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Media Techniques - FSU - RTV 3001 - MidtermCritical Media Studies (Midterm)MYP_10 ITGS Social MediaMedia Effects Exam 1Media Techniques - FSU - RTV 3001 - Midterm1.Above Eye Level LightingLighting that is considered normal lighting.2.Additive Color MixingRed, Green, Blue projected so that the colors cross:Red +Green = YellowRed +Blue = MagentaBlue +Green = CyanWhen all added, the color is white.3.Applied Media AestheticsA 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 objectstays under the same lighting conditions.No amount of moving or wiggling will remove the shadow from the object.7.Back Light 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 LightingAlso known as Reverse Modeling.Attached shadows are opposite of their expected position, which translates into surprise, suspicion, or fear, depending on context.10.Brightness Value or lightness.How light or dark a color appears.Judged with a light meter.11.Cast Shadow 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 LightingLighting 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 ColorColors help define screen areas: they emphasize some areas, and de-emphasize others. An effective composition never has random colors. Each one has a purpose19.Contextualistic Art and AestheticsThere is a relationship between art and life20.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 Lighting23.Figure/Ground PrincipleThe figure is thinglike. We perceive it as an object. The groundis 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.32.Inner Orientation ofLightLighting can be used to articulate feeling and emotion.33.Key Light 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.Moiré Effects Color vibrations that occur when when narrow, contrasting stripes orintricate patterns interfere with the scanning lines of the video system.38.Motion VectorsThese vectors are actual movement in the frame, not just an implication. Still frames cannot employ these vectors, only moving video can accomplish these.39.Multiple Camera LightingLess precise than single camera lighting.Accommodates multiple camera angles and long-duration action.Continuous changing angles, key becomes fill, side, or even back lights40.Narrow Angle LensA lens that produces shallow depth of field.Everything but the one object you focus on will appear out of focus.41.Natural Dividing LinesPeople and objects must be framed so that the viewer can apply closure to extend the image into off-screen space.42.Outer Orientation ofLightLighting gives us clues that help us identify the characteristics of the objects and environments we see on screen.43.Predictive LightingThis 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 ClosureImproper 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 LightTo manipulate and articulate the perception of our environment - bothinner & outer46.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.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 Size50.Selective FocusChanges the focus on an object at different distances along


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FSU RTV 3001 - Midterm

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