TV production midterm Flashcards
LS
LONG SHOT
as referenced to as wide shot or the establishing shot;
Far away enough from a person so that their entire body and a bit of their surroundings can be seen.
MS
MEDIUM SHOT
used to covey conversation and action.
The basic shot in standard TV production; includes most of a person’s body.
CU
CLOSE UP
Used in culmination scenes;
establishes a sense of emotional impact.
Frames head and shoulders.
LOW ANGLES
gives character power and authority;
“by placing the viewer in a lower position, you endow the character with force and strength.
HIGH ANGLES
used to portray an action as being overwhelmed, submissive, or downtrodden.
“Shooting from a higher angle implies control and dominance over the individual.”
DEPTH OF FIELD
the distance between the nearest point at which objects are in focus ad the farthest point at which objects are in focus in a camera shot.
In order to create a great depth of field, you need subject/camera distance (more sub/cam distance the more depth you have).
EX. 3 Ft. Away is considered to be very shallow depth
Determining factors
The F-stop, The Distance from Subject to Camera, The Focal Length of the Lense.
THE F-STOP
The lower the f-stop number the larger the lens opening (allowing more light)
F-22 smallest for most TV production lenses.
the smaller the sense opening the greater the depth of field.
THE DISTANCE FROM SUBJECT TO CAMERA
The greater the camera to subject distance, the greater the depth of field.
THE FOCAL LENGTH OF THE LENS
The shorter the lens the greater the depth of field.
CROSS SHOOTING
two people facing each other;
cameras should shoot across each others angles or the person or object farther away from it.
RULE OF THIRDS
Placing items of interest for that frame within the 4 points of interest.
- Used for framing 4x3, 16x9
- A still photography principal we use in TV to help frame
- Avoids the temptation to center things
- Divides image into thirds (9 boxes)
180 DEGREE RULE
AKA the axis of action
plane of action; as long as all the cameras are placed on the same side of this axis, the action continues to flow i the same direction.
-keep all of your camera on one side of the same plane of action
FRAMING
The camera operator chooses what is seen in the shot and what is excluded.
KEY
an image, usually a text–cuts into existing image like a stencil or cookie cutter.
DOWNSTREAM KEY
The key farthest downstream or on top.
- Whenever you key something you add a layer.
- The downstream key puts the thing farthest downstream on top of all the other keys.
PAN
horizontal movement of the camera lens
• “Pan right” is the lens going right
TILT
Vertical movement of the camera lens
ZOOM
The “in” and “out” movement of the camera lens (only movement that doesn’t happen in nature).
TRACK/TRUCK
horizontal movement of the entire camera
• the entire head goes left or right
PEDESTAL
vertical movement of the ENTIRE camera
• “down or up”
DOLLY
“in” or “out” movement of the entire camera.
ARC
a slightly curved dolly/truck move (left/right)
Variable Focal Length Lens
zoom lens
Wide Angle Lens
zoomed out
• creates a distortion
• Object appear farther apart than what they actually are
(not talking about width)
• objects appear faster
• More pronounced when tilting (almost like a fisheye lens)
• Blocking talent closer together because TV already accentuates that width (exists regardless with either a wide or narrow angle).
Narrow Angle
TELEPHOTO lens; zoomed in
• appear closer together than how they actually are; creates a lack of depth
• Will appear to move slower than in real life
Normal Angle
Midway
Camera “angle” needs
Perspective, position, and shot size
“normal perspective”
the lens should be at “eye level” with the subject.