Com Arts 155 1st Edition Exam 1 Study Guide Lectures 1 11 Lecture 1 January 27 Focal Length Distance from the center of the glass elements that make up the lens to the image plan a light sensitive surface Telephoto long focal length zoomed in image looks compressed and blurs background Wide Angle short focal length zoomed out more of image is in focus Aperture How much light you let into the lens Higher the F Stop the less light you let in Depth of Field Amount of area that will be in focus at a given distance Factors that control DOF focus focal length aperture Greatest DOF at wide angle lens smaller aperture focus ring at infinity Shutter Speed How long the shutter exposes the camera s sensor to light Slow more light but higher chance of blur Fast Less light lower chance of blur Film Speed High speed more light sensitive more grainy Low speed requires more light richer blacks and colors ISO Digital film speed Lecture 2 January 29 5 Principles of Good Composition Balance Contrast Focal Point Movement Perspective Effective Graphic Design Captures attention Controls eye movement Conveys information Evokes emotion Golombisky and Hagen s 3 Building Blocks Visuals Type Negative Space Type Terms Font a complete set of characters in a particular size and style of type Font family or Typeface a series of fonts Leading spacing between lines Kerning adjusting negative space between two characters Photoshop Layers Can layer image assets on top of one another without damaging original Vectors Scalable and geometric Bitmaps and Pixels Not scalable like vectors more pixels equals better quality Lecture 3 February 3 Copy Right Balance There needs to be a balance between the protection of the artist who made the work and the ability of others to build off of it Way to maintain balance Limitations on the duration of copyright protection Special exemptions these include for educators librarians public broadcasting the blind and other special cases Fair Use Ideas cannot be copyrighted It needs a fixed form Copyright duration has grown throughout the years Public Domain Free for public to use Fair Use Circumstance in which it s ok to use copyrighted material without permission or payment Four Factors Nature of the new work Nature of the original work Amount of material taken Effect on mark Two Questions Did the unlicensed use transform the copyrighted material by using it for a different purpose Was the amount and nature of material taken appropriate Potential for Law suits Whenever possible you should Attribute where the clip came from either on screen or in credits Try to make material from a range of sources not just one source Make sure you re only using as much as necessary Digital Millennium Copyright Act 1998 Prohibits circumvention of technological barriers to ripping and copying Limits liability of ISPs and aggregators if they comply with take down requests Lecture 4 February 5 Color Temperature Daylight 5600 kelvin Fluorescent 4500 kelvin Tungsten 3200 kelvin 3 Point Lighting Key Light Primary source of illumination Fill Light It fills in some of the shadow that would not ordinarily be there Backlight It helps define the subject in space High key lighting Good amount of fill light to fill in shadows this is traditional lighting Low key Lighting Take away a lot of fill light Backlight Halo Effect Hottest light in back which overexposes the top of head and creates a halo effect Amps Watt Voltage Amps 15 Voltage 100 Light and Design Themes Guiding attention of audiences and users Visually defining objects in space and creating the illusion of depth Conveying mood and emotion Lecture 5 February 10 3 Act Structure Dominant model discussed in Hollywood Prescriptive Described in countless screenwriting manuals Acts Act 1 Introduce characters and exposision Inciting incident sparks conflict Protagonist chooses to pursue a goal Act 2 Protagonist confronts a series of obstacles in pursuit of goal Gathering of allies The stakes are raised A turning point may occur midway through the second act Protagonist hits a low point near end of second act Almost gives up But then Re commits to achieving the goal Act 3 Protagonist must face final obstacle alone Climax Struggle and tension reach their peak Protagonist overcomes obstacle Conflict is resolved Denouement Order is restored Brief moment of calm 4 Act Model Inductive model derived form carefully viewing dozens of Hollywood films Acts Act 1 The Setup Introduce characters and exposition Often the protagonist conceives one or more goals during this section through in some cases the setup sticks to introducing the circumstances that will later lead to the formulation of goals Act 2 The Complicating Action The complicating action pushes us in a new direction The new direction may involve the hero pursuing a goal conceived during the setup but having to change tactics dramatically In many cases though the complicating action serves as a sort of counter setup building a whole new situation with which the protagonist must cope Act 3 The Development By now an extensive set of premises goals and obstacles have been introduced This is where the protagonist s struggle toward his or her goals typically occurs often involving many incidents that create action suspense and delay The development usually ends at the point where all the premises regarding the goals and lines of action have been introduced Act 4 Climax and Epilogue The action shifts into a straightforward progress toward the final resolution typically building steadily toward a concentrated sequence of high action The key question now is will the protagonists goals be achieved or not A brief epilogue follows the climax Areas of Consensus Story about active goal oriented protagonists that drives the story s action forward Often the character s goals inspire two interconnected plotlines one external and one internal Primacy of cause and effect Unified narrative Closure Difference Act 2 is long in the 3 act model 4 act is more equally divided 4 act model gives flexibility Lecture 6 February 12 Classical Storytelling Goal oriented protagonist Active protagonist drives story forward Clarity Closure Invisible Style Art Cinema Storytelling Passive protagonist Protagonist is an observer rather than motivator of action Ambiguity Realism and open ended Strong authorial voice Jenkins 7 Principles Transmedia storytelling Worldbuilding Immersion vs Extractability Spreadability vs Drillability Seriality Continuity