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Directing Flashcards

1
Q

smallest unit of film language

A

shot

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2
Q

everything visible in the frame of the shot; the subject, actions, objects, setting, lighting, and graphic qualities

A

mis-en-scene

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3
Q

expressive unit made up of editing together multiple shots to define a unified action or event, or passage of time and place

A

sequence

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4
Q

a continuous run of images unbroken by an edit

A

shot

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5
Q

a dramatic unit in which action ostensibly happens in continuous time and within a single location

A

scene

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6
Q

a series of scenes that create a larger dramatic unit

A

dramatic sequence

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7
Q

organizing images to create a coherent sense of space, time, and movement in a way that is recognized and understood by nearly everyone

A

continuity style

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8
Q

each individual still image captured on film or video

A

physical frame

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9
Q

two-dimensional space defined by its horizontal and vertical dimensions

A

compositional frame

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10
Q

screen left, screen right, top, and bottom

A

four edges of frame

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11
Q

what the audience doesn’t see

A

off screen

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12
Q

the relationship between the width and height of the frame

A

aspect ratio

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13
Q

all of the essential information in the shot is neatly contained within the parameters of the frame

A

closed frame

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14
Q

the composition leads the audience to be aware of the area beyond the edges of the visible shot

A

open frame

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15
Q

a composition rule that divides the screen into thirds along the horizontal and vertical axes and then placing significant objects, focal points, and elements of interest along these lines

A

rule of thirds

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16
Q

extra vertical space to one side or the other; walking space

A

looking room

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17
Q

a shot that shows a large view of the location, setting, or landscape; emphasis is on surroundings or relationship to surroundings

A

extreme long shot/wide shot (ELS)

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18
Q

a shot that contains the whole human figure; good for larger physical movements and activity

A

long shot

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19
Q

frames subject from the knees up; cowboy shot because of cowboy’s gun belt

A

medium long shot

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20
Q

frames subject from waist up; good for smaller physical actions and facial expressions while keeping some connection with surroundings

A

medium shot

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21
Q

shot from the rest or shoulders up; emphasis is facial expression, but some connection to physical attitude of body is kept

A

medium close-up

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22
Q

places primary emphasis on the face or other part of the body; emphasizes features, movements, and expressions

A

close-up

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23
Q

stylistically potent shot that isolates a very small detail or feature of the subject

A

extreme close-up

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24
Q

shot with two subjects

A

two shot

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25
Q

shot with three subject

A

three shot

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26
Q

shot with more than three people

A

group shot

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27
Q

shot where lens of camera is positioned at eye level of subjects

A

eye-level shot

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28
Q

shot where lens of camera is above eye level

A

high-angle shot

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29
Q

shot where lens of camera is below eye level

A

low angle

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30
Q

a shot in which the subject looks directly at the camera

A

direct address

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31
Q

shots in which the camera looks directly at the face of a subject but the subject’s sightline is just off the edge of the frame

A

frontal shots

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32
Q

relationship with frontal shot and three-quarter frontal shot

A

intimate perspective; can elicit strong engagement

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33
Q

relationship with profile shot

A

neutral point of view

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34
Q

relationship with shot from behind

A

creates a sense of distance, remoteness, and mystery

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35
Q

relationship with three-quarter back shot

A

encourages audience to identify with a character by aligning their visual point of view with that of the subject

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36
Q

dutch angle; tilting camera laterally so that the horizon of your composition is oblique

A

canted angle

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37
Q

relationship with canted angle

A

creates a feeling ranging from slight imbalance. to extreme spacial disorientation; can infuse tension, imbalance, or disorientation into a scene

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38
Q

scans space horizontally by pivoting camera left or right

A

pan

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39
Q

shifts camera perspective vertically with the lens facing up or down

A

tilt

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40
Q

pivoting the camera horizontally or vertically from a stationary spot while camera is running

A

stationary camera move

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41
Q

moving the entire camera in space horizontally, closer or farther, or vertically

A

dynamic camera move

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42
Q

when you move the camera in order to follow or track with a subject

A

tracking shot

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43
Q

moving shots in which the camera moves closer or farther away from the subject

A

dolly shot

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44
Q

a shot in which the camera is raised very high in the air above a human subject’s head

A

crane shot

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45
Q

a system that assures us that individual shots, when cut together, will give us the illusion of smooth and continuous time, movement, and space, regardless of the order those shots were taken in

A

continuity

46
Q

sounds that exist naturally in a given location

A

ambient sound

47
Q

means that we must shoot all of the shots in a continuity sequence from only one side of the action so that shots will cut together seamlessly

A

180 degree princ

48
Q

the direction to which a character is looking

A

sight line

49
Q

the direction a character travels in a frame

A

screen direction

50
Q

axis of action/ director’s line

A

180 degree line

51
Q

placing camera on opposite side of 180 degree line

A

jumping the line

52
Q

changing the size of a shot by at least 20mm or moving camera by at least 30 degrees so that shots cut together seamlessly

A

20mm/30 degree rule

53
Q

cutting together two shots of the same subject when the frames are very similar

A

jump cut

54
Q

dividing a single movement between two shots in order to bridge the edit; makes shots come together in a seamless way

A

match action edit/ cutting on action

55
Q

six basic principles of continuity

A
  1. continuity of mis-en-scene (shared shot content)
  2. continuity of sound
  3. continuity of performance
  4. continuity of spacial orientation (axis of action)
  5. 20mm/30 degree rule
  6. cutting on action (match action edits)
56
Q

master shot

A

clearly shows both subjects in the scene and defines the spatial relationship of the two to each other and the space around them

57
Q

clearly shows both subjects in the scene and defines the spatial relationship of the two to each other and the space around them

A

reverse shots (singles)

58
Q

a reverse shot that is from a n angle that includes a portion of the other person’s shoulder or head

A

over-the-shoulder shot (OTS) / dirty single

59
Q

alternating between to reverse shot angles

A

shot/reverse shot technique

60
Q

a reverse shot of a character reacting to a moment

A

reaction shot

61
Q

accurately following a person’s sightline from shot to shot, especially in an interaction

A

eyeline much

62
Q

interruption of a continuous filmed action by inserting a shot of a detail within your scene other than the characters’ faces

A

cutaway shot

63
Q

shooting a scene from various angles

A

coverage

64
Q

shows your subject turning their gaze toward a person or object

A

looking shot

65
Q

shows what a character is looking at

A

POV shot

66
Q

removing extraneous time and territory in the edit

A

elliptical editing

67
Q

allows the actions and relationships of an entire scene to develop within a single shot in real time

A

long take

68
Q

annotated script that shows you what shots are used to cover a scene and how they connect together as an edited scene

A

shooting script

69
Q

drawings of shots, arranged on paper in the order they appear in a sequence

A

storyboards

70
Q

a list of all the shots that make up the film in the order in which they will be shot

A

shot list

71
Q

copy of the screenplay that contains a record of what parts of the script have been successfully shot and from what angle

A

lined script

72
Q

drawings of each scene from a bird’s-eye perspective

A

overheads

73
Q

the movement of your characters in space

A

blocking

74
Q

essential story elements

A
  1. central character
  2. dramatic situation (premise)
  3. actions and stakes
  4. resolution and what it all means
75
Q

determines the degree of magnification or de-magnification of the scene being shot

A

focal length

76
Q

how much of the scene the lens takes in horizontally and vertically

A

angle view

77
Q

medium lenses; approximates the same perspective and image size that the human eye would see if one were to stand in the same spot as the camera not including peripheral

A

normal (lens and definition)

78
Q

normal lens focal length for 16mm film format

A

25 mm

79
Q

normal lens focal length for 35mm film format

A

50 mm

80
Q

normal lens focal length for 2/3in CCD

A

20 mm

81
Q

normal lens focal length for 1/2in CCD

A

15 mm

82
Q

normal lens focal length for 1/3 CCD

A

11 mm

83
Q

normal lens focal length for 1/4in CCD

A

8 mm

84
Q

relationship between area of imaging device and focal length for normal lens

A

larger the area of the imaging divide, the longer the focal length for a normal lens

85
Q

lenses that reduce the size of the image and broaden the angle of view compared to the human eye

A

short lenses;

86
Q

wide-angle lens focal length for 16mm film (slight)

A

15 mm

87
Q

wide-angle lens focal length for 16mm film (normal wide)

A

10 mm

88
Q

wide-angle lens focal length for 16mm film (very wide)

A

8 mm

89
Q

lens with an angle of view greater than 180 degrees; fisheye lens

A

extreme wide-angle lens

90
Q

long lenses; lenses that enlarge the size of the image and narrow the angle of view

A

telephoto

91
Q

telephoto lens focal length for 16mm film (slight)

A

75 mm lense

92
Q

telephoto lens focal length for 16mm film (normal telephoto)

A

120 mm

93
Q

telephoto lens focal length for 16mm film (very telephoto

A

250 mm

94
Q

lenses that have one fixed focal length

A

prime lenses

95
Q

variable focal length lenses; have a continuous range of focal lengths in one lens housing

A

zoom lenses

96
Q

when a point of light reflecting off the subject is registered as a point of light on the focal plane

A

focus

97
Q

makes your subject stand out from the environment and gain prominence in the frame

A

shallow depth of field

98
Q

increases the amount of information we see along the z-axis and therefore you gain environmental detail that can inflect the mood of the scene and the narrative content

A

deep depth of field

99
Q

a stabilizing system for a camera that incorporates a complex system of counterweights and springs to minimize gravitational forces and absorb any shock

A

stedicam

100
Q

standardized routine for every sync sound take on a double-system film production

A

calling the shot

101
Q

calling the shot

A
  1. A.D. (or director) : is anyone not ready?
  2. if no one responds, A.D. (or director) : roll sound
  3. sound recorder starts recorder and after 5 second pre-roll says: speed
  4. A.D. (or director): roll camera
  5. camera op starts camera and calls: rolling
  6. A.C. (or slate person) claps slate after saying scene and take numbers
  7. after a pause, director says: action
  8. scene happens
  9. director calls cut
  10. camera and sound recorder are turned off
  11. camera report and sound logs are updated as slate is reloaded
102
Q

a shot of part of a scene as filmed from a different angle and/or focal length than the master shot

A

insert

103
Q

a style of filmmaking characterized by realistic, typically documentary motion pictures that avoid artificiality and artistic effect and are generally made with simple equipment

A

cinema Bertie

104
Q

has apparent breaks in natural time continuity as it is implied in the film’s story

A

elliptical style shooting

105
Q

cuts that leave an impression of continuity and do not distract from the story

A

invisible cuts

106
Q

has little to no psychological effect on the viewer; camera is in a neutral position; there is no dramatic power

A

eye level shot

107
Q

makes characters look dominant, aggressive, or ominous

A

low-angle shot effect

108
Q

makes characters look weak, submissive, or frightened

A

high angle shot effect

109
Q

author’s draft; first complete version of the narrative in proper screenplay format

A

first draft

110
Q

another draft of a screenplay where things have been fixed and changed to make the story better

A

revised draft

111
Q

speculative screenplay; a non-commissioned and unsolicited screenplay that a writer hopes will get picked up

A

spec script

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