MIL part 2

Question 1

This happens when your camera’s height is on the ground level with your subject. Needless to say, this shot captures what’s going on the ground your subject stands on.

Answer 1

Ground level shot:

Question 2

This is when your camera is roughly as high as your subject’s shoulders. Shoulder level shots are actually much more standard than an eye level shot, which can make your actor seem shorter than reality. It can maximize the feeling of superiority when paired with a low angle.

Answer 2

Shoulder level shot:

Question 3

The camera is slanted to one side. With the horizon lines tilted in this way, you can create a sense of disorientation.

Answer 3

Dutch Angle or Dutch Tilt Shot:

Question 4

This is taken from way up high, looking down on your subject and a good amount of scenery surrounding him or her. This can create a great sense of scale and movement.

Answer 4

Bird’s Eye View (Overhead) Shot:

Question 5

: Whether take from a helicopter or drone, this is a shot from way up high. It establishes a large expanse of scenery.

Answer 5

Aerial Shot

Question 6

When there’s no movement (i.e. locked camera aim) it’s called a static shot. These camera shots emphasize the appearance and movement of your subject against its environment, and are predominantly captured by being placed on a tripod or a dolly that remains static during the shot.

Answer 6

Static Shot or Fixed Shot

Question 7

is where the camera is affixed to a mechanism called a dolly, which is a specialized push-cart built to handle heavy cinema cameras. A dolly will often have areas to attach seats for the camera operator and assistant camera operators to pull focus and control the camera. A dolly most commonly will be placed on tracks, and the vast majority of professional dollies have either a hydraulic or even a pneumatic head that can jib up and down during operation.

Answer 7

Camera Dolly Shot A dolly shot

Question 8

are camera shots that change the focal length of the lens during the shot. This action can be a zoom out, or a zoom in, but they are different from a push in (or dolly in) because the camera is rarely changing positions, but simply altering the focal length of the lens.

Answer 8

Zoom Lens Shot Zoom shots

Question 9

A dolly/zoom shot is where the camera position and focal length of the lens are simultaneously altered to create a warping effect

Answer 9

Dolly/Zoom Shot or Vertigo Shot

Question 10

Camera pans move the camera side to side on a horizontal axis. This can reveal something to your viewer or allow them to follow an action

Answer 10

Camera Pan Shot

Question 11

A camera tilt is when you move your camera up and down on a vertical axis. So it’s exactly like a pan, only vertical.

Answer 11

Camera Tilt Shot

Question 12

A whip pan happens when you pan the camera from one shot to another, creating a motion blur

Answer 12

Whip Pan Shot or Swish Pan Shot

Question 13

The swish tilt is the same idea as a swish pan, only vertical.

Answer 13

Whip Tilt Shot or Swish Tilt Shot

Question 14

A tracking shot moves with your subject. Sometimes it follows behind or beside them on a dolly, Steadicam or a gimbal

Answer 14

Tracking Shot

Question 15

Storyboarding is one of the most overlooked yet vital aspects of filmmaking. While you may not be able to storyboard for every project (like, say a documentary), you should always be storyboarding for a narrative film. Storyboarding allows you to get the ideas from your head onto paper so you can share them with the rest of the crew.

Answer 15

Storyboard

Question 16

In film and television production, B-roll, B roll, B-reel or B reel is supplemental or alternative footage intercut with the main shot. The term A-roll referring to the main footage has fallen out of usage.

Answer 16

B-roll Shots

Question 17

There are very few things as noticeably cinematic as a shallow depth of field. If you’re not already familiar with the term, depth of field refers to the portion of the frame that is in focus. A camera like an iPhone has a very wide depth of field, meaning it’s very hard to get a background out of focus. A DSLR style camera can get an out-of-focus background very easily

Answer 17

Shallow Depth of Field

Question 18

Zooming is great for shooting a high school football game, not so much for shooting a film. There are very few cases of zooming in modern cinema. Filmmakers typically use a technique called dollying in which they will physically move the entire camera towards the subject. The result is a much more natural movement that is pleasing to the eye.

Answer 18

Don’t Zoom

Question 19

Dynamic range refers to your camera’s ability to simultaneously record both bright and dark areas simultaneously.

Answer 19

High Dynamic Range

Question 20

is the way in which your camera packages up your video before it gives it to the computer. Some codecs squish your video files to make them smaller, while others allow for more information and are subsequently larger in size. However, if you want to get the best image possible, you don’t want to use a codec at all. Instead you should shoot in a format called RAW.

Answer 20

Shoot in RAW Codec

Question 21

Lighting is not as scary as it sounds. While you could certainly spend your entire career trying to understand the subtle nuances asserted with cinematic lighting, it doesn’t necessarily take an expert to create decent lighting. All you really need is a 5-in-1 reflector and a cheap LED light. Less is more when it comes to lighting a cinematic image.

Answer 21

Dramatic Lighting

Question 22

If you want to make your footage (and photographs, for that matter) look 4x better, go out and buy a prime lens. Sure, a prime lens doesn’t quite give you the flexibility of shooting on a zoom lens, but you probably won’t be using that zoom feature anyways (remember #4). Prime lenses tend to be sharper, better in low light, and capable of producing a more shallow depth of field.

Answer 22

Prime Lenses

Question 23

It can be easy to simply want to export your project once you get done editing, but if you want your footage to look really cinematic, you should color correct and grade all of your footage before hitting that export button. There are people who spend their entire careers color grading footage, so don’t think this process is easy. Luckily, there are a lot of really easy resources out there for creating cinematic color grades very quickly.

Answer 23

Color Grade

Question 24

-comes from the French word meaning ‘type’ or ‘class‘
* can be recognized by its common set of distinguishing features (codes and conventions)
* it provides the audience with a clear set of expectations which are used to interpret the text.

Answer 24

GEnre

Question 25

what an image actually shows and is immediately apparent, rather than the assumption the individual reader may make about it; the everyday or common sense meaning of a sign.

Answer 25

Denotation

Question 26

the meaning of a sign which is arrived at through the cultural experiences a reader brings to it. The interpretation of what is seen, added with the reader’s own pieces of information.

Answer 26

Connotation