position of moving objects

• affinity: 2+ objects moving in the same direction

• max contrast: horizontal/vertical lines

line quality

straight vs. curved lines

• affinity: similar shapes / max. contast: straight lines/circles

• e.g., kill bill

emotions of different lines

• horizontal: least intense (calm, peaceful)

• vertical: confrontational, strong, bold

• diagonal: movement, aggression, conflict

• straight: direct, strong, rigid

• circular: indirect, childlike, soft, flexible

shape

• circle (intensity is low/no edges), square (edges/stability, ordered, direct), triangle (intensity is high, sharp edges —aggressive) are 2d

• sphere, cube, pyramid are 3d

incorrect basic shape

cylinder/cone can appear as different shapes (shape-shifters)

contrast and affinity of shapes

circle/sphere and triangle/pyramid have max. contrast

evaluate and control the ____ to establish more lines/shapes with tonal contrast

lighting

tone

the brightness of objects

if there is no movement, eyes are attracted to…

the brightest objects

how to control tone

art direction (reflective control) and lighting (incident control)

art direction (reflective control)

brightness is determined by the reflective value (brightness/colors) of the objects featured

lighting (incident control)

brightness is determined by the amount of light falling onto the object

• t men used lighting to generate fear within the audience

if the room is lit evenly, the tonal range is controlled by…

art direction

lighting is controlled by…

light and shadow

exposure

adjusting lens/camera to make an image brighter/darker

• applies to the whole image, not a singular object

coincidence of tone

tonal range reveals the subject

non-coincidence of tone

tonal range hides subjects (light obscures/dark hides)