BACKUP The Key Elements of Film Form: Cinematography COPY Flashcards

Question

Core Study Areas: Film Form: Cinematography What is frames per second?

Answer 1

The frame rate or the speed that individual frames are projected to give the allusion of movement

Answer 2

The movement the camera starts rolling (action) to the end (cut)

Answer 3

The continuous scene or sequences between two cuts or edits

Answer 4

The process of shooting e.g "we shot 4 minutes of screen time today'

Answer 5

There are different types of shot, which refer to the distance between the camera and the subject

Answer 6

1. Extreme long shot (ELS) or Establishing shot 2. Long shot (LS) 3. Medium-long shot (MLS) 4. Medium shot (MS) or Midshot 5. Two-shot 6. Medium close-up (MCU) 7. Close-up (CU) 8. Extreme close-up (ECU)

Answer 7

The distance between the nearest and furthest objects in a scene that are in sharp focus in a shot

Answer 8

Deep focus has the foreground, middle ground and background all in remaining in sharp focus Shallow focus is where one thing is in plane focus and the background out of focus

Answer 9

1. Aerial shot 2. Overhead shot 3. Eye-level shot 4. Over-the-shoulder shot 5. High-angle shot 6. Low-angle shot 7. Objective 8. Subjective

Answer 10

1. Fixed axis 2. Shifting axis 3. Zoom 4. Crane shot 5. Hand-held 6. Steadicam

Answer 11

- Source: (3 point lighting) - Key light - Fill light - Back light - Direction: - Front lighting - Side lighting - Back lighting - Under lighting - Top lighting

Answer 12

- Natural | - Artifical

Answer 13

- Key light - Fill light - Back light

Answer 14

- It refers to the bold use of dark and light.

Answer 15

- Narrative themes of good versus evil - characters' situations e.g a sense of peril (if well lit) and wrong-doing (if in the shade) - A physical allusion to characters' psychological state of mind - Themes of duplicity, claustrophobia and fatalism

Answer 16

- Front lighting - Side lighting - Back lighting - Under lighting - Top lighting

Answer 17

- Intensity | - Quality

Answer 18

- It's the work that is required to complete the film, after shooting, including the edit, sound mix, music composition, colour grading and CGI special effects

Answer 19

- Colour grading is the process of improving the appearance of an image and it can visually emphasise the mood of the scene

Answer 20

- It is not the hue of the colour that makes an impact but the brightness

Answer 21

- Composition is the arrangement of all the visual elements of mise-en-scene in the frame. The choice of camera angle and lighting, combined with the placement of people and objects within the setting, creates the composition of a shot

Answer 22

- the rule of thirds - Balance and symmetry - Lines Form

Answer 23

- The rule of thirds is a central premise of composition. If you divide the frame into thirds your main character or object should fall at the intersection of two of these lines. This will draw your eye to the main object but leave space for further information to be communicated

Answer 24

- Formal or symmetrical balanced composition is used to depict a quiet, restful, static scene. Having the images displayed evenly within the frame will convey a sense of calm and order - Informal or asymmetrical unbalanced composition is used to challenge or attract attention. You can make a character appear more dominant by positioning them higher or lower in a frame

Answer 25

- Compositional lines are the contours of objects, people, props, buildings, trees, vehicles, furniture and so on, and are expressed in straight, curved, vertical, horizontal or diagonal lines

Answer 26

1. Vertical lines 2. Horizontal lines 3. Diagonal lines 4. Organic lines 5. Implied lines

Answer 27

- Physical forms such as people or objects. - Filmmakers can also create the illusion of form in the viewer's eye by grouping people or objects together to create abstract forms.

Answer 28

- A triangle pointing upwards suggests strength, stability and solidarity like a mountain. this allows the eye to go from point to point in an upwards movement with ease, reinforcing positive attributes

Answer 29

- It refers to everything on the screen in front of the camera In theatre, it refers to all the elements placed on a stage that contribute to the setting or mood the creative team were working towards

Answer 30

- Red: anger, violence, danger, love, excitement - Pink: femininity, sweetness, innocence, playfulness - Orange: warmth, happiness, friendly, exoticness - Yellow: sickness, madness, idyllic, insecurity - Green: nature, renewal, hope, darkness, envy, ominous - Blue: cold, calm, melancholy, cerebral - Purple: fantasy, mystical, ethereal, ominous - Black: fear, grief, sophistication - White: sincerity, purity

Answer 31

- In the screenshot, it shows Eva whose son has carried out a mass school shooting, sitting in a cafe. In it are two primary colours; red and green. Eva is sitting in the green-lit window which alludes to darkness, giving the shot an ominous feel. The window and Eva is framed on all sides by large blocks of red, suggesting that she is surrounded by anger, violence and danger, with no escape

Answer 32

- Colour plays a significant part in the aesthetic style with a single colour dominating the mise-en-scene in different sequences. Here the characters and backgrounds are almost all the same shade of green, with the green alluding to nature, renewal and hope

Answer 33

- Production designer

Answer 34

- Location | - Time

Answer 35

- Exterior - Interior - A real place - Specially built set on a soundstage - On location

Answer 36

- Dawn - Daylight - Dusk - The dead of night

Answer 37

- All the items used in both interior and exterior locations

Answer 38

- Vehicles - Street lighting - Shop facades - Background extras

Answer 39

- Pictures on the wall - Books on the shelf - Items on a table

Answer 40

- Where props are placed and how they are used

Answer 41

- Props that characters make use of - Spectacles - A holstered gun - An umbrella - A wristwatch

Answer 42

- Cinematography - Lighting - Actors

Answer 43

- The setting is clearly a barrack in a concentration camp, with the men wearing the grey and black striped uniform synonymous with the German WW2 concentration camps. The uniforms have a yellow star on them, so we know that these men are Jewish because the Nazis forced all Jews to wear the Star of David.

Answer 44

- The setting is a domestic living space, filled with furniture and soft furnishings of golden browns and reds, which alludes to gold, warmth and comfort. The stripped wooden floor and throw rugs indicate an arty-affluence that is reinforced by the vinyl collection. The only primary colours in the room are the children's toys, suggesting that Kevin has invaded this warm golden space with his solid colourful toys.

Answer 45

- Are put of the wider aesthetic vision - Develop the character - Support or contrast other characters' costumes - Are suitable for the actor's performance (physical/restrained) - Are appropriate to the setting (both time and location)

Answer 46

- Stetson hats in a western

Answer 47

- Day to day, which is used for naturalistic performances, or used to enhance an actor's features. - Character or transformation make-up would employ specialist make-up alongside facial prosthetics to change a person's appearance. - Special effects (FX) make-up also uses prosthetics made of latex, foam or silicone, but these may be entire bodysuits and complete head/facial masks.

Answer 48

- It's an over-the-shoulder shot, with Shaun in the foreground. He and his junior colleagues are all wearing the same costume: black trousers, white shirt and red tire. But the styling for each reflects six different characters. Some shirts are ironed, other wrinkled. Some have the shirt neatly tucked into their trousers while others have them bagged out or half-tucked.

Answer 49

- Add further meaning to their relationship to one another - Indicate their importance to the narrative - Draw attention to a particular character/object

Answer 50

- Actors are analysed

Answer 51

- To the left - To the right - Above - Below - Behind the set - In front of the camera

Answer 52

- Walking into frame from the right - Across the frame and out of the left - Looking upwards - One character to point to the action happening off-screen

Answer 53

- When a character breaks the fourth wall by addressing the audience or looking directly into the camera making the audience complicit in the action

Answer 54

1. In the foreground, Liz and Shaun are sitting opposite each other, across a fairly wide table. They are placed in the lower half of the screen. Ed is in the background standing, so we see more of his body and is standing between them as though his mere presence is pushing them further apart. 2. Ed and Shaun are sitting very close together on the sofa, with their arms overlapping. This proximity to one another mirrors their friendship, which seems far closer than that of Shaun of Liz.

Answer 55

- The process of arranging all the images in their current order so that the narrative makes sense, the dialogue flows and you can see what you need to see when you need to see it

Answer 56

- (invisible editing) it's designed to make the transitions between shots as seamless as possible so it doesn't draw attention to the film's construction, instead allowing the audience to become immersed in the narrative

Answer 57

- An establishing shot is usually the point of entry into a scene which typically begins with a long shot - Shot-reverse-shot is used between two people in a conversation filmed through over the shoulder shots - An eye-line match is used in conversations where two characters have been shot up close and the shot is edited to match the height of the other character - The 180-degree rule is used to ensure that we understand where characters are in relation to each other, and the camera should not cross over the 'invisible line - The 30-degree rule is a general principle that two consecutive shots should have at least a 30-degree variance between them - Cross-cutting is the parallel editing of two or more events in an alternating pattern. - Match on action- This is when the editing will make something look continuous while the shots change

Answer 58

- How you move from one shot to the next 1. Can manipulate time and space 2. Serve the film's aesthetic style 3. Create mood 4. develop narrative and character 5. generate further meaning

Answer 59

1. Cut- A straight edit from one image to another with nothing in between 2. Dissolve- One image overlaps another from 'image A' to 'image B' 3. Fade- The picture emerges out of, or disappears into black or white

Answer 60

- It allows you to travel great distances in time and setting in an instant

Answer 61

- To show that it's the end of a major scene or act and it's the fil equivalent to the end of a chapter in a book

Answer 62

- It creates a feeling of time passing or makes a connection between two characters or a character and an object or setting

Answer 63

1. Wipe 2. Jump-cut 3. Match cut 4. Freeze-frame 5. Match dissolve

Answer 64

- A line travels across the screen from left to right replacing it with the second image

Answer 65

- This is when we cut from one image to something that looks similar which transports us instantly to another scene

Answer 66

- Uses the same juxtaposition of images, but dissolves between the two

Answer 67

- This is the result of breaking the 30-degree rule which gives the scene an edgy, uneasy feeling as though we haven't seen anything

Answer 68

- This is where a single frame is held on screen for a period of time, it can leave the film open for interpretation or hold an important image or character's response in the viewer's mind

Answer 69

- Editing - Time - Space - Sequences - Throughout - Narrative - Coherence

Answer 70

- Linear form - Near chronological order - Discontinuity of narrative

Answer 71

- where the story starts and progresses forwards until its resolution

Answer 72

- When the film starts in the present day and then goes back in time to the beginning of the story and continues forwards in one long flashback until the two points meet where it can either end or continue on.

Answer 73

- It presents the story in a non-linear manner, which can be achieved in a number of ways 1. Reversed 2. Flashbacks 3. Flashforwards 4. Dreams and fantasies

Answer 74

- When it starts at the end narrative and works backwards to the beginning

Answer 75

- It inserts a scene from the narrative past in an otherwise linear narrative or as the overarching structure

Answer 76

- Move the action from the present to the future

Answer 77

- Inserted in the narrative to offer insights into a character's emotional status or to shed light on the past

Answer 78

- Using Rocket as the central point of the flashback indicates that the narrative is being told from his perspective.

Answer 79

- The length of each shot, scene and sequence

Answer 80

- It may last for a few seconds, minutes or the entire film

Answer 81

- It may consist of one-shot or a series of shots depicting a continuous event

Answer 82

- A series of scenes of shots complete in itself. Action should match in sequence, where it continues across several consecutive shots with straight cuts so that it depicts the event in a continuous manner

Answer 83

- By increasing the frequency of the editing, seeing the action from various shots/angles

Answer 84

- Scenes can last longer with fewer shot changes

Answer 85

- Scenes at the beginning of a film, where we are getting to know the characters and the story is unfolding

Answer 86

- 150 edits - 1,300 edits - Twice as many 3,000

Answer 87

- Is the software, computer-based editing systems we use nowadays for editing video or audio as opposed to the old systems of either cutting film and/ audiotape and sticking the pieces together manually in the required order

Answer 88

- Fewer longer shots as shot length creates the pace of the film.

Answer 89

- We see Shaun get up from the sofa and walk towards the door. It then cuts to a series of six quick-cuts (crash zooms) as he gets ready for work. This 4 inch is followed by a 10 inch shot of him adjusting his tie and talking to Pete. This is followed by another sequence of six quick-cuts of breakfast preparation. These extreme quick-cuts are used for comic effect and form part of Edgar Wright's aesthetic.