301 test 2
Terms
undefined, object
copy deck
- Hollywood style
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aka continuity style
-off axis camera position
-varying shot sizes
-seems invisible
-cut on the action
-normal/moderate telephoto lens
-soft and rack focus
-contradiction in time: action on screen
-suture effect - suture effect
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hollywood/continuity style
viewer becomes involved
editing invisible
action seems ongoing - Deep focus
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-space on screen dominate visual presentation of story and role of viewer apprehending it
-mise-en-scene
-wide angle, short lens
-extended depth of field
-expanded focal plane
-scale and motion=differentiate characters
-embeds characters in environment
-internal montage
-editing is slower, longer shots and fewer per minutes - mise-en-scene
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deep focus style
the articulation of cinematic space
everything that goes into the composition of the shot
- internal montage
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deep focus style
evokes a closure response
part of the meaning of the developing story appears in our heads instead of on screen - Einsensteinian Montage
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-2 shots cut together
-conflict and visual dissonance
-rhythm
-emotion time v. linear time - take
- time the camera starts until it stops
- shots
- cut piece that goes into the film
- sequence of shots
- the scene
- sequence of scenes
- key component- love scene, chase scene, ect
- proximic reaction
- correlation between how close we are to someone and our emotions
- micro physciognomy
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close ups
reading faces and emotions - from a low angle
- looking up as a child
- from a high angle
- looking down like an adult
- from a canted angle
- looking while off balance, titled askew
- subjective
- point of view
- reverse angle sequence
- cut cut cut back and forth
- booming
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imitates normal up/down body motions
pedestal moves up or down and camera adjusts - tracking dollying and arcing
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imitates normal body motions through space
pedestal on dolly moves and camera adjusts - craning
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out of body motions through space
crane tracks, moving up/down/left/right - combo movements
- simultaneous combinations of pans, tilts, with tracking or craning
- steadycam versus hand held
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fluidity versus verite
objective versus subjective movements - zooming in or out
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actual lens adjustment not a camera movement
imitates changes in mental/perceptual attention and scope
formalistic - formalistic
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(zooming)
freezes spatial relations, shifting spaces in the fore/middle/baclground instead of penetrating through them - slow motion
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overcranking
expands the passage of time on screen
revealing the invisible process of actions in time - accelerated motion
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undercranking
compresses the passage of time on screen
revealing the invisible pattern of actions in time - reverse motion
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normal footage played backwards
revealing the invisible direction of actions in time - freeze frame
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duplicating a single frame in post production
holds the moment
suspending time
revealing the invisible forward moving, unstoppable nature of time - normal length camera
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45-55 mm
invisible lens
approximates appearance of space, size of objects as seen by the normal eye - wide angle
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short lens
45-25 mm
expands space deeper into frame
making fore/middle/background planes look farther apart
all in sharp focus - telephoto lens
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compresses space within the frame
creating a narrow band of sharp focus
rest of the image in soft focus
zoom lens- variable focal length lens