sight sound motion quiz 2 – Flashcards

the apparent nearness if the subject. Meaning how big does the subject look. Has an effect on how the viewers interpret the subject. Referred to as "field of view

lots of info about the character's environment, but not as much info about the character. Sometimes used as an "establishing shot"

can still see the entire individual, aka head to toe shot. Still not getting a ton of visual info about the people. Do get a sense of their body language though. Do see them in relationship to their environment. More tying person to the location Still showing us the surroundings

Can read a lot of emotion Definitely about the character and his body language

See this more in television. The size of a tv screen usually or used to be small. It had to be a close up so you could read what the person was thinking Mimics a conversational distance. Can make the viewer feel more like a participant than a observer. Fairly intimate.

Very intimate, very emotional, makes the reader feel like they can almost read the character's thoughts

Seen it a lot on the evening news.

wide enough to see cowboy's gun

two people in one frame

Very popular for dialog scenes..... the viewers feels like it's part of the conversation without completely adopting the character's point of view If height difference between two people, the camera will change to fit that

What makes it dirty is that it includes the edge of the other character

Doesn't include the other character

The lens adopts the viewpoint of a character

From overhead

From Beneath

The shot suggests confusion or chaos. Most effective when there us a strong vertical line to make things feel out of balance

elements in the frame that suggest a direction Based on content and composition, the viewer's attention can be "pointed" in a specific direction

1. Graphic Vectors 2. Index Vectors 3. Motion Vectors

can include leading lines. They suggest a direction without overtly dictating that direction. Can also be strong linear elements within the frame that draw the eye and "anchor" the elements in the shot. Can carry the eye from one shot to the next.

Dictate a very definite direction

The most common type of index vector. The direction someone is looking in!

Visual elements actually moving through the frame.

Highest is Motion Vector Lowest is Graphic Vectors

the assumed layout of a scene, based on establishing shots and other audio/visual cues. These visual vectors come into play when we start to consider the mental map.

we establish our mental map at the beginning, and the visual vectors of the subsequent shots honor that mental map.

When vectors run into each other

When bunches of people are looking in different directions

Two characters looking in the same direction

Start with convergent vectors but follow with continuing vectors that would be a problem

Index vector continuity can be preserved by keeping the camera on one side of the axis of action when shooting aka "180 degree rule" Each of the camera angles will preserve the vector continuity. Putting a camera on the other side of the axis would result in index vectors that conflict with the original "mental map" orientation.

When you are telling a story with a video you have to think like a camera Your compositions are limited by the size and shape of the frame and you may even be limited by the tech of the camera

visualizes the entire project in the form of individual scenes, shots or screens. involves representing moving pictures and sound with still pictures and type

distills the project down to the minimum number of views necessary to tell the story

provides more detailed information for a production crew.

How deeply we see into the shot, Is your attention drawn close to the lens or far away? Can be manipulated by how we compose the shot, by the depth of field (what's in and out of focus), and even by the use of color.

within the frame or moving the camera itself

stationary camera turns side to side

stationary camera turns up and down

camera moves, typically following the action while mounted to a wheeled cart or vehicle

several types of continuity Visual, audio, prop/wardrobe, pacing (rhythm of the edit)

• Help us work within our compositional limits • Encourages us to explore creative possibilities within the frame • Communicate our visual ideas to others (most important thing it does) • Remind us to maintain vector continuity • Predict other potential continuity problems (30 degree rule)

to maintain continuity, each shot in a sequence should be substantially different in angle, field of view, etc. from the previous shot. The name comes from the idea that the camera should be shifted by at least a 30 degree angle to record the next shot in the sequence.

Attempting to cut together too similar shots can cause this

the region of the frame (the inner 80%) that all important text and graphics should fall within, to avoid being cut off if the edges of the frame are not visible.

The region of the frame (the inner 90%) that all important action should fall within, to avoid being cut off if the edges of the frame are not visible. These guidelines are becoming less important as video monitors are becoming less prone to cutting off the edges of the image. Also, web videos typically don't lose any of the edge when they are displayed in a window.

Common shots include variations on the close-up, medium, full and long shot. Other frames include the split-screen and montage. Your direction for how to frame a scene within the four corners of the visual screen is called

impersonal the symbolic tone. As the fourth wall moves closer to the focal point, the audience feels increasingly intimate with the focal point, whether it's a person or a thing.

how deeply the viewer sees into the shot communicates a sense of emotional distance or, conversely, intimacy. Perspective also may communicate symbolic meanings such as a sense of freedom and anxiety

enrich the sense of distance

what in the shot remains in focus and what goes out of focus, whether foreground, midground, background or some combination.

considering the camera's point of view or POV

shifts from being implied in stop- action pictures to being literal in live-action ones. Storyboarding movement shots involves knowing another vocabulary.

refers to the cameraperson holding the camera as she or he walks or runs through the scene—resulting in a bumpy visual ride. This can increase realism, as in breaking news footage, but may be difficult to watch for long periods of time. The steadicam is a kind of harness the cameraperson wears to hold the camera steady as she or he shoots a hand- held scene.

a stationary camera tracks along with a moving focal point. Think of the classic 1967 Patterson Bigfoot film tracking a tall hairy arm-swinging two-legged creature looking right at the camera as it walks off into the woods. Hoax or not, it's a memorable example of a tracking shot.

In a zoom, a stationary camera pushes into the scene by using the lens to zoom in on the focal point.

the camera itself, positioned on a dolly, moves or pushes toward the focal point.

Does the visual story hold together as one cohesive narrative from beginning to end and from shot to shot? Are the POV and chronology clear to avoid confusing the audience? Is the dramatic or comedic timing impeccable?

from one shot to the next, such as cutting from an establishing shot of two actors conversing to a close-up of one of the actors speaking.

"cuts away" from the main action by inserting something else going on simultaneously in the scene. If the scene shows two arguing people standing beside a car stopped on the side of the road, inserting a shot of the dog's head poked out the car window watching the argument is a cutaway. A shot of cars whizzing past the arguing people would be a cutaway, too.

a close-up shot of something significant to the meaning of the scene. beside a car stopped on the side of the road, inserting a shot of the flat tire on the stopped car would be a cut-in underscoring the reason for the stopped car and ensuing argument.

the main or key light source in the shot, whether natural or artificial. A key light shining directly from above (over lighting) or from below (under lighting) can form sinister shadows, especially on people's faces.

light source used to highlight the focal point from behind to give it contrast and dimension. Backlighting can make a focal point appear angelic with a halo effect or make the focal point appear powerful or significant (think backlit grand stage entrances of silhouetted super heroes, rock stars or pro wrestlers).

supplements the key light by filling in unwanted shadows for less contrast.

evens out the shadows to decrease harsh contrasts. Makes more attractive

emphasizes shadows, thus contrast, including shadows on people's faces—an interesting if less-than-flattering effect.

casts long shadows and increases the sense of three-dimensional space, as opposed to the flattening effect of soft light.

refers to supers, which mostly appear somewhere in the lower third of the screen. The lower third super might be copy or an image like a logo. It can be static or a crawl. But it must be visible and readable, espe- cially if overlaid on moving images

(SFX)

(FX).

called a voiceover, indicated as VO.

music bed or track.

They tend to be more impressive, thus persuasive, when you're presenting your storyboard to the conceptually challenged or to the person holding the purse strings. But, lest we wax creative snobbery, speculative cuts also can be helpful as narrative, shot and timing trials before you start spending big bucks on production.

the axis of action

a jump cut

safe title area

the assumed layout of a scene based on an establishing shot

convergent index vectors

motion, index, graphic

viewers may get confused about actors' positions

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of the sound wave tells volume

of the sound waves dictates the pitch

vibrate with molecules in the air. The best mics detect and convert the vibrations into electrical signals The information about the frequency and the amplitude of the original sound will be translated back into vibrations later, (from a speaker or headphones.)

Different mics have different pickup patterns

in every direction

picks up specific audio. Does not have extra lode of sensitivity. Wider pickup pattern, doesn't hear stuff behind it

very directional, more hyper directional, can hear stuff in the back of the mic only directional, still effected by distance -very sensitive - requires a windscreen on it outside - too sensitive to handhold

typical handheld mic used by news crews.

- designed to clip to clothing - sometimes called a lapel mic - typically omnidirectional

Many video cameras have 2 mics on them (channel one and channel 2, one picture, two sounds) On left is channel 1 On right is channel 2

two different microphone inputs are fed two different speakers, and the directionality of the sound is preserved. STEREO: The left channel is PANNED LEFT The right channel is PANNED RIGHT This works great when you shoot video using only the on camera stereo mics Can plug external mic into camera You end up with good sounding audio (with the external mic) on one channel and some other audio you don't want

would be if all mic inputs were fed equally to all speakers. Just one channel, center panned. Can be called dual mono audio as well the left and right channels are center panned.

• Production Dialogue: • Post Production Dialogue: • Ambience: • Sound effects: • Music • Audio Design

recorded on set

re recorded later

Natural Sound

foley effects (foley are preformed to the picture)

our ears and brains are able to pick out the sounds of interest in a busy sound environment To recreate this sound, editors should make the "figure" sounds louder than the "ground" environment sounds

Close up images beg for "close up" audio