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Key Terms Defined 1 Aesthetic processes Applied Aesthetics study of visual and auditory perceptions due to elements such as lighting and frame composition and how these perceptions can be most effectively clarified intensified and interpreted through television and film o Part of everyday life Figure ground principle ordering surroundings into foreground figures that lie in front of or move against a more stable background Selective seeing Our tendency to see only such events and event details as we are interested in and or that seem to confirm our perceptual expectations and prejudices Selective perception Automatic reduction of unnecessary details during the perception process Context the environment in which we perceive and evaluate specific perceptual phenomena Every aesthetic element operates within and is dependent on the context of all others o Bottom up context is imposed by the event itself o Top down based on the intentionality of your actions Associative context establishes and applies a code that dictates at least to some extent how you should feel about an event Aesthetic context perceptual processes are so immediate and forceful that we respond to certain stimuli in predictable ways even when we know that we are being perceptually manipulated Applied Media Aesthetics Method based loosely off Leo da Vinci s Notebooks in which he describes the Then Attributes of Sight Which Find Expression in Painting o Kandinsky said it is an inductive process of building a scene by combining graphic elements the fundamental building blocks of painting such as lines planes color texture Fundamental Image Elements four fundamental and aesthetic elements of video and film are a Light and color b Space c Time motion d Sound Encoding translating an idea into a message for specific communication medium Familiarity with formal elements of applied media aesthetics and their respective fields will enable one to exercise creativity to fullest Light purpose Light Radiant energy that behaves commonly as electromagnetic ways o Usually defined as visible radiant energy even though it is o If our surroundings didn t reflect light we would live in darkness invisible Purposes 1 Manipulate and articulate our perception of the environment 2 Establish an aesthetic context for our experiences a framework that tells us how we should feel about a certain event 3 See and feel in a specific way o We can articulate our outer space time environment and our inner environment our emotions Lighting reveals what objects look like where they are located and what surface textures they have o Lighting can bypass our usual cognitive perceptual screens our rational faculty with its critical judgment and affect us directly and immediately o Has both outer and inner orientation functions because it helps articulate our inner and outer environments o Lighting in television and film is the deliberate manipulation of light and shadows for a specific communication purpose o Lighting lets media professionals tell their viewers what time of year or time of day it is outer and also what emotions are going on in the scene inner What light HAS to Do o Provide for sufficient illumination to record a film and make up for differences in contrast for the eye o Enhance the illumination of two and three dimension Color temperature vs color energy Light is referred to as having color temperature o Sunlight Bluey o Artificial Light Orangey o Fluorescents Greeny Color Temperature Relative bluishishness or redness of white light measured in Kelvin degrees o Video cameras must be adjusted to the color temperature of prevailing o Even though we talk about white light the light we see is never pure o Some white light is reddish some is bluish some is greenish this is color light white temperature a The more bluish the light the higher the color temperature b The more reddish the light the lower the color temperature Color Energy the aesthetic impact a color has on us o The energy of a color depends on a Hue b Saturation It also has to do with c Brightness of a color a The size of the color area b The contrast between foreground and background Warm colors have more energy than cool ones a A bright yellow has more energy than a brown Saturation of a color contributes to its energy o If equally saturated a warm red will have more energy than cold blue but if the red is desaturated or faded the blue will become more energetic o Large color areas carry more energy than small color areas of similar saturation brightness o Colors have more energy when set against a background of contrasting o The benefit of translating colors into aesthetic energy is that you can integrate the effects of color more readily with other aesthetic elements to produce a variety of specific emotional effects Music sfx angles o This knowledge allows you to effectively conceptualize and use color composition in moving images Shadows attached vs cast Shadows When we design lighting shadows become very important You can t intensify and clarify the shapes and textures of people and things through simple illumination you do that with shadow Attached shadows a shadow that is on the object itself It cannot be seen as independent of detached from the object o Help us primarily with interpreting an objects basic shape and texture o Inevitably fixed Cast A shadow produced by an object and thrown cast onto a surface part of the object itself or another surface o Created when the positioning of the light source is such that the shadow of one object is cast across another object or part of the setting May be object connected o Shadow touches the object producing it May be object disconnected o Shadow does not touch the object producing it Cast shadows help us locate an object relative to its surroundings o Indicates whether the object rests on the table or not Cast Shadows o Cast shadows become independent as soon as you move the object away from the surface on which it is resting o It has quite a sharp or more definite edge to it o Get fuzzier and lighter softer as the object moves farther away from the table Indicate location a b Provide drama c Tell story o Some cast shadows you don t want such as the microphone boom or the camera shadow o During production it s important to pay attention to where your equipment is and plan so that undesired shadows are not in your shot Major difference attached shadow is always part of the actual object while cast shadow always falls on


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FSU RTV 3001 - Aesthetic processes

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