IUB TEL-T 206 - t206 exam 2 (15 pages)

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t206 exam 2



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t206 exam 2

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Pages:
15
School:
Indiana University, Bloomington
Course:
Tel-T 206 - Intro to Design & Production
Intro to Design & Production Documents
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03 06 2014 Make certain to have watched all of the film The Graduate and the documentary The Cutting Edge Magic of Movie Editing Concepts from Voice and Vision chapters 2 3 4 5 21 Cinematic Storytelling chapters 1 2 3 4 5 8 10 11 13 14 15 16 17 Short Screenplay Chapter 7 http www voiceandvisionbook com Chapter 2 Expect questions on how to properly format a script Chapter 3 Shot Smallest unit of the film language Shot sequence Expressive unit made up of editing together multiple shots to define a unified action or event Dramatic sequence Series of scenes that create a larger dramatic unit Take Moment you turn camera on to moment you turn it of Mise en scene Everything visible in the frame of the shot Subject actions objects setting lighting graphic qualities Juxtaposition Placing two or more shots next to each other so that you highlight a link or contrast between the content in each shot Aspect ratio Relationship between width and height of frame Z axis depth X axis horizontal Y axis Vertical Aspect ratio of 35mm full frame 1 33 1 Academy Aperture Aspect ratio Aspect ratio of American theatrical release 1 85 1 Aspect ratio of European theatrical release 1 66 1 Aspect ratio of HDTV broadcast 16x9 1 78 1 Open frame The composition leads audience to be aware of the area beyond the edges of the visible shot Closed frame All of the essential information in the shot is neatly contained within the parameters of the frame Deep frame Accentuates the compositional element of depth z axis Flat frame Emphasizes two dimensionality Deep focus Gives us awareness of deep space bc it is clearly visible Add or eliminate attention Shallow focus Attention is limited to a narrow and flat area Depth Cues 3D replicates one additional element of our ability to visually perceive depth and dimension Inter ocular distance Distance between our two eyes Stereopsis Visual perception phenomenon created by viewing objects with two eyes that physiologically are placed slightly apart Balanced frame Images in frame carry a certain weight Unbalanced frame Rule of Thirds Divide frame into thirds with imaginary lines Look Room Extra vertical space that provides sense of balance Shot Size WS ELS LS MLS MS MCU CU ECU Pg 53 Two shot Includes two subjects High angle shot Above eye level Low angle shot Below eye level Three quarter frontal Moving camera along horizontal arc Profile frontal Three quarter back behind Canted or Dutch angle Tilting the camera laterally so that the horizon of your composition is oblique Static shot fixed frame Shot in which framing remains steady on the subject without moving or shifting perspective Camera moves Pan Scans space horizontally Tilt Shifts camera perspective vertically Zoom Variable focal length lens closer and farther Track Follow or track a subject Dolly Moving shots in which the camera moves closer or farther away from the subject Crane Camera is raised very high in the air above a human subject s head Boom Lifting camera up and down Chapter Four Continuity style shooting Individual shots when cut together will give us the illusion of smooth and continuous time movement and space regardless of the order the shots were taken Continuity style editing Shooting for the edit Cut shot A with shot B Classic Hollywood Paradigm Script supervisor Keep track of these continuity concerns Spatial continuity Crucial tenet in the continuity system Need to maintain coherent and consistent spatial orientation 180 degree principle we must shoot all shots in a continuity sequence from only one side of the action 180 degree line line of action or axis of action imaginary line along our action Sight line Direction a character is looking Screen direction Direction the character travels in the frame Jumping the line Place camera anywhere on the far side of the line to take our close up the sight line of the character and the orientation will be reversed 20mm 30 degree Rule ensures that each shot is a distinct composition we must change the size of shot B by at least 20 mm and the camera angle by at least 30 from its positions Cutting on Action Creating a smooth sense of continuous time and movement from one shot to the next The match cut Dividing a single movement between two shots in order to bridge the edit Overlapping action Master scene Clearly shows both subjects in the scene and defines the spatial relationship of the two to each other and the space around them Shot reverse shot Closer shots of the subjects in the scene Cutaway Over the shoulder OTS Reverse shot that is from an angle that includes a portion of the other person s shoulder or head Reaction shot Show people s reaction to the shot Eyeline Match cut Camera placement for reverse shot more exact than the general looking direction established by 180 line Coverage Shooting same moment in a scene for various angles Point of View POV Means representing the visual perspective of that character Subjective camera Implies that we are literally through the eyes of our character Looking shot Shows your subject turning their gaze toward a person or object POV shot Shows what they are looking at Parallel action sequence Intercutting between two or more separate areas of action in such a way that the viewer assumes the scenes are occurring simultaneously Cross cutting Which is an editorial term meaning to alternate between two or more scenes Match cuts pg 88 Dramatitc structure matches Content or activity matches Graphic matches Sound bridges Match Cuts Chapter 5 and 6 Chapter 21 Editing for story order Editing for dramatic emphasis Transitions Cut Dissolve Fade in Fade out Wipe Techniques in editing to compress time Techniques in editing to expand time Timing Rhythm Pace Associative or Intellectual editing Montage Six principle of continuity Continuity of mise en scene Continuity of sound Continuity of performance Continuity of spatial orientation screen direction and axis of action Continuity of time through match cut editing 20mm 30degree rule Ways to think about and apply the above terms Illustrate the following terms and explain how they relate the concepts under Group B below Concepts Group A Aspect ratio Z axis X axis Y axis Aspect ratio of 35mm full frame Academy Aperture Aspect ratio of American theatrical release Aspect ratio of European theatrical release Aspect ratio of HDTV broadcast Illustrate the following terms and explain how they can be used as a visual story telling device using the concept above in Group A Concepts Group B


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