film

Question 1

long shot

Answer 1

A shot in which the scale of the
object shown is small; a standing
human figure appears nearly the
height of the screen; the background
still dominates the image.

Question 1

Extreme long shot

Answer 1

A shot in which human figures are
barely visible; used as
establishing shots that disclose
settings at great distances.

Question 2

Medium long shot

Answer 2

shot in which the human figure is
framed approximately from the knees
up. These are especially common
because they allow for a nice balance
between figure and surroundings

Question 3

medium shot

Answer 3

A shot in which the object filmed is
of moderate size; the human figure is
captured from the waist up, letting
gestures and expressions become
more visible.

Question 4

Medium close up

Answer 4

A shot in which the scale of the
object shown is small; a standing
human figure appears nearly the
height of the screen; the background
still dominates the image.

Question 5

close up

Answer 5

A shot in which the filmed object is
relatively large; most often a
person’s head seen from the neck
up, or an object of comparable size
that takes up most of the screen

Question 6

extreme close up

Answer 6

A shot in which the object depicted
is very large and fills the entire
screen; most usually a small object
or part of the body

Question 7

Angle

Answer 7

refers to the position of the camera in relation to the subject being shown.

Question 8

POV shot

Answer 8

camera placed approximately where the character’s eyes
would be, also be described as “first-person” or “subjective” camera

Question 9

A lens

Answer 9

shaped piece of transparent material, curved to gather and focus light rays.

Question 10

focal length

Answer 10

which is the distance in millimeters
between the center of the lens to the surface of the film stock,

Question 11

Depth of field:

Answer 11

range of distance before the lens

Question 12

Deep-focus

Answer 12

cinematography achieves a great depth of field, with several
planes visible and in sharp focus.

Question 13

Shallow-focus

Answer 13

cinematography achieves a short depth
of field, with only a few planes in sharp focus

Question 14

wide-angle lens

Answer 14

less than 35mm in focal length that maximizes depth of field and thus lends itself to shooting in deep focus. This lens tends to exaggerate
distances between objects and to distort straight lines near the edge of the frame.
The amount of distortion increases the more that foreground objects are the focus:

Question 15

normal lens:

Answer 15

ens of medium focal length, 35-50mm. As it more closely
approximates human vision,

Question 16

telephoto lens

Answer 16

a lens with a focal length greater than 75mm that minimizes depth
of field and reduces distances between objects in the image These longer lenses
can emphasize certain sections of the image while everything else stays in soft
focus, and they allow filmmakers to shoot action at great distances.

Question 17

zoom lens

Answer 17

a lens of variable focal length that can transform perspective relations
within a single shot. To the untrained eye, a zoom shot may appear to be caused
by camera movement.

Question 18

Three-Point Lighting

Answer 18

This system combines a key light, the main light source, with fill and back
lights to accent and blend the illumination as desired.

Question 19

pan

Answer 19

camera movement in which the camera rotates on its
vertical axis: onscreen a pan gives the impression of a frame horizontally scanning space, as though the camera is turning its head left or right

Question 20

tilt

Answer 20

is a movement in which the camera rotates on its horizontal axis: onscreen it gives the impression of unrolling a space either from top to bottom or bottom to top, as though the camera is looking up or down

Question 21

tracking shot:

Answer 21

here the camera as a whole changes position, traveling in any direction along the ground – forward, backward, circularly, diagonally, or from side to side.

Question 22

crane shot:

Answer 22

camera moves above ground level, rising or descending, often thanks
to a mechanical arm which lifts and lowers it.

Question 23

handheld

Answer 23

produces an unsteady image; often used by documentary
filmmakers because of its sense of immediacy

Question 24

Steadicam

Answer 24

a gimbal-balanced camera mount that produces smooth, fluid movements and stabilizes the image no matter how jagged the terrain or uneven the movement of the operator. The Steadicam was developed by Garrett Brown

Question 25

Mise-en-scène

Answer 25

French term borrowed from theatre that means “put into a scene” – the arrangement of materials before the camera for the purpose of staging a scene

Question 26

profilmic

Answer 26

neutral category – it’s whatever’s in front of the lens at the moment of filming.

Question 27

Long take:

Answer 27

a single unbroken shot, moving or stationary, that follows a complex action that might otherwise be represented through editing.

Question 27

Sequence shot:

Answer 27

long take in which an entire sequence unfolds, often through the use of intricate camera movement and skilled choreography of action.

Question 28

Parallel editing

Answer 28

shots are edited together from at least two different locations, often to depict simultaneous action

Question 29

Sound bridges

Answer 29

They can occur at the beginning of one scene when the sound from the previous scene carries over briefly before the sound from the new scene begins. Alternatively, they can occur at the end of a scene, when the sound from the next scene is heard before the image appears on the screen

Question 30

SONIC FLASHBACK

Answer 30

Sound from one diegetic time is heard over images from a later time.

Question 31

DIEGETIC/NON-DIEGETIC SOUND

Answer 31

Any voice, musical passage, or sound effect presented as originating from a source within the film’s world is diegetic. If it originates outside the film (as most background music) then it is non-diegetic.

Question 32

NONSIMULTANEOUS SOUND

Answer 32

Diegetic sound that comes from a source in time either earlier or later than the images it accompanies.

Question 33

OFFSCREEN SOUND

Answer 33

Simultaneous sound from a source assumed to be in the space of the scene but outside what is visible onscreen.

Question 34

POSTSYNCHRONIZATION DUBBING

Answer 34

The process of adding sound to images after they have been shot and assembled.

Question 35

SOUND PERSPECTIVE

Answer 35

The sense of a sound’s position in space, yielded by volume, timbre, pitch, and, in stereophonic reproduction systems, binaural information. Used to create a more realistic sense of space, with events happening

Question 36

SYNCHRONOUS SOUND

Answer 36

Sound that is matched temporally with the movements occurring in the images, as when dialogue corresponds to lip movements. The norm for Hollywood films is to synchronize sound and image at the moment of shooting; others national cinemas do it later

Question 37

VOICE OVER

Answer 37

When a voice, often that of a character in the film, is heard while we see an image of a space and time in which that character is not actually speaking. The voice over is often used to give a sense of a character’s subjectivity or to narrate an event told in flashback.