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Intro To Film > Chapter 4 > Flashcards

Chapter 4 Flashcards

1
Q

Cinematography

A

Motion-picture photography, literally “writing in movement”

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2
Q

Apparent Motion

A

The psychological process that explains our perception of movement when watching films, in which the brain actively responds to the visual stimuli of a rapid sequence of still images exactly as it would in actual motion perception.

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3
Q

Magic Lantern

A

A device developed in the 17th Century for using a lens and a light source to project an image from a slide; precursor of motion pictures.

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4
Q

Chronophotography

A

A sequence of still photographs that record incremental movement, such as those depicting human or animal motion produced by Eadweard Muybridge and Etienne-Jules Marey

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5
Q

Film Stock

A

Unexposed film consisting of a flexible backing or base and a light-sensitive emulsion

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6
Q

Nitrate

A

The highly flammable chemical base of 35mm film stock in use until the early 1950s

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7
Q

Safety Film

A

Acetate-based film stock that replaced the highly flammable nitrate film base in the early 1950s

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8
Q

Film Gauge

A

The width of the film stock - such as 8mm, 16mm, 35mm, 70mm

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9
Q

Panchromatic Stock

A

A film stock that responds to a full spectrum of colours, rendering them as shades of grey, and became the standard for black-and-white movies after 1926.

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10
Q

Technicolor

A

Patented colour processing that uses three strips of film to transfer red, green, and blue directly onto a single image; developed between 1926 and 1932 and widely used until the 1950s

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11
Q

Camera Lens

A

A piece of curved glass that focuses light rays in order to form an image on film.

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12
Q

Focal Length

A

The distance from the centre of the lens to the point where light rays meet in sharp focus.

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13
Q

Telephoto Lens

A

A lens that has a focal length of at least 75mm and is capable of magnifying and flattening distant objects.

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14
Q

Zoom Lens

A

A lens with a variable focal length.

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15
Q

Depth of Field

A

The range of distance before and behind the main focus of a shot within which objects remain relatively sharp and clear.

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16
Q

Wide-angle lens

A

A lens with a short focal length (typically less than 35mm) that allows cinematographers to explore a depth of field that can simultaneously show foreground and background objects or events in focus.

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17
Q

Handheld Camera

A

A lightweight camera that can be carried by the operator rather than mounted on a tripod. Allow for greater mobility, lower production costs, and encourages location shooting.

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18
Q

Widescreen Processes

A

Any of a number of systems introduced in the 1950s that widened the image’s aspect ratio and the dimensions of the movie screen.

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19
Q

Aspect Ratio

A

The width-to-height ratio of the film frame as it appears on a movie screen or television monitor

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20
Q

Anamorphic Lens

A

A camera lens that compresses the horizontal axis of a widescreen image onto a strip of 35mm film or a projector lens that decompresses such an image.

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21
Q

Filter

A

Transparent sheets of glass or gels placed in front of the lens to create various effects.

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22
Q

Flare

A

A spot or flash of white created by directing strong light directly at the lens.

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23
Q

Zooming

A

Rapidly changing focal length of a camera to move the image closer or farther away.

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24
Q

Camera Movement

A

A property of a shot in which the camera moves of the borders of the image are altered by a change in the focal length of the camera lens to follow an action or explore a space.

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25
Q

IMAX

A

A large-format film system that is projected horizontally rather than vertically to produce an image approximately ten times larger than the standard 35mm frame.

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26
Q

Analog Video

A

Analog or digital electronic medium that captures, records, stores, displays, and transmits moving images.

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27
Q

Digital Cinematography

A

Shooting with a camera that records and stores visual information electronically as digital code.

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28
Q

Computer-Generated Imagery (CGI)

A

Still or animated images created through digital computer technology. First introduced in the 1970s, CGI was used to create feature-length films by the mid-1990s and is widely used for visual effects.

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29
Q

Digital Intermediate (DI)

A

A digitized version of a film that allows it to be manipulated.

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30
Q

Digital Cinema Package (DCP)

A

A collection of digital files that stores and projects audio, image, and data streams.

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31
Q

Shot

A

A continuous point of view (or continuously exposed piece of film) between two edits.

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32
Q

Cut

A

In the editing process, the join or splice between two pieces of film; in the finished film, an editing transition between two separate shots or scenes achieved without optical effects.

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33
Q

Take

A

A single filmed version of a scene during production or a single shot onscreen.

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34
Q

Master Shot

A

A single shot recording an entire scene from start to finish from an angle and distance that keep everything in view. It is used for coverage during the editing process.

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35
Q

Coverage

A

Filming many takes, often using different setups, in order to have options during editing.

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36
Q

Point of View

A

A subjective shot that reproduces a characters optical point of view, often preceded or followed by shots of the character looking.

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37
Q

Subjective Point of View

A

A point of view that re-creates the perspective of a character as seen through the camera.

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38
Q

Objective Point of View

A

A point of view that does not associate the perspective of the camera with that of a specific character.

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39
Q

Framing

A

The portion of the filmed subject that appears within the borders of the frame. It correlates with camera distance - such as a long shot or medium close up.

40
Q

Mobile Frame

A

A property of a shot in which the camera moves or the borders of the image are altered by a change in the focal length of the camera lens to follow an action or explore a space.

41
Q

Canted Frame

A

Framing that is not level, creating an unbalanced appearance.

42
Q

Academy Ratio

A

An aspect ratio of screen to width height of 1.37:1, the standard adopted by the Motion Pictures Academy of Arts and Sciences in 1932 and used by most films until the introduction of widescreen in the 1950s; similar to the standard TV ratio of 1.33:1 or 4:3.

43
Q

Widescreen Ratio

A

The wider, rectangular aspect ratio of typically 1.85:1 or 2.35:1

44
Q

Pan-and-Scan Process

A

The process used to transfer a widescreen-format film to the 4:3 TV aspect ratio. A computer-controlled scanner determines the most important action in the image and then crops peripheral action and space or presents the original frame as two separate images.

45
Q

Letterbox

A

An effect, usually seen on home video or TV, where the top and bottom strips of a frame are blacked out to accommodate a widescreen image.

46
Q

Native Aspect Ratio

A

The original size and shape of a frame shot by the filmmaker, sometimes altered for presentation on other platforms.

47
Q

Mask

A

Attachments to the camera or devices added optically that cut off portions of the frame so that part of the image is black.

48
Q

Iris

A

A shot in which the corners of the frame are masked in black, usually in a circular, form. An iris-out is a transition that gradually obscures the images moving in; and iris-in expands to reveal the entire image.

49
Q

Onscreen Space

A

The space visible within the frame of the image.

50
Q

Offscreen Space

A

The implied space or world that exists outside the film frame.

51
Q

Rule of Thirds

A

A technique that imagines the frame divided horizontally and vertically into thirds and places objects along these lines for maximum visual interest.

52
Q

Lead Room

A

The space in front and in the direction of an object being filmed.

53
Q

Scale

A

The relative size of the image within the frame.

54
Q

Close-Up

A

Framing that shows details of a person or an object, such as a characters face.

55
Q

Extreme Close-Up

A

A shot that is framed comparatively tighter than a close-up, singling out, for instance, a person’s eyes.

56
Q

Long Shot

A

A shot that places considerable distance between the camera and the scene, object, or person being filmed so that the object or person is recognizable but defined by the large space and background.

57
Q

Extreme Long Shot

A

A shot framed from a comparatively greater distance than a long shot, in which the surrounding space dominates human figures.

58
Q

Medium Shot

A

A middle-ground framing in which we see the body of a person from approximately the waist up.

59
Q

Medium Long Shot

A

A shot that increases the distance between the camera and the subject compared with a medium shot; shows most of an individuals body.

60
Q

Medium Close-Up

A

A shot that frames a person from the shoulders up; typically used during conversation.

61
Q

Camera Height

A

The level at which the camera is placed.

62
Q

Crane Shot

A

A shot taken from a camera mounted on a crane that can vary in distance, height, and angle.

63
Q

High Angle

A

A shot directed as a downward angle on individuals or a scene.

64
Q

Low Angle

A

A shot from a position lower than its subject.

65
Q

Overhead Shot

A

A shot that depicts the action from above, generally looking directly down on the subject from a crane, helicopter, or drone.

66
Q

Point-of-View Shot

A

A subjective shot that reproduces a characters optical point-of-view, often preceded or followed by shots of the character looking.

67
Q

Deep Focus

A

A camera technique using a large depth of field in which multiple planes in the shot are all in focus simultaneously, usually with a special lens.

68
Q

Rack Focus

A

A dramatic change in focus from one object to another.

69
Q

Hue

A

Colour discerned by detecting light of a particular wavelength.

70
Q

Value

A

The degree of lightness or darkness of a colour.

71
Q

Intensity

A

Brightness or dullness of a colour.

72
Q

Colour Correction

A

In digital processing, adjusting a film’s colour levels and exposures for accuracy and consistency

73
Q

Colour Grading

A

The process of altering the image after capture, either digitally or photochemically.

74
Q

Reframing

A

The process of moving the frame from one position to another within a single continuous shot.

75
Q

Pan

A

A left or right rotation of the camera, whose tripod or mount remains in a fixed position; produces a horizontal movement onscreen.

76
Q

360-Degree Pan

A

A shot in which a camera completes a rotation around a fixed vertical axis.

77
Q

Tilt

A

An upward or a downward rotation of the camera, whose tripod or mount remains in a fixed position, producing a vertical movement onscreen.

78
Q

Tracking Shot

A

A shot that changes the position of the point-of-view by moving forward, backward, or around the subject, usually on tracks that have been constructed in advance; also called travelling shot.

79
Q

Dolly Shot

A

A shot in which the camera is moved on a wheeled dolly that follows a determined course.

80
Q

Following Shot

A

A pan, tilt, or tracking shot that follows a moving individual or object.

81
Q

Handheld Shot

A

An often unsteady film image production by an individual carrying the camera.

82
Q

Steadicam

A

A camera stabilization system introduced in 1976 that allows a camera operator to film a continuous and steady shot without a dolly or other devices.

83
Q

Zoom-In

A

The act of changing the lens focal length to narrow the field of view of a distant object, magnifying and reframing it, often in close-up, while the camera remains stationary.

84
Q

Zoom-Out

A

Reversing the action of a zoom-in by adjusting the lens focal length so that objects that appear close initially are distanced and reframed as small figures.

85
Q

Special Effects

A

Technique that enhances a film’s realism or surpass realism with spectacle. They may be prepared in preproduction (building of futuristic sets), generated in production, or on set, or added in postproduction.

86
Q

Mechanical Effects

A

Techniques that are produced on set - often with sets, props, costumes, and make-up - and that include pyrotechnics, weather effects, and scaled models.

87
Q

Optical Effects

A

Special effects produced with the use of an optical printer, including visual transitions between shots such as dissolves, fade-outs, and wipes, or process shots that combines figures and backgrounds through the use of matte shots.

88
Q

Slow Motion

A

A special effect that makes the action move at slower-than-normal speeds, achieved by filming the action at a high speed and then projecting it at standard speeds.

89
Q

Fast Motion

A

A special effect that makes the action move faster than normal speeds, achieved by filming the action at a slow speed and then projecting it at standard speeds.

90
Q

Forced Perspective

A

An optical effect produced in-camera by positioning the camera to create illusions of scale.

91
Q

Colour Filter

A

A device fitted to camera lens to change the tones of the filmed image.

92
Q

Dolly Zoom

A

A shot in which the camera is moved to keep the object the same size.

93
Q

Process Shot

A

A special effect that combines two or more images as a single shot, such as filming an actor in front of a projected background.

94
Q

Rear Projection

A

A technique that projects an image onto a screen behind the actors

95
Q

Matte Shot

A

A process shot that joins two pieces of film, one with the central action or object and the other with a painted or digitally produced background that would be difficult to create physically for the shot.

96
Q

Visual Effects (VFX)

A

Special effects created in postproduction through digital imaging.

97
Q

Performance-Capture Technology

A

A technique for generating computer models from data gathered from an actor’s performance.

Intro To Film (7 decks)

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