Sight and Sound Keyterms

graphic match

joining shots by graphic similarities

graphic match purpose

smooth continuity between shots

graphic contrast

joining shots by graphic dissimilarities

graphic contrast purpose

abrupt contrast between shots

rhythmic relations between shot A and B

rhythm change through shot duration change

same length shots establish

steady rhythm

lengthening shots establish

slower rhythm

shortening shots establish

faster rhythm

temporal relations between shot A and B

editing changing: order, time, and frequency

types of temporal order

chronological (1,2,3), reverse order (3,2,1), non-linear (2,3,1)

types of temporal duration

continuous time, condensed or elided time, fragmented time

match on action

carrying a single movement across a cut

match on action purpose

continuous and uninterrupted movement, binds 2 shots together in space and time

ellipsis

an edit that omits/condenses time

jump cut

cuts that violate the 30 degree rule

30 degree rule

differenciates shots by changing camera postion by 30 degrees when shooting the same subject

punch ins/outs

moving closer to or farther from a subject (not a jump cut)

temporal frequency

repeating an action in its entirety

temporal frequency purpose

emphasis on an action

value of analog

gets you out of postponing creative decisions and moves you intentionality

changes in frame rate

slow motion, fast motion

slow motion affect on value

darker image (more frames with less light)

value

how light or dark on a greyscale

16mm film stock

boxy aspect ration (4:3)

super 16mm film stock

less boxy aspect ration (5:3), no perferation on one side

35mm film stock

much larger aspect ratio than 16mm

the bigger the film stock…

more resoluion, shallower DOF, wider FOV

DOF

depth of field

FOV

field of view

vistavision

film horizontally instead of vertically, allows wider frame

fullframe

bigger than 35mm

parfocal

maintains focus when the magnification or focal length is changed (zoom)

Zolly

zooming in while dollying backward or vise versa

normal lens 

human eye, normal (18-30mm) 

telephoto/ long lens

narrow FOV, shallow DOF (35-100mm), compressed distance 

short/wide angle lens

wider FOV, deep DOF (9-15mm), expanded distance

clarity

communication of essential; removal of non-essential 

function

a practical use or purpose in design

composition

the arrangement and organization of visual elements into a two-dimentional frame (3D→2D)

deep space 

illusion of 3-D space within image using depth cues

depth cues

• vanishing points (converging lines)

• size change (foreshortening)

• visual planes (FG, MG, BG)

• overlap

• object or camera movement along all axes

• deep focus

• high/low position

flat space (shallow) 

emphasized 2-D quality of the image (removed depth cues)

limited space

combination of deep space and flat space cues 

ambiguous space

using unreliable, misleading, or disorienting spatial cues

ambiguous space cues

• objects of unknown size or shape

• lack of object movement

• mirrors and reflections

• disorienting camera angles

focal length

distance in mm from the optical center of the lens and the film plane

prime lens

fixed focal lens (no zoom)

zoom lens

variable focal length

balance

even distribution of visual elements in a frame/composition

imbalance

uneven distribution of visual elements in a frame

rule of thirds

aethetic qualities of elements on lines formed by dividing the frame horizontally and vertically into thirds

line orientation

angle of lines in the frame

horizontal lines

less dynamic, ordered works with frame format

vertical lines

more dynamic, ordered works with frame format

diagonal lines

highly dynamic, motion disorder in frame

Value (tone)

measure of light and dark

high key lighting 

well lit subject and environment (low contrast) 

low key lighting

soft or limited lighting on subject or environment (creates strong contrast, little to no fill)

exposure

desired amount of light for a photographic image

underexposure

too little light in frame

overexposure

too much light in frame

“ideal” exposure

correct amount of light in frame

Film speed

film’s sensitivity to light

fast film speed

high sensitivity to light (less light required)

slow film speed

low sensitivity to light (more light required)

traits of fast film speed

more grain/noise, less resolution

traits of slow film speed

less grain/noise, stronger resolution

shutter speed (exposure time)

amount of time, in fractions of seconds, a frame of film is exposed to light

variables of shutter speed

frame rate, shutter angle

frame rate

frames per second

Shutter speed equation

(1/fps) x (angle of shutter opening/360)

standard frame rate

24 FPS

low frame rate = ?

receives more light

high frame rate = ?

receives less light

shutter 

a rotary shutter- a disc with an angledopening that rotates to expose each frame of film to light 

standard shutter angle

180 degrees

below 180 shutter angle = ?

faster exposure time (less blur)

above 180 shutter angle = ?

slower exposure time (more blur)

standard shutter speed 

1/48

aperture

changing lens opening that controls the amount of light reaching a frame of film

iris

the blades that open/close, controlling the size of the aperture 

f/stop

the mathmatical relation between overall size of lens to size of the aperture

“fast” lens

can open to a large aperture and collect more light

what lenses named after? 

their fastest f/stop

openning one stop = (in quantity of light)

doubling the quantity of light 

closing one stop = (in quantity of light)

halving the quantity of light

smallest perceptible incriments of f/stops

1/3rd stops

fast f/stops

more light, shallow focus

slow f/stops

less light, deep focus

changing f/stop affects…

depth of field

depth of field

range of acceprtable sharpness in front of and behind a subject

sensor sizes

film frame size

larger sensor sizes

decreases DOF

smaller sensor sizes

increases DOF

what value do you light meter at? 

middle gray 

slow motion (high frame rate/overcranking)

frame rate is faster than projection / playback

risk of slow motion

underexposure

fast motion (low frame rate/undercranking)

frame rate is slower than projection/playback

risks of fast motion 

over exposure 

ramping

frame rate changes during a single shot (must compensate for light)