Final Studyguide Flashcards
1
Q
Structure vs. Presentation:
A
- structure: HTML
- Presentation: CSS
- HTML is structure, CSS is presentation structure
- Done separately while creating a website
- HTML should only convey semantic and structural meaning, while CSS can be used to design the page
2
Q
Element
A
- Elements are made up of two tags: an opening and a closing tag
- Each html element tells the browser something about the information that sits between its opening and closing tags
- specify different functions in your websites
3
Q
Tags
A
Often used interchangeably with elements
4
Q
CSS
A
- Cascading style sheet
- Visual presentation elements { }
- Presentation aspect of design cascading style sheet
- Allows you to create rules that specify how the content of an element should appear
- Since HTML should only convey structure and semantic, CSS gives style to the webpage (ex. color, font, size, positioning)
5
Q
Floats
A
- Allows you to take an element out of normal document flow
- Position it to the far right or left of a containing element as possible
- Floated element becomes a block level element
- Anything else that sits inside the containing element will flow around the floated element
- A tag that can help rearrange block elements to be inline
6
Q
Box Model
A
- In CSS, the term box model is used when talking about the design and layout
- An invisible box that wraps around HTML elements
- Consists of margin, border, padding, content
- In order to set the width and height of an element correctly in all browsers, you need to know how the box model works
7
Q
Relative Link
A
- Linking within your domain
- Relative link is better than fixed link
- Relative is used to link to another webpage in the same directory (ex: linking Index page to About page)
- When you are linking to other pages within the same site, you do not need to specify the domain name in the URL
- Can use a shorthand known as a relative URL
- If all the pages of the site are in the same folder, then the value of the href attribute is just the name of the file aboutme
8
Q
Normal document flow
A
- How an element will display in HTML
- How an element will display in HTML (unless you say otherwise)
- Block-level elements vs. inline elements
- Block level: show up on next line - In-line elements: start right next to each other
- Every block level element appears on a new line, causing each item to appear lower down on the page then the previous one
- Even if you specify the width of the boxes and there is space for the elements to sit side by side, they will not appear next to each other… this is the default behavior
9
Q
Diegetic sound
A
within the piece, would be expected or natural to the scene
10
Q
Non-diegetic
A
inserted or not natural for the scene
Voice over narration, sound effects, music that isn’t being played live
11
Q
Shotgun microphone
A
- Named because of its gun barrel like appearance and its need to be properly aimed in order to be useful
- Designed for use at a distance from the primary source of sound
- Very useful in film and video when you don’t want to see the mic in the shot
- Helpful because you want the view to get lost in the story and not think about the mechanics of making it
12
Q
Omni-mic:
A
- used for capturing an ambient sound, pick up on broader spectrums of noise and records many things at once, good if trying to pick up sound like that of a busy street or coffee shop
- Multi-directional noise pick up (good for all noise except that right behind it)
13
Q
Uni-mic
A
- good for interviews and dialogue
- One-sided
- Good for audio in a controlled location
14
Q
Wavelength
A
- Length of a sound wave
- Distance between successive crests of a sound wave
15
Q
Amplitude
A
- Measures the loudness of a sound, measured from the crest/trough to midline of wave (height of the wave)
- Air compression of sound
- Variations in pressure are perceived as variations of loudness… louder the sound, faster the vibrations and taller the sound wave
- Should peak at -12 dB
16
Q
Frequency (hertz Hrz
A
- Pitch
- Number of cycles per second (waves per second), measured in Hertz (HZ)
- Interprets a sound’s pitch
- Speed of sound stays constant, but the length of the wave determines how many cycles travel through a given point in one second
17
Q
Bit Depth
A
- Aperture
- Dynamic range of your sound
- In photographic terms, it’s like depth of field and number of f-stops you capture combined
- Amount of digital information taken within each individual sample
- Audition give you four options: 8, 16, 24, 32
- Bigger is better because it gives you more dynamic range, which directly related to resolution
- TASCAM = 16
18
Q
Sample Rate
A
- How many samples of noise are being picked up per second
- Taking snapshots of an audio or video signal at very fast intervals (quality of digital signal determined by sampling rate - measured in samples per second)
- Sampling should be done at a rate at least twice the frequency of the sound wave for high quality recording
- More often the wave is sampled, the more fully the wave is reproduced, which leads to better sound quality
- 48 K (TASCAM)
19
Q
Ira Glass’s two building blocks”
A
- Anecdote - a sequence of actions in its purest form
- The moment of reflection - what it all means
20
Q
More Tips from Glass
A
- Conflict is the essence of the story
- Keep it conversational
- Visual details are great for putting us in the scene
- Ask yourself: what is important, fun, or exciting to you about this story? Make sure you are conveying that to the listener
21
Q
Alex Chadwick
A
- Write and Talk in Short Sentences
- Have more clarity and punch
- Easier for listeners to process
- Commas are the enemy
- Pretend you are paid by the period
22
Q
Foley
A
- Sound effects made my people to sound like a noise that had not physically been realistically captured
- People create sound effects in a studio with physical movement in synchronization with the moving picture (ex. weather, footsteps, etc.)
23
Q
Dorthea Salo’s Rule of 3, 2, 1
A
3 copies
2 different formats
1 copy (minimum) off-site
24
Q
Other Preservation Rules
A
- Use open source and/or well documented media formats
- Playback technologies may die before the data. You need to migrate to other formats
- Backing up is not enough. You need to audit/check the backed-up data
- HTML & CSS files are easier to preserve than advanced web applications
25
Q
Practices for working with adobe files
A
- Keep files in their native formats for as long as possible
- Save both native format and export at highest quality possible
26
Q
It’s not just about technology
A
- Culture influences preservation choices
- 10% of all silent films are preserved
- 90% of all silent films lost
- Made before 1920
- Preservation of Twitter/tweets
27
Q
Pans:
A
- pivoting movement in which the mount or operator stays in one spot
- Pivots right or left
28
Q
Tilts:
A
- pivoting movement in which the mount or operator stays in one spot
- Pivots up or down
29
Q
Zooms
A
- Optical adjustment that changes the viewer’s vantage point
- Change of the frame’s field of view
- Visually closer but not actually closer
30
Q
Tracking shot:
A
Moves through space to the right or left
31
Q
Truck:
A
On wheeled dolly on studio floor
32
Q
Track:
A
done on dolly tracks
33
Q
Arc:
A
truck that follows a curved line as opposed to a straight path
34
Q
Pedestal shot:
A
moves camera up or down through space by hydraulic column
35
Q
Steadicam/handheld:
A
achieve sense of lightness and movement of handheld with stillness of track
36
Q
Frames per second of film vs. video
A
- Video = 29.97 frames/second, Film = 24 frames/second
- Still frames are played back at a certain speed to make the illusion of movement
- Video has a higher quality
- Film shows the image twice in a row to make it more continuous
37
Q
Beat sheet
A
- Most important part
- An outline of the most important narrative beats to your story
- It’s good to aim for 8 to 15 beats in planning for a narrative short film/video
- Question to ask: what are the key moments that need to occur for the story to make sense and fully resonate
38
Q
Structuring Scenes and Films
A
- Begin the scene at the latest possible moment;end the scene at the earliest possible moment
- Begin the film at the latest possible moment; end your film at the earliest possible moment
- Ex: First Iron Man Movie
39
Q
Casting
A
- Professional actors/technicians
- Middle ground: more connected to character they play
- Non-actors: playing versions of themselves; emotional autobiographical; natural approach
40
Q
Directing
A
- Give emotional connection
- Physical/technical direction
- Be communicative
41
Q
Continuity Editing
A
- Way to approach editing together a scene -> create and maintain the scene
- Appearing to have things appear as continuous action, happening in real time, even though they were taken at different times
42
Q
180 degree rule
A
- Camera must stay on one side of imaginary 180 degree line imaginary axis that connects 2 subjects within a scene
- By keeping the camera on one side of the axis for every shot in the scene, the first subject is always frame right of the second subject
- Enables the audience to visually connect with unseen movement happening around and behind the immediate subject
43
Q
Shot / reverse shot
A
- Shot: a shot of the initial action
- Reverse Shot: taken on the opposite side of action from the first shot that does not cross the 180 degree line
44
Q
Match on action
A
- 2 shots, 1 edit (how you use editing in relation to movements- cut during the action)
- Match one point in the action from two different angles or shot sizes to create that sense of continuous action
45
Q
Dissolve
A
- Visual transition in which one source gradually disappears by becoming transparent while another appears by becoming opaque
- Can be used to soften an abrupt change or signal a change in time or place
46
Q
Remix
A
- Separate media elements are joined to form a new, different piece of media
- Types include mashup, recut, and adding media (media that evidences or visualizes your point)
- Manipulating content in formal capacity
47
Q
Informed Consent
A
- Obtaining permission from someone to appear in a media production in such a way that discloses the purpose of the production and the subjects right to withdraw from the process
- Document the consent either by recording or written
48
Q
Copyright
A
- All about balance, needs of creators balanced with needs of society/the public, inspire people to keep creating - but with proper recognition
- Time period
49
Q
Fair Use: 4 considerations
A
- Nature of the new work
- Nature of the original work
- Amount of material taken
- Effect on the market
50
Q
Fair use: 2 questions
A
- Did the unlicensed use “transform” the copyrighted material by using it for a different purpose?
- Was the amount and nature of material taken appropriate?
51
Q
YouTube Contract -Who owns the video?
A
You own your video, but YouTube has been given the right to use/distribute it however they see fit (have a license_
If you later want to license it or take it to a film festival, you’re likely to get push back because you’d already premiered it
52
Q
Can you be sued for something you post on YouTube ?
A
- Yes, YouTube is not liable, you have indemnified them, etc.
- Not super likely
53
Q
Can you personally arrange for advertisements and product placements?
A
No, takes away from ad business established (YouTube, Google)
54
Q
Absolute link:
A
site outside of your code or web page
55
Q
less the wavelength, higher the frequency…
A
so higher the pitch
56
Q
greater the wavelength, lower the frequency…
A
so lower the pitch
