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FIST > Chapter 5 > Flashcards

Chapter 5 Flashcards

1
Q

cinematography is quoted as

A

“writing in movement”

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2
Q

photography is quoted as

A

“writing in light”

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3
Q

tonality

A

considering how light registers on film, the control of a range of tones and shades

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4
Q

contrast

A

comparative difference between the highlights and shadows (lights and darks) of a frame

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5
Q

exposure

A

regulation of how much light passes through camera lens

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6
Q

what does the speed of motion onscreen depend on

A

rate film was shot at and rate of projection

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7
Q

what is frame rate calculated in

A

frames per second

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8
Q

what was the standard frame rate since 19201

A

24 frames per second

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9
Q

what are the rame rate ranges of today

A

8-64 fps

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10
Q

ramping

A

varying frame rate during shooting.

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11
Q

focal length

A

distance from the centre of the lens to point where light beams converge to form area of focus,

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12
Q

what does changing the focal length do

A

alters size and proportions of objects seen onscreen

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13
Q

what does a short focal length do

A

lengthens depth, wider field of vision

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14
Q

short focal length

A

<35mm

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15
Q

middle focal length

A

35 mm

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16
Q

what does a middle focal length do

A

lines are straight and depth is accurate to real life.

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17
Q

what does long focal length do

A

flattens space along axis to make depth reduced, narrower field of vision

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18
Q

long focal lens

A

typically 100 mm or more

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19
Q

what is a short focal length lens called

A

wide-angle lens

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20
Q

what is a long focal length lens called

A

telephoto lens

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21
Q

depth of field

A

range of distances specific to each lens where objects can be photographed in sharp focus given a certain exposure setting.

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22
Q

what is a zoom lens

A

a lens that’s focal length can be changed during a shot.

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23
Q

what is changed by a zoom lens

A

focal length and framing

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24
Q

deep space

A

the way the filmmaker has staged the action on several different planes, regardless of whether all of these planes are in focus.

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25
Q

selective focus

A

focusing on one plane and letting the others blur.

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26
Q

deep focus

A

short focal length lenses and higher light levels to create a greater depth of field.

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27
Q

racking focus/pulling focus

A

used to switch attention between foreground and background, making one plane blurred and another sharp.

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28
Q

special effect

A

photographic manipulations that create fictitious spatial relations in the shot

29
Q

what are some example of special effects

A
  • superimposition
  • matte work
  • rear projection
30
Q

which is the most unrealistic special effect

A

superimposition.

31
Q

what is superimposition

A

images are laid over one another, creating multiple perspectives within the frame.

32
Q

composite

A

separately photographed images are blended in a single composition

33
Q

rear projection/process work

A

project footage of a setting and have actors in front of it

34
Q

what is an example of rear projection

A

when actors are in a car and a video of scenery moving past plays behind them

35
Q

why are older rear-projects not believable

A

the depth cues are not very convincing.

36
Q

matte

A

portion of the setting photographed on a strip of film, with the other part of the frame empty

37
Q

matte work

A

joining a matte with another strip of film that shows actors/objects that fit in matte’s blank area.

38
Q

travelling matte

A

when actors are filmed in front of blank background and then a background is fit around them (green screen)

39
Q

framing

A

The use of the edges of the film frame to select and to compose what will be visible onscreen.

40
Q

aspect ratio

A

ratio of frame width to frame height

41
Q

what was the aspect ratio of early filmmakers

A

4x3 or 1.33:1

42
Q

what year was the academy ratio defined

A

1930s

43
Q

what is the academy ratio

A

1.37:1

44
Q

why was the aspect ratio changed by the academy

A

to allow room for a sountrack.,

45
Q

what aspect ratio was common in the 1950s

A

1.85:1

46
Q

what aspect ratio is most common today

A

widescreen

47
Q

what is the easiest way to create widscreen

A

masking the image during either production or exhibition.

48
Q

masking/hard matte

A

stretches of black fabric that frame theatre screen.

49
Q

anamorphic process

A

creates widescreen by using a special lens to squeeze the image horizontally during filming or printing

50
Q

what are the ways to make an image widescreen

A

masking or anamorphic process

51
Q

iris

A

moving circular mask that opens to reveal or closes to conceal

52
Q

canted film level

A

framing is tipped to one side or another

53
Q

“dutch” framing

A

canted film level

54
Q

extreme long shot effect

A

makes human figures appear lost or tiny

55
Q

long shot effect

A

figures are more prominent but the background still dominates

56
Q

medium long shot effect

A

human figure is framed from the knees up

57
Q

media shot effect

A

humans framed from the waist up, gesture and expression are more visible.

58
Q

close up effect

A

shot showing just the head/hands/feet/small object.

59
Q

extreme close up effect

A

singles out portion of the face or isolates and magnifies object.

60
Q

mobile framing

A

allows cinematographers to change angle/level/height of framing during shot

61
Q

What are the types of mobile framing

A
  • panorama shot
  • tilt shot
  • tracking/dolly shot
  • crane shot
62
Q

panorama

A

camera swivels along vertical axis (camera pans horizontally)

63
Q

tilt shot

A

camera swivels on horizontal axis (pans vertically)

64
Q

tracking/dolly shot

A

camera changes whole position by travelling along the ground in any direction

65
Q

crane shot

A

camera moves above ground level

66
Q

dolly

A

heavy cart carrying camera

67
Q

what is the difference between a zoom shot and a tracking shot

A

in a zoom shot, the perspective or vantage point remains consistent but in a tracking shot it changes

68
Q

reframing

A

changing of camera angle without a cut

69
Q

sequence shot

A

an entire scene is one long shot

FIST (6 decks)

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