Film - Section 4 - Chapter 3,4

Mise-En-Scene: Cinematography, Editing

Diagesis

The world of the film

Cinematography

Photography for motion picture

Aspect ratio

The relation of the width of the rectangular image to its height

Cinemascope

The anamorphic process for widescreen films

Anamorphic lens

A lens in the camera that squeezes a widescreen image onto a normally shaped frame of film, and/or a lens in the projector that unsqueezes the image back out to widescreen width.

Panavison

Any film made with cameras and lenses patented by the company named…

Cinerama

A lush cumbersome widescreen process that used 3 interlocked cameras to record 3 separate images which, when projected across a specially curved screen.

Letter boxing

Preserving the original widescreen aspect ratio when transferring the film onto video.

Three-point lighting

A very commonly used lighting set up, consisting of 3 main sources: a key light, a fill light, and a backlight.

Film stock

raw, unexposed footage

monochromatic

Comprised of a single color -usually color.

depth of field

The area of the image between foreground and background that remains in focus.

deep focus

Objects near the camera, midway, and far from the camera are all in sharp focus.

rack focus shot

Changes the plane of focus within the shot by way of change in focus, rather than by way of a zoom.

Telephoto lens

A lens that greatly magnifies distant objects, the way a telescope does.

Wide-Angle lens

A lens with a wide horizontal field of view, the opposite of a telephoto lens.

Diegetic sound

Sounds that are sourced in the world of the film’s story

intradiegetic

A film within a film

extradiegetic

This when the character speaks to the audience.

zoom

A lens with a variable focal length, meaning that it shifts from wide-angle to telephoto and back; with a tracking shot, the whole camera moves, whereas with a…, only parts of the lens move but the camera itslef remains in place.

editing

the process of splicing one shot to another synonymous with cutting.

Transitions

Methods by which 1 shot is linked to the next

Iris-In and Iris-Out

Transitional devices between shots and/or scenes in which the image appears first as a small circle in the screen and expands outward until it fills the screen, or the reverse.

montage

various ways in which filmmakers string individual shorts together to form a series.

continuity editing

A set of editing practices that establish spatial and/or temporal continuity between shots

editing matches

Involve ways to downplay the jarring effect of cutting.

180 system

A convention of narrative filmmaking in which the director establishes an imaginary line running across the set

Shot/reverse-shot pattern

An editing technique that records the interaction between 2 characters, usually a conversation, who are facing one another with one series of shots often taken over the shoulder of 1 character and another series of shots taken over the shoulder of the other character.

Sergei Eisenstein’s theory of montage

Adjacent shots should relate to each other in such a way that A and B collide to produce C.