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DMD 1002 > Quiz 3 > Flashcards

Quiz 3 Flashcards

1
Q

Flipbooks

A

Also known as the kineograph, circa 1886

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2
Q

Prototype invented in 1838

A

Louis-Jacques-Mandé Daguerre shares his daguerreotype, the earliest form of photography on a polished silver-plated sheet of copper.

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3
Q

1895: The Lumière brothers

A

The Lumière brothers are the first to show a projected film to a paying audience using their Cinématographe.

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4
Q

1906: The first animated film

A

J. Stuart Blackton made the first animated film; “Humorous Phases of Funny Faces.”

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5
Q

What is Stop Motion ?

A

Form of animation that relies on photographs of still objects to create movement
● Objects are manipulated and photographed sequentially
● When the photographs move together in a quick sequence (like in a film) it creates the illusion of movement
● Similar to the way a flip-book works

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6
Q

Stop Motion Trick

A

● The stop trick or “substitution splice” was an early special effect process used in cinema.

● The technique was perfected by French filmmaker Georges Méliès, but was likely first used in The Execution of Mary Stuart, a film produced by Thomas Edison in 1895.

● The camera was stopped, actors or props changed, and the camera was then restarted to capture a very similar scene with some important differences.

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7
Q

Gertie the Dinosaur

A

● 1914: Winsor McCay creates the first character-based cartoon ”Gertie the Dinosaur”
● Approximately 5 minutes long, contains 10,000 drawings

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8
Q

CGI (Computer Generated Imagery) History

A

● Late 70s/early 80s: introduction of Computer Generated Imagery (CGI) allows animators to combine live action with animation-generated fantasy/illusion.The first mainstream CGI movie is “The Last Starfighter” (1984)

● 1995: “Toy Story” premieres as first full-length motion picture created entirely by CGI

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9
Q

12 Principles of Animation

A

Squash and stretch
Timing and Motion
Anticipation
Staging
Follow Through and Overlapping Action
Straight Ahead and Pose to Pose Action
Slow In and Out
Arcs
Exaggeration
Secondary Action
Solid Drawing
Appeal

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10
Q

Onion Skins

A

Transparent layers that enable you to see what’s been drawn before

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11
Q

Keyframes

A

Major transition points in the action (beginning, middle, end)

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12
Q

Extremes

A

The most extreme position of any action (if it’s a jump then it’s the highest position of that jump, or an expression then the most extreme version of that expression)

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13
Q

In-betweens

A

The additional frames drawn between your extremes and keys

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14
Q

Motion Speed

A

Motion speed is determined by the number of frames for any action – more in-betweens (slower) or less (faster)

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15
Q

Animation Workflow

A

Concept/character sketch
● Storyboard
● Animatic
● Production
○ Outlines
○ Colors
○ Backgrounds
○ Sound
● Final Version

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16
Q

Types of Stop
Motion

A

● Claymation
● Pixilation
● Object Animation
● Lego Animation
● Paper Cutout
● Model/Puppet
● Sand
● Paint

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17
Q

Before Digital Production

A

Film and Video were two distinctly different terms
Film = analog, chemical process
Video = digital, magnetic tapes, broadcast or data (SD cards)

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18
Q

After Digital Production

A

Film or Video can be used interchangeably
Analog film is still used in cinema but not always

Usually,
Film = cinema, movemaking
Video = everything else !

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19
Q

Field of View

A

We refer to what the camera sees at any particular moment as the field of view.
- A photographer monitors the field of view using a viewfinder.
- Professional video cameras typically have two electronic viewfinders

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20
Q

Four Variables that Work to Determine Field of View

A

Four variables work in conjunction to determine a camera’s field of view:
1) camera location
2) camera angle
3) subject location
4) focal length

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21
Q

Point of View

A

Point of View
- Refers to the position of the camera in relation to the subject and is determined by location and angle
- Composition is affected by the placement of the camera and the subject in relation to the background.

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22
Q

Peripheral Vision

A

Peripheral vision is a term we use to describe the part of our vision that extends beyond the z-axis—to objects further to the left or right or up or down

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23
Q

Three Dimensional Space

A

Horizontal plane - is referred to as the x-axis
- it is described simply as width or length.

Vertical plane - is referred to as the y-axis
- Is called the dimension height

Depth - is referred to as the z-axis

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24
Q

High / Top - Angle Shot

A

Camera points from a position above the subject’s eye line

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25
Q

Low - Angle Shot

A

Camera is placed below the subject’s eye-line
Creates a sense that the viewer is looking up at the subject
Also known as a bird’s eye view or god’s eye view

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26
Q

Sound Bite

A

A sound bite is a short candid excerpt taken from a longer interview or speech that is inserted into a video program or news package during the postproduction process

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27
Q

B-Roll

A

Term used to describe individual shots that are intentionally acquired to enhance or illustrate the audio portion of a visual narrative

  • Used in editing to fill holes in the timeline where synchronized video is not included—for example, over a voiceover—or as a cover shot during a portion of a video sound bite.
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28
Q

Ideal Camera Angle for Interviews

A

Television reporters and documentary filmmakers routinely shoot from an eye-level camera angle during interviews because this position offers the least biased view of the subject

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29
Q

Subject Placement

A

Try to position the subject at least six to eight feet away from walls or fixed backdrops.

  • The greater the distance between the subject and background, the more opportunity you will have for composing a pleasing shot with shallow depth of field
  • Avoid placing the subject in front of a window or other highly reflective surface. Backlight from a window can often overpower the scene, producing a darkened and featureless silhouette of subject
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30
Q

Frame

A

A single still image in the U.S. video is typically shot at 24 frames or 30 frames per second (fps)

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31
Q

Shot

A

A continuous live or recorded moving image taken from a single camera’s point of view. Think of a “shot” like a word in a written story

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32
Q

Take

A

A single recorded instance of a particular shot. A shooter may attempt a shot several times before the director is satisfied. These are takes.

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33
Q

Scene

A

A scene is an event within a film that takes place in a single location within a specific period of time. Think of a scene like a sentence in a written story.

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34
Q

Clapperboard / Slate

A

A clapperboard slate is used to synchronize picture and sound for each recorded scene and shot
- On a motion picture film set, the second assistant camera (2nd AC) is responsible for updating scene information on the film slate at the beginning of each take.
- Corresponds to continuity sheets, which helps the editor select the best takes of each scene

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35
Q

Extreme Close up (ECU)

A

Face : focus on the eyes / nearest eye
Details of emotional reaction or object for heightened effect

Considerations:
Focus : check for soft focus and point of focus
Fame : check for poor framing

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36
Q

Close Up (CU)

A

Forehead to chin “Choker shot”
Dialogue / reaction shots

Considerations:
Eye line / look : correct direction?
FIlm space : correlates with wider shots in the scene
Framing : Lower lip cut off?
Face : watch for skin, makeup issues

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37
Q

Medium Close up (MCU)

A

Head and shoulders
Dialogue / Interview shots

Considerations:
Eye line / look : correct direction?
Film space : correlates with wider shots in the scene?
Framing : Rule of thirds?
Focus : shallow depth of field to draw attention to subject

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38
Q

Medium Shot (MS)

A

Waist up
Action / arm movements, group shots

Considerations:
Headroom / look room ; should correspond to other contiguous shots in scene
Subject movements that break the frame (body arts that move beyond edge of the frame)

39
Q

Wide Shot (WS)

A

Full body / background

Considerations:
Facial expressions: does it need to be visible? Do we need a closer shot to convey the emotion?
Establishing shot “does everything need to be shown or included?

40
Q

Extremely Wide Shot (EWS)

A

Landscapes
Distant figures / subjects

Considerations:
Visibility of subject : does the subject get lost in the shot?
Composition: enough visual information provided? Is unwanted visual information being provided?
Horizon: straight or tilted?
Story : Is this a proper time to use an EWS?

41
Q

Establishing Shot

A

Traditionally, but not always, the first shot of a scene
Reveals the location where the immediately following action will take place
- Generally as Wide shot, or an extreme wide shots, depending on the type of scene

42
Q

Two Shot

A

A shot that shows two subjects together within the same frame
The subjects do not have to be next to each other
There are many which have one subject in the foreground and the other subjects in the background

43
Q

Over the Shoulder Shot

A

A shot in which the camera is placed just behind an off screen actor so that the should is in the frame
- You can do this to orient your viewer, but an over the shoulder shot will also suggest a connection or understanding between the characters in your scene.

44
Q

Look Space / Lead Room (in interviews)

A

Area of visual white space between subject and right / left edge of frame: indicates subject’s view to off camera person / object

X - improper look space for a subject looking right to left
^ - Center framing, with an equal amount of white space on both sides, is appropriate here since the subject is looking directly at the camera
^ - This shot illustrates proper lok space for a subject looking right to left

45
Q

Headroom (in interviews)

A

The space between the top of the subject’s head and the upper edge of the frame
- The amount of headroom you include in a shot is often a matter of taste and personal preference. Over time, you will develop a sense of what works well and what doesn’t for different subjects and settings

46
Q

Media Assets Used to Build an Edited Sequence

A

The media assets used to build an edited sequence typically fall into four main categories:
1) pre-scripted elements
2) unscripted or post-scripted elements
3) music and sound effects
4) graphics

47
Q

Pre-Scripted Elements

A

In a pre-scripted movie or television program, a written script is completed prior to the start of production.

  • Feature films, television newscasts, dramas, sitcoms, commercials, and educational videos are traditionally pre-scripted
48
Q

Teleprompter

A

A teleprompter projects words onto an angled glass panel that’s mounted in front of a television camera lens.

It allows the talent to read their script while looking directly into the camera.

Teleprompters are used often in studio productions (news, sports, talk shows, etc.)

49
Q

Unscripted or Post - Scripted Elements

A

Nonfiction stories such as broadcast news packages and documentary films rely heavily on unscripted action (or candid footage) and post-scripted elements such as voice overs or standups.

50
Q

Media Assets Used in Editing Non-fiction Programs

A

Four of the most common media assets used in editing non-fiction programs are:
1) sound bites
2) B-Roll
3) natural sound
4) voiceover

51
Q

Natural Sound

A

Natural sound (also known as nat sound or ambient sound) is the synchronized audio portion of a video recording that is acquired when shooting B-Roll.

For example, while shooting B-Roll of a mountain waterfall, be sure to record the sound of the water cascading over the rocks.

52
Q

Voiceover (VO)

A

A voiceover (or VO) is a narrative device used to audibly support or describe the visual portion of a video program or segment.

Recorded off-camera, a VO is the sound of the hidden announcer, storyteller, reporter, narrator, or host,

53
Q

Reporter Stand Up

A

In television, a reporter stand-up or on-camera host segment can be used as an alternative to a voiceover or in combination with it.

For example, a reporter may choose to use a stand-up at the beginning and end of a story and voice overs throughout the rest of the package.

54
Q

Lower thirds

A

A lower-third is a television graphic used to identify the name of the person appearing or speaking on screen

Sometimes the person’s title, or, as in this case, email address, is included as well.

55
Q

Keying

A

Keying replaces the background pixels in a title graphic (known as the alpha channel) with video from another source.

This technique is similar to the superimposition of a weather map behind the weathercaster during the evening news.

56
Q

NLEs

A

Digital non linear editing system

57
Q

Cut in (insert)

A

Shifts the viewer’s attention to close up or alternative view of an object or action within the frame

58
Q

Cutaway

A

Shifts the viewer’s attention to an object or action taking place outside the current field of view

59
Q

Straight Cut

A

A simple edit that abrupts from one shot to another: the default transition between two clips

60
Q

Match Cut

A

A straight cut to a new shot that smoothly matches to the composiot or action of the previous shot

61
Q

Jump Cut

A

An abrupt transition from one shot to a similar shot of the same subject due to little or no change the composition, or a jump in action

62
Q

Jump Cut

A

An abrupt transition from one shot to a similar shot of the same subject due to little or no change the composition, or a jump in action

63
Q

Sequence

A

An edited series of individual shots that promotes a sense of continuous action or narrative flow

64
Q

Audio Scrubbing

A

When activated, allows you to hear the audio portion of a clip as you move the playhead over it

65
Q

Playhead

A

A draggable vertical marker that identifies your position in a clip or editing timeline

66
Q

Capture files

A

Are time-based media files that are created when footage is ingested into the computer through a connected camera or videotape recorder

67
Q

Pan

A

A pan involves swiveling the camera left or right horizontally on a fixed pivot point.

68
Q

Tilt

A

A tilt involves swiveling the camera up or down vertically on a fixed pivot point

69
Q

Dolly

A

A dolly move is achieved by rolling the entire camera and pedestal forward or backward in a relatively straight line.

To dolly in is to move the camera closer to the subject while to dolly out is to pull back and away from the subject in the opposite direction

70
Q

Truck

A

A truck is a lateral movement of the entire camera from left to right (or vice versa) in a relatively straight line

71
Q

Tertiary Motion

A

Tertiary motion, or “sequence motion,” is achieved as shots and sequences are ordered and connected together in editing.

72
Q

Pedestal

A

Up and down motion

73
Q

Arc

A

An arc involves moving the entire camera to the left or right along a curved path.

73
Q

Arc

A

An arc involves moving the entire camera to the left or right along a curved path.

74
Q

Secondary Motion

A

Produced by the physical movement of the camera or through zooming
It is independent of event motion (and other primary motions)
Works best when performed in combination with primary motion occurring at the same time
This includes handheld motion and tripod motion

75
Q

Primary Motion

A

Includes physical on screen movements of people, animals, and objects that take place in front of the camera
Results of natural and or choreographed movements
It is and should be prevalent motion in a scene
Consider action, reaction, and interaction

76
Q

Primary Motion

A

Includes physical on screen movements of people, animals, and objects that take place in front of the camera
Results of natural and or choreographed movements
It is and should be prevalent motion in a scene
Consider action, reaction, and interaction

77
Q

Roll

A

Side to side (circular path)

78
Q

Doom / Jib

A

Up and down

79
Q

The 180 Degree Rule

A

When filming a scene with camera makes sure to shoot from the same side of the 180 degrees line every time

Crossing the line will result in a reverse shot, making it appear that the subjects have switched positions or changed direction

80
Q

Coverage

A

Shooting the same scene from 3 different angles

81
Q

Staging

A

The process of deciding on the placement and movement of characters and objects in the frame

82
Q

Blocking

A

Determination of which actors will be during the scene

83
Q

Two Shot

A

Shot includes two subjects

84
Q

Hard Light

A

(Direct, spotted)
Light travels in a straight line from the source to the lit object
Maximum intensity or brightness
Emphasizes texture
Harsh highlights and increased contrast
Creates a dramatic look

85
Q

Soft Light

A

(Diffused, flooded)
Waves of light bend or bounce off another surface before hitting the lit object
Will cover a larger area, but be less intense or bright
Highlights and shadow are more graduated (like a gradient) and soft edged
Calming and flattering to the human face

86
Q

Flags

A

A flag is used to block out direct light or prevent spill light from hitting your subject

87
Q

Scrims

A

A scrim is a lightweight translucent material made (usually) of wire mesh that’s placed in front of the light source to diffuse its beam

88
Q

Reflector

A

A reflector redirects spill light to fill in areas of the subject that are unevenly lit

89
Q

3 Point Lighting

A

Used in Interviews / Documentaries
Key Light (In front of camera / Interviewee)
Fill Light (On the side of camera )
Backlight (Rim Light) behind interviewee)

90
Q

Natural Light

A

(existing light, available light)
Shooting with available light sources
Most often used in documentary genre

91
Q

Natural Light

A

(existing light, available light)
Shooting with available light sources
Most often used in documentary genre

92
Q

Motivated Lighting

A

Every source of light in your frame must seem to come from a real source. (TV, window, etc.)
Sometimes the source is seen in the frame, but often not
Focus on the purpose of the light; casting shadows, filling shadows, separating character from background.

DMD 1002 (3 decks)

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