Media Techniques FSU RTV 3001 Midterm 1 Above Eye Level Lighting that is considered normal lighting Lighting 2 Additive Color Mixing Red Green Blue projected so that the colors cross Red Green Yellow Red Blue Magenta Blue Green Cyan When all added the color is white 3 Applied Media Aesthetics A process in which we examine a number of media elements such as lighting and sound how they interact and our perceptual reactions to them 4 Artifact An undesirable color distortion 5 Aspect Ratio The relationship of screen width to screen height 6 Attached Shadow Shadow that is inevitably fixed to its object as long as the object stays under the same lighting conditions 7 Back Light No amount of moving or wiggling will remove the shadow from the object Light used to create the illusion of depth by separating the subject from background Light shines directly on the talent s shoulder Creates depth 8 Background Light Also called set light illuminates background extension of back light 9 Below Eye Level Lighting Also known as Reverse Modeling Attached shadows are opposite of their expected position which translates into surprise suspicion or fear depending on context 10 Brightness 11 Cast Shadow Value or lightness How light or dark a color appears Judged with a light meter A shadow that helps us locate the object relative to its surroundings Becomes independent as soon as you move the object away from the surface on which it is resting 12 Chiaroscuro Lighting Lighting with the intention of producing fast falloff and high contrast between light and dark 13 Color Constancy Perceiving a color as uniform despite variations 14 Color Energy The aesthetic impact a color has on us 15 Color Juxtaposition When two highly saturated complimentary colors are side by side you run the risk of causing color vibrations 16 Color Perception Eye receives light of a certain wavelength or mixture of wavelengths which is transmitted interpreted by the brain as a color sensation 17 Color Temperature The relative bluishness or redness of white light measured in Kelvin degrees Reddish is low bluish is high 18 Compositional Function of Color Colors help define screen areas they emphasize some areas and de emphasize others An effective composition never has random colors Each one has a purpose 19 Contextualistic Art and Aesthetics There is a relationship between art and life 20 Desaturation Theory One way of increasing audience involvement in intimate scenes is to use desaturated colors or eliminate the use of color altogether 21 Ethics We must be careful because the technology of television and film gives us the ability to manipulate messages 22 Expanded Lighting Additional Lighting 23 Figure Ground Principle The figure is thinglike We perceive it as an object The ground is not it is merely part of the uncovered screen area 24 Fill Light Light that extends key light s illumination 25 Film Noir Employs a certain style of lighting usually chiaroscuro They have a morally ambiguous antihero a femme fatale and usually focus on crime 26 Forced Perspective Causing parallel lines to converge faster and making distant objects appear smaller than we would ordinarily perceive 27 Graphic Cues Using dominant graphic vectors may help give the viewer some orientation in complex shots 28 Graphic Vectors A stationary element that guides our eyes in a certain direction 29 Hue Describes the color itself blue red green yellow etc Only spectral colors are pure examples 30 Illogical Closure When we try to make sense of the images we look at we sometimes form patterns that are illogical and should not be formed 31 Index Vectors There can be no mistaking where these objects point Can be arrows or people pointing or looking in a specific direction Lighting can be used to articulate feeling and emotion 32 Inner Orientation of Light 33 Key Light 39 40 41 42 Light that provides the main light source of illumination It should be directed towards the subject with the motivating light in mind 34 Kicker Light Placed low and behind off to one side provides further separation from background 35 Light Radiant energy that behaves commonly as electromagnetic waves 36 Lightness Perceiving rather than measuring relative brightness Judged with eyes 37 Moir Effects Color vibrations that occur when when narrow contrasting stripes or intricate patterns interfere with the scanning lines of the video system 38 Motion Vectors These vectors are actual movement in the frame not just an implication Still frames cannot employ these vectors only moving video can accomplish these Multiple Camera Lighting Less precise than single camera lighting Accommodates multiple camera angles and long duration action Continuous changing angles key becomes fill side or even back lights Narrow Angle Lens A lens that produces shallow depth of field Everything but the one object you focus on will appear out of focus Natural Dividing Lines People and objects must be framed so that the viewer can apply closure to extend the image into off screen space Lighting gives us clues that help us identify the characteristics of the objects and environments we see on screen This light helps to preview an event for the audience Sudden change from high key to low key or from above eye level key light position to below eye level key light position It works with sound effects and music most often 44 Premature Closure Improper framing leads to this Occurs when the vector field within the frame entertains such easy psychological closure that the image no longer compels us to extend it beyond the screen 45 Purpose of Light To manipulate and articulate the perception of our environment both inner outer 46 Rack Focus This involves changing the focus from one object to the other on the z axis A shallow depth of field and therefore a narrow angle lens is required Outer Orientation of Light 43 Predictive Lighting 47 Reflectors Devices that bounce light from a light source toward the subject Usually for outdoor use to reflect light both as key and fill light 48 Saturation The strength or purity of a color chroma Represents the amount of white light or white gray or black paint mixed into hue 49 Screen Space Three structural factors Aspect RatioObject SizeImage Size Changes the focus on an object at different distances along z axis One object is out of focus the other is on focus adding the perception of depth Selecting information that agrees with how we want to see the world Comes directly from the side
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