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Film Quiz 3 > Quiz 3 > Flashcards

Quiz 3 Flashcards

1
Q

Mise en scene

A

Putting on the scene or staging (everything in a shot) (from the French theater) 

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2
Q

How does mise en scene apply to film?

A

-overall look and feel of a movie
-Can create specific style depending on Director
-Everything the audience sees 

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3
Q

Two components of mise en scene

A

Design and composition

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4
Q

Design

A

The process of creating the visual aspect
-Establishes the style and vision for film
-Creates time and place through setting
-Creates mood
-Characters State of mind
-Relates to themes of the film


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5
Q

Composition

A

The organization, distribution, balance, and relationship of the actors an objects within the space of each shot


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6
Q

Framing (composition)

A

How the Director composes the frame

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7
Q

Kinesis (composition)

A

Composing for the motion, our view is always changing

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8
Q

Evolution of screenplay

A

Treatment document
Story conference/rough draft
Storyboard/comic book version
Shooting script
Shooting schedule
Editing script

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9
Q

Treatment document

A

One page description of story, locations and actors needed

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10
Q

Story conference/rough draft

A

Producer, Director, screenwriter

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11
Q

Storyboard/comic book version

A

Shows all the key frames, zooms, pans, and movements 

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12
Q

Shooting script

A

Script in order of shoot

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13
Q

Shooting schedule

A

Always changing (Actors availability)

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14
Q

Editing script

A

Key to getting footage needed

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15
Q

Starship trooper

A

Storyboard-Shot in badlands of South Dakota

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16
Q

Art department

A

The head of our department is the Production designer

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17
Q

Production designer

A

Working with Director and cinematographer, lighting Director and storyboard artist

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18
Q

Art Director

A

Works for a production design, there may be several
-Draws and build models of sets and works with construction team such as sad
Ex: Dressers, properties, location, greenery, scenic painters

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19
Q

Lighting Director

A

Works with cinematographer

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20
Q

Gaffer

A

Chief electrician

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21
Q

Best boy

A

The first assistant, man or woman

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22
Q

Grips

A

Union workers who move equipment (They grab or grip)

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23
Q

Costume designer

A

Supervisors overall look of the characters such as hair, make up, wigs, SFX make up, wardrobe

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24
Q

Elements of design

A

Setting, decor, properties, lighting, costume, make up, hair

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25
Q

Setting

A

Several sets or locations must be created or altered to suggest time and place

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26
Q

Decor

A

Decorations to reinforce location, maybe pictures on wall or plants

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27
Q

Properties

A

All of the items and actor handles, comes from the early stage meaning property belonging to the actor

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28
Q

Lighting

A

Different types of lighting in a film, source of light

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29
Q

Costume

A

Stars have their own costumes and designers (makeup and hair)

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30
Q

Like producer (AL-above line)

A

Drive slow production to make sure it stays on budget

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31
Q

Executive producer (AL)

A

Supervisors the producer, not on set usually

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32
Q

Director (AL)

A

Assistant Director (second unit) Hasta remember the order of the script

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33
Q

Director of photography (DP) 

A

Above line

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34
Q

Production designer (AL)

A

Overall supervisor of visuals
-Art Director
-Lighting Director
-Costume designer often works for a specific star
-Wardrobe
-Make up

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35
Q

Craft services

A

Food

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36
Q

Production assistant (BL)

A

Does more than get coffee, many famous directors started as PAs

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37
Q

Rule of thirds

A

Balance (our brain and I strive to find equilibrium) -Divide screen into nine areas (Could add three dabs layers to create 27 areas)

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38
Q

Groups of three

A

1-top, middle, bottom
2-Left, Center, right
3-Foreground, mid ground, background

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39
Q

Frame (top third)

A

Eyeline, lead or eye room
-keeps characters eyes in the upper 1/3 of frame
-Allows empty space to a character looking (eye room)

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40
Q

Frame depth

A

Deep space composition (utilizing space)

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41
Q

3 planes of depth

A

Foreground-closest to camera
Midground-between the foreground and background
Background-the furthest from camera

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42
Q

Framing

A

What we see on the frame
-The frame is constantly changing, moving, and then being reframed
-Implies POV or point of view

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43
Q

Onscreen or offscreen space

A

Dynamic relationship between what is the frame and what is outside the frame
-The viewfinder is the boundary to this relationship

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44
Q

Noel Burch created ?

A

Six infinite areas around our frame

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45
Q

6 infinite areas around our frame

A

Left, right, up, down, forward or in depth, behind camera

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46
Q

Open format

A

-characters are free to move anywhere
-Less symmetrical framing
-Characters more important than setting
-More like real world experiences

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47
Q

Closed format

A

-Characters acted upon, seemed posed, like in a painting
-symmetrical framing
-Setting may dominate shot
-more presentational or artificial

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48
Q

Kinesis

A

Movement of objects within frame

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49
Q

Blocking

A

The positioning of actors must be placed out with a cinematographer to capture action
-Movement of the frame itself

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50
Q

Root words of cinematography

A

Kinesis-movement
Photo-light
Graphy-writing

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51
Q

Sleepy hallow director ?

A

Tim Burton

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52
Q

Gregg Toland

A

One of the best directors of photography
(Citizen Kane) (creative use of light, smoke, and mirrors)

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53
Q

Director of Grand Budapest Hotel?

A

Wes Anderson (The use of green screen and the use of tracks and tracking shots)
-You storyboards on tablet
-Very involved with the crew

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54
Q

Shot

A

One uninterrupted run of the camera (Building block from action to cut)

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55
Q

Take

A

Number of times the shot is taken

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56
Q

Outtakes

A

Takes that are not usable

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57
Q

Sequence

A

Several shops that tell a story

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58
Q

Scene

A

Made up of several sequences

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59
Q

Set up

A

One position of the camera, lighting, scenery, blocking, everything
-Every time a new set up as needed it is very expensive because of crew time and lost time

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60
Q

Camera operator

A

Shoots the footage

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61
Q

First assistant cameraman

A

In charge of equipment, lenses, tracks

62
Q

Second assistant cameraman

A

Loads film/memory

63
Q

Gauge

A

With 8 mm, 16 mm, 35 mm, 65 mm, 70 mm

64
Q

35mm

A

Most common for future films but major productions are now switching to more use of digital memory

65
Q

Digital

A

Digital memory keeps improving but does not have the same density of film stock
-Digital is much easier to edit
-Mini movie shot in film or eventually transferred to digital

66
Q

Speed

A

The degree to which the film is light sensitive

67
Q

Slow speed

A

Needs lots of lights but gives great details and rich color-Needs lots of developed lighting

68
Q

Fast speed

A

Good and low light or with handheld cameras-the trade-off is images can be grainy and the color is washed out

69
Q

Tonal range

A

Colors one filmed in black-and-white
-The human eye can discern 9 to 12 grades from black to white
-Sense of gritty realism – early documentaries
-we tend to think of black-and-white films as more realistic
-

70
Q

Tonality

A

System of tones, must be planned as the costumes and skin tones are in color
Ex: Schindler’s list (uses complex levels of warm greys)


71
Q

Important black-and-white films

A

Gone with the wind, Casablanca, high noon

72
Q

Why were almost all films black-and-white before 1948?

A

Color was very expensive

73
Q

Modern b&w

A

Ex: to kill a mockingbird or Schindler’s list by Steven Spielberg

74
Q

History of color

A

Expensive in the early days
-Would hand paint each frame
10 min film=9600 frames
60min film=576,000
Birth of a nation over 3 hours long!

75
Q

Tinting

A

Dying film base before filming (Much more blacker blacks)

76
Q

Toning

A

Dying after the film was shot 

77
Q

Technicolor additive process (1915)

A

Mixing from three primary colors red, blue, cyan
-Became subtractive in 1932
-Shooting with three strips of film
-Subtraction of color components from each Layer
-Required very bright light – could not be shot outdoors-Cameras too bulky

78
Q

Eastman color

A

Replace the bulky Technicolor system with a single strip of film in 1941


79
Q

Lenses

A

Aperture/iris, focal length

80
Q

Short lenses

A

Short focal length 12.5 mm
-Exaggerates steps, warps lines
-Every object is shot in focus

81
Q

Long lens

A

Long focal length 85 to 500mm
-Flatness space, specific area of focus

82
Q

Standard Lens

A

Middle focal length 35 to 50mm

83
Q

Zoom lens

A

Variable focal length

84
Q

Depth of field

A

-Creates emphasis
-distance in front of camera and which subjects are in focus
-Short lines have very deep depth of field
-Long lens have very narrow range

85
Q

Rack/pull focus

A

Adjustment of focus from one plane to another

86
Q

Aspect ratio and the anamorphic lens

A

Wide screen images can be achieved by shooting with an anamorphic lens and later projected to unsqueeze an image

87
Q

Sources of light

A

Natural-sun or moon
Artificial-lamp, window, etc

88
Q

Hard light

A

Parallel beams-create hard shadows

89
Q

Soft light

A

Light is diffused – light rays come from several directions – shadows are minimized

90
Q

Direction of light

A

Top, side, front, back, below
-Angles of each create different shadows

91
Q

Low key

A

Little or no fill light for dramatic moments

92
Q

High key

A

Little contrast usually for comedies or lighter films

93
Q

Three point system

A

Key, fill, and back

94
Q

Aspect ratio

A

The size and shape of frame

95
Q

Proximity

A

Distance of Camera character or object
-The shot close up, medium, etc.
-Depth of shot
-camera angle and height
-Camera movement – Dolly, track, etc.

96
Q

Extreme long shot

A

Figure too small to recognize
-Used for establishing shot, to establish location

97
Q

Long shot

A

Full body but with space above and below

98
Q

Full shot

A

Full human figure, feet to head

99
Q

Medium long shot

A

Knees up (Cowboys shot)

100
Q

Medium shot

A

Waist up, full body if seated

101
Q

Medium close up

A

Middle chest and head

102
Q

Close up

A

Shoulders and head

103
Q

Extreme close-up

A

Head or very close to an object

104
Q

Early film and TV

A

Size and shape of projection
-When film first began they use the basic shape of theater stage (4x3)

105
Q

American wide screen

A

Filmmakers wanted larger screen in the 1950s

106
Q

Camera angle

A

Subject in relation to height of camera
-Love means the camera is low relative to the subject
-I level is normal POV
-Deviants from my level has meaning

107
Q

High angle

A

Make subject look weak and vulnerable

108
Q

Low angle

A

Suggest that the character is strong and powerful

109
Q

Dutch angle/oblique

A

Suggest that the world is out of balance

110
Q

Aerial/birds eye view

A

Implies observers omniscience

111
Q

Pan shot

A

Lateral movement from a fixed position

112
Q

Tilt shot

A

Vertical rotation from fixed position

113
Q

Pedestal shot

A

Lowering camera without changing the angle

114
Q

Dolly shot

A

Camera moves on vehicle

115
Q

Tracking shot

A

Vehicle rides on tracks

116
Q

Zoom shot

A

Shifting of focal length of lenses

117
Q

Crane shot

A

Camera mounted on crane (Hand held or steady cam)

118
Q

Typical shot length

A

Five seconds in silent era/10 seconds in sound era

119
Q

Long take

A

Relative to the genre and Director
-Dramas may have longer shots an action films
Ex: Longtake in 1917

120
Q

Slow motion

A

Shows action more intensely

121
Q

Fast motion

A

The action may seem out of control

122
Q

What does the phrase mise en scene translate to in English

A

Putting on stage

123
Q

Where does the phrase originate from

A

French

124
Q

What does the phrase include for film

A

Visuals

125
Q

What are the two parts of mise en scene?

A

Design and composition

126
Q

Who is the one person in charge of all the visuals?

A

Production designer

127
Q

What does the gaffer do?

A

Chief electrician

128
Q

Best boy or a girl?

A

The main assistant

129
Q

Name a production member that is above the line?

A

Director, production designer

130
Q

What is lead room?

A

Extra space in front of the character

131
Q

In rule of thirds which lens do the eyes align?

A

Top horizontal line

132
Q

What is the small space above a characters head?

A

Headroom

133
Q

Between open and close formats, which is most realistic? 

A

Open

134
Q

What are the six infinite areas around the screen according to Noel Burch?

A

Left, right, up, down, front, back

135
Q

Sleepy hollow is directed by?

A

Tim Burton

136
Q

What is the document that sketches out how each scene will be photographed?

A

Storyboard

137
Q

Who’s job is it to keep the film production on schedule and on budget?

A

Line producer

138
Q

What would be the difference between a movie with a close format then a movie with an open format?

A

close the characters are set in one spot, scenery is more important

139
Q

Who was Greg Tolland and why is he important to cinematography?

A

He Kickstarter a more artistic form of cinematography

140
Q

What do the root words mean in cinematography?

A

Movement, light, writing

141
Q

What tool did Wes Anderson use in grand Budapest Hotel?

A

Storyboarding

142
Q

What size film gauge is the most common when using film?

A

35mm

143
Q

What median is taking over because of the ease of editing?

A

Digital

144
Q

Why were most films in black-and-white before 1948?

A

Cheaper

145
Q

What did Steven Spielberg do in Schindler‘s list to represent the individual rather than the masses?

A

Girl in the red coat

146
Q

Can you list shots by how they capture the human form?

A

Extreme long shot, long shot, full shot, medium long shot, medium shot, medium close-up shot, close-up shot, extreme close-up shot

147
Q

What angle makes a character look weak?

A

High angle

148
Q

What lens best replicate human vision?

A

Standard lens

149
Q

What is the three-point lighting system?

A

Key light, back light, fill light

150
Q

What was the aspect ratio of early television and movies?

A

1-1 1/3

Film Quiz 3 (2 decks)

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