RTV3001 TEST 3 ch14 Study online at quizlet com xyzmm 1 objective total running time of entire film 13 Rhythm not clock time but what the time feels like to the viewer real life or fictional tv precise amount of measured time length of the program film longer running time than tv 14 Editing where rhythm is more important 15 Plot Time trailer editing music videos commercials experimental films ex Jack white Music Video time in media time in media 2 subjective 3 OBJECTIVE TIME 1 clock time 4 OBJECTIVE TIME 2 running time TIME 3 sequence time TIME 4 scene time 8 OBJECTIVE TIME 5 shot time 5 feature length movie longer than 60 or 70 mins anything else is a short film 6 OBJECTIVE running time of a sequence of related scenes 16 Character time 7 OBJECTIVE running time of a scene running time of a shot shots are the smallest unit of a film 9 OBJECTIVE TIME 6 Story time objective time span of a screen event the amount of clock time that we are supposed to understand has passed in the screen event 10 OBJECTIVE TIME 7 Real Time ex Snooze Time a whole lifetime passed in the short film when story time and running time are the same length same in live broadcast ex 24 11 Pace perceived speed of the event 12 manipulating pacing high and low density of things happening in succession slow and accelerated motion fast motion affects pace more ex Lights Out music shot length amount of screen action editing running time 17 when character time and plot time are not in sync 18 Primary motion definition 19 Primary Motion characteristics 20 Secondary motion definition 21 Secondary motion characteristics 22 Secondary motion reasons to move the camera the flow within and among segments sometimes has a beat determined by pace of shots scenes sequences objective and subjective time concerning the story of the sequence of events how long a screen event plot is supposed to take place based on clock time and how long it feels like it is taking obj and sub time elements concerning the characters actions and feelings how long char is supposed to be experiencing and the time they he she feels the duration actually is result is effective intensification of the scene ex event motion occurring in front of the camera ex action performers cars dependent on the event indicator of objects dynamics camera should capture primary motion motion should not be fit to a camera position or movement Zettl Ex It s all right camera motions ex tilt pan zoom boom dependent on the medium motion is limited to the capabilities of the equipment must be motivated always must have a reason to move camera Zettl camera movement is increasingly more comfy and popular ex Never Catch me 1 follow action keep performers in shot 2 reveal action reveal something to surprise character 3 reveal landscape 4 relate events 5 to induce actions quick camera motion from one subject to another in a single shot Dir Paul Thomas Anderson uses swish pans ALOT 36 tertiary motion dissolve only lens parts are moving but we perceive this as a camera motion 37 When too use a dissolve entire camera moves closer or farther away from the subject simulates a person walking into a scene much less distracting than zoom in as it approximates human movement 26 secondary motion dollying move wheeled apparatus on which a movie or tv camera is mounted toward or away from scene or action 27 secondary tilting camera up or down on pivot point camera stays level but moves higher or lower on pedestal 29 secondary camera moves side to side 40 Sound 23 Secondary motion reasons to move camera 4 relate events Swish Pan or Whip Pan 24 Secondary motion zoom motion dolly 25 Secondary motion tilt 28 secondary motion pedestal motion pan motion truck motion arc 30 secondary entire camera assembly moves side to side 31 secondary combo of truck and zoom 32 tertiary motion definition sequence motion created by editing transitions ex cut dissolve fade wipe 33 tertiary motion characteristics 34 Tertiary motion cut 35 Tertiary motion jump cut sequence editing motion transitions should not draw attention to themselves using cuts dissolves etc depends on context of your media instantaneous change from one image to another least obtrusive default transition a dissolve would be less abrupt occurs when the subsequent shot is not sufficiently different in field or angle of view and image screen seems to jump in position on the screen good for intensifying scene gradual transition from shot to shot images temporarily overlap good for sequence fluidity ex 6 ft under opening can cause causation about figure ground relationship less abrupt than a cut links separate spaces times ex how grinch stole chirst set up scene show altered mental state in montage ex spiderman should be used sparingly used more commonly in the past gradual transition to black or from black fades separate scenes stop the pace of media use them only to indictae beginning or ending a new image seems to push the old one off the screen ex Star wars wipe Digital video effects page turns melts peels stretches never use these they look cheesy and amateur ish audible vibrations organized and purposeful transmits a message from just a noise transformed to sound when linked to an image developed after film audible vibrations no organization or purpose created together were never separate essential to each other TV is not just a visual medium but an audio visual medium silent tv inconcievable dialogue is most of the sound all tv events happen with a specific sound environment and the sound lends authenticity to pictures ex long hallway turn it into a hospital wing by adding intercom doctor call sound Tv is low res and small screen sounds are added to supply info so that the audience knows what is going on Tv is built inductively close ups to tell whole story 38 Tertiary motion fade 39 Tertiary motion wipe 41 noise 42 Sound and TV 43 Factors of TV sound 1 Reflection of Reality 44 Factors of TV sound 2 Low def image 48 Diegesis the narrative world of a film 59 outer orientation function of sound 51 source disconnected come from off screen 45 Factors of TV sound 3 Production restrictions and technical limitations 46 Factors of TV sound 4 audio video balance 47 film sound 49 literal of diegetic sound 50 source connected sound sound 52 non literal non diegetic sound 53 mixing literal and nonliteral sounds 54 Sound as an information function 55 dialogue tv sound recorded in unison with pictures any sound source must have a microphone Tv sound tends to
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