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, 21Cinematic Storytelling chapters 1, 2, 3, 4, 5, 8, 10, 11, 13, 14, 15, 16, 17Short Screenplay Chapter 7http://www.voiceandvisionbook.com/Chapter 2Expect questions on how to properly format a scriptChapter 3ShotSmallest unit of the film languageShot sequenceExpressive unit made up of editing together multiple shots to define a unified action or eventDramatic sequenceSeries of scenes that create a larger dramatic unitTakeMoment you turn camera on to moment you turn it offMise-en-sceneEverything visible in the frame of the shotSubject, actions, objects, setting, lighting, graphic qualitiesJuxtapositionPlacing two or more shots next to each other so that you highlight a link or contrast between the content in each shotAspect ratioRelationship between width and height of frameZ-axisdepthX-axishorizontalY-axisVerticalAspect ratio of 35mm full frame1.33:1Academy ApertureAspect ratioAspect ratio of American theatrical release1.85:1Aspect ratio of European theatrical release1.66:1Aspect ratio of HDTV broadcast16x9, 1.78:1Open frameThe composition leads audience to be aware of the area beyond the edges of the visible shotClosed frameAll of the essential information in the shot is neatly contained within the parameters of the frameDeep frameAccentuates the compositional element of depth (z-axis)Flat frameEmphasizes two-dimensionalityDeep focusGives us awareness of deep space bc it is clearly visibleAdd or eliminate attentionShallow focusAttention is limited to a narrow and flat areaDepth Cues3D replicates one additional element of our ability to visually perceive depth and dimensionInter-ocular distanceDistance between our two eyesStereopsisVisual perception phenomenon created by viewing objects with two eyes that physiologically are placed slightly apartBalanced frameImages in frame carry a certain weightUnbalanced frameRule of ThirdsDivide frame into thirds with imaginary linesLook RoomExtra vertical space that provides sense of balanceShot Size: WS, ELS, LS, MLS, MS, MCU, CU, ECUPg. 53Two shotIncludes two subjectsHigh angle shotAbove eye levelLow angle shotBelow eye levelThree-quarter frontalMoving camera along horizontal arcProfilefrontalThree-quarter-backbehindCanted or Dutch angleTilting the camera laterally so that the horizon of your composition is obliqueStatic shot (fixed frame)Shot in which framing remains steady on the subject without moving or shifting perspectiveCamera moves:PanScans space horizontallyTiltShifts camera perspective verticallyZoomVariable focal length lens, closer and fartherTrackFollow or track a subjectDollyMoving shots in which the camera moves closer or farther away from the subjectCraneCamera is raised very high in the air, above a human subject’s headBoomLifting camera up and downChapter FourContinuity style shootingIndividual shots, when cut together, will give us the illusion of smooth and continuous time, movement, and space regardless of the order the shots were takenContinuity style editingShooting for the editCut shot A with shot BClassic Hollywood ParadigmScript supervisorKeep track of these continuity concernsSpatial continuityCrucial tenet in the continuity systemNeed to maintain coherent and consistent spatial orientation180 degree principlewe must shoot all shots in a continuity sequence from only one side of the action180 degree line (line of action or axis of action)imaginary line along our actionSight lineDirection a character is lookingScreen directionDirection the character travels in the frameJumping the linePlace 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 reversed20mm/30 degree Ruleensures that each shot is a distinct compositionwe must change the size of shot B by at least 20 mm and the camera angle by at least 30 from its positionsCutting on ActionCreating a smooth sense of continuous time and movement from one shot to the nextThe match cutDividing a single movement between two shots in order to bridge the editOverlapping actionMaster sceneClearly shows both subjects in the scene and defines the spatial relationship of the two to each other and the space around themShot/reverse shotCloser shots of the subjects in the sceneCutawayOver-the-shoulder (OTS)Reverse shot that is from an angle that includes a portion of the other person’s shoulder or headReaction shotShow people’s reaction to the shotEyeline Match cutCamera placement for reverse shot, more exact than the general looking direction established by 180 lineCoverageShooting same moment in a scene for various anglesPoint of View (POV)Means representing the visual perspective of that characterSubjective cameraImplies that we are literally through the eyes of our characterLooking shotShows your subject turning their gaze toward a person or objectPOV shotShows what they are looking atParallel action sequenceIntercutting between two or more separate areas of action in such a way that the viewer assumes the scenes are occurring simultaneouslyCross-cuttingWhich is an editorial term meaning to alternate between two or more scenesMatch cuts: pg 88Dramatitc structure matchesContent or activity matchesGraphic matchesSound bridgesMatch CutsChapter 5 and 6Chapter 21Editing for story orderEditing for dramatic emphasisTransitions:CutDissolveFade in/Fade outWipeTechniques in editing to compress timeTechniques in editing to expand timeTimingRhythmPaceAssociative or Intellectual editingMontageSix principle of continuityContinuity of mise-en-sceneContinuity of soundContinuity of performanceContinuity of spatial orientation (screen direction and axis of action)Continuity of time through match cut editing20mm/30degree ruleWays 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 AAspect ratioZ-axisX-axisY-axisAspect ratio of 35mm full frameAcademy ApertureAspect ratio of American theatrical releaseAspect ratio of European theatrical releaseAspect ratio of HDTV broadcastIllustrate 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 BOpen frameClosed frameDeep frameFlat frameDeep focusShallow focusDepth CuesBalanced frameUnbalanced frameRule of ThirdsIllustrate and/or