Karteikarten

C

lanni.nguyen Englisch 239 Karten

Karten in diesem Stapel (239)

1CANA metal or plastic circular container for storing film. ''In the can'' means that the film is completed, in the container, and ready for release.
2CANDELAThe measurement of light intensity as computed by the light given of by one-sixteenth per square centimeter of a black body at 2042 degrees Kelvin, which is the melting temperature of platinum.
3CANDLES PER SQUARE FOOTThe measurement of light reflected from a surface by a reflected light meter.
4CANNED DRAMAA term sometimes applied to early silent films, since a number of such works were little more than abbreviated stage dramas put on film.
5CANNED MUSICMusic not written and recorded for a specific film, but prerecorded and filed in a library according to type. Such recordings are generally used in a film as background music.
6CANNED THEATERA term sometimes applied to early sound films. Because cameras had to be placed in soundproof booths during production, thus losing their mobility, and because the placement of microphones limited the movement of characters, early sound films seemed little more than photographed theater.
7CANTINGAngling a camera for a shot. The shot itself is called a canting or dutch-angle shot.
8CAPER FILMSee big caper
9CAPPING SHUTTERAn additional shutter, generally a metal blade, employed between the lens and regular shutter in an animation camera to block frames from being exposed during an animation cycle. In such a cycle, cels that are repeated at intervals are photographed at a single shooting, with the intervening cels photographed at later passes.
10CAP SHEETSee Dope sheet
11CAPTSTANThe shaft in a magnetic tape recorder against which the tape is pressed by a roller to give it a steady movement as it passes the various heads.
12CAPSULE GUNAn airgun that shoots a projectile or series of projectiles to shatter objects or glass and shoots capsules which themselves shatter on impact, spraying their content over a specific area. Capsules can spray powder to suggest dust released when a bullet hits rock or spray a dye to suggest the splattering of blood.
13CAPTION(1) A series of words on the screen that precedes a scene and announces some theme, subject, or change in time or place. (2) The series of words superimposed over the bottom of the frames to translate foreign dialogue or to communicate dialogue or commentary to the heard-of-hearing.
14CARBON ARC LAMPSA high-intensity, low voltage light source employed in the production of motion pictures. An electric current maintained between carbon rods clearly illuminates objects and faithfully brings out colors. Although noisy and of relatively short duration, these lamps were once a mainstay of film production and are still useful when a great deal of light is needed from a single source. Carbon arc lamps are often used a spotlights and are manufactured in the 65-,110-, -150, and 225-amp. categories.
15CARDA type of credit achieved through optical printing. The titles remain stationary but fade in and fade out.
16CARDIOID MICROPHONEAn unidirectional microphone that picks up noises from all sides, but is more responsive to sound from the front than from the rear and so highlights foreground noise from background. For this reason it is especially effective for dialogue.
17CARPENTERSThe personnel who do all the construction with wood for a film production. This group builds sets, furniture, props. and camera trucks.
18CARPENTER SHOP, CARPENTER WORKSHOPThe unit of a film production responsible for all construction with wood. This group is under supervision of the master carpenter.
19CAR RIGSAttachments to a car or truck that support cameras and lighting: for example, a beam placed across or alongside the vehicle, a scaffold system, or a limpet mount with suction cups.
20CARTOONA short animated film, generally made by the stop-motion photography of painted figures, puppets, or pixilated human forms.
21CARTRIDGEA container or magazine into which film or tape is loaded before it is attached to the camera.
22CASCADINGPrinting several successive frames in a single frame to achieve a strobe effect.
23CASSETTEA small cartridge, normally with feed and take-up reels, that contains film or tape and is used in videotape or regular projections systems (especially for 8mm and super 8mm film).
24CAST(1) The actors and actresses in a film. (2) The list of characters and their performers that is shown before or after the film. (3) To select performers for a film. This job is generally done by a casting director for all but the major performers, who are chosen for their roles independently.
25CASTING COUCHThe piece of furniture, generally in the producer's office, where may an actress is rumored to have begun her career in movies by granting her sexual favors. The casting couch was part of both the myth and the reality of Hollywood during its golden years.
26CASTING DIRECTORThe individual who chooses and negotiates contracts for the actors and actresses placing the various roles in a film other than the leading performers who generally are already contracted.
27CATCHLIGHT(1) A small glean of light coming from the performer's eyes, the source of which is one or more lamps. Also called a glint or kick. (2) The lamp or lamps placed near the camera to achieve such an effect. Also called an eye light.
28CATHODE-RAY TUBE (CRT)A vacuum tube that generates a focused beam of electrons on a screen at its end (e.g., a television picture tube or video display tube for computer graphics).
29CATWALKThe narrow, railed walk suspended above the stage in the studio for lighting, sound equipment, and rigging sets.
30CEL, CELLA transparent sheet on which is traced and then painted part of a scene for cel animation.
31CEL ANIMATIONThe animation process that employs a number of cels, normally made of cellulose acetate, on which are drawn various parts of a scene both to create a sense of depth and to avoid drawing again and again the stationary parts of a scene or character.
32CEL FLASHA bright flash that registers on a film image from the reflection of light off the uneven surface of a cel or group of cels in cel animation of titling.
33CEL LEVELThe level at which a particular cel is placed and photographed on an animation table.
34CELL SIDEThe base side of film as opposed to the emulsion side.
35CELLULOID(1) The original transparent material, cellulose nitrate, used as a base for film and on which light sensitive emulsion was coated. (2) Any of the cellulose derivatives, including nitrate and acetate, used as a film base. (3) A colloquial term for the movies in general.
36CELLULOSE ACETATESee acetate base
37CELLULOSE NITRATESee nitrate base
38CEL SANDWICHThe layers of two or more cels in cel animation.
39CEL-XEROX, XEROGRAPHYIn cartoon animation, the process of Xeroxing original drawings onto cels instead of inking them by hand. The process was introduced by Walt Disney Productions in the late 1950's.
40CEMENT SPLICEThe permanent attachment of two pieces of film by liquid cement. After the emulsion on the end of one piece has been scarped off and the cement applied, the end of the other piece of film is attached in place by the cement-splicer. This method is most often used for cutting the original negative or repairing release prints.
41CENSORThe person or persons in any community or government who determine what parts of a film should not be seen or whether the film should be seen at all by the public.
42CENSORSHIPThe act of deciding what parts of a film should not be seen or whether the film should be seen at all by the public.
43CENTER TRACKThe placement of the sound track along the middle portion of magnetic film with a row of perforations along each edge. Edge track film with a single row of perforations along one edge and the sound band running along the other is the preferred film for magnetic recording in the United States.
44—CENTURY STAND
A three-legged mobile stand that holds flags or other apparatus to control light or reduce its intensity. The stand also holds branches or other objects for shadow effects. Also referred to as a C stand.
45CERTIFICATE OF CODE RATINGA certificate given to a producer or distributor of a film by the Code and Rating Administration of the Motion Picture Association of America that designates what letter should be assigned to the film to advise the public about its content. (e.g. PG or R).
46CGIAbbreviation for Computer Generated Imagery.
47CHANGE-OVER, REEL CHANGEThe immediate change from the reel on one projector to the following reel on a second projector without any loss of continuity in sound or image during a film showing.
48—CHANGE-OVER CUE,
CUE MARKS
The small circles on the top right-hand corner of two series of frames coming at the end of a reel to instruct the projectionist to switch from one projector to another for the change-over from one reel to the next. The first series, also called the motor cue, indicates that the second projector should be started, and the second series indicates the actual change-over.
49CHANGING PAGESAlternations in the script given to the performers in a film and the various personnel once production has begun. Each set of alternations is furnished on pages of a specific color to distinguish the various stages of the rewrite.
50—CHANGING BAG
A lightproof bag with two linings, two zippers, and sleeves or elastic openings on each end through which hands may be extended to load film into, or unload it from, the magazine. The changing bag is useful on location when a darkroom is not available.
51CHAPTER PLAYFilm jargon for a serial.
52CHARACTERAny one of the various fictional people that appear in a film, including heroes, heroines, villains, supporting roles, and minor and bit parts.
53CHARACTER ACTORA performer who specializes in secondary roles of a well-defined, often humorous nature. Such actor or actresses generally play these roles of their own physical characteristics and individual voices.
54—CHARACTERISTIC CURVE,
H AND D CURVE,
D LOG E CURVE
The curve plotted to indicate the change in density of an image as the exposure is increased. The initials in H and D curve represent the names of Hurter and Driffield because of their early work in sensitometry.
55CHARACTERIZATION(1) The interpretation of a character by an actor; the realization of a specific personality with particular characteristics and manners. The extent and depth of characterization differ according to the performer and film. (2) The process of interpreting a character in a film.
56CHARACTER TYPEA character with specific and distinct qualities who reappears frequently in films, though with different names and played by different actors: for example, the homicidal maniac; the reserved British butler; the kindhearted immigrant father with a heavy European accent; the young girl who aspires to be a ballet dancer and to devote her life to art. A good performer can, of course, breath new life into an old form.
57CHASE FILM, CHASERA film that features the pursuit of someone or some group.
58CHEAT(1) To change unnaturally the position of a subject from that in a previous shot to allow a better shot from a different angle or distance. (2) A performer cheats when he or she pretends to look at another character or some action but instead position his or her at a full and attractive angle for the camera.
59CHEAT SHOTA shot that fools the audience into believing that something is happening when it is not- for example, when a character pretends to leap out a window several stories high, although a mattress actually catches him a few feet below, out of the audience's view; or a character appears tall when he is actually standing on an ''apple box.''
60CHECKERThe individual in an animation studio who ''checks'' all the cels and background material for each shot, making sure that they are properly ordered and that the individual drawings are properly colored.
61CHECKERBOARD CUTTINGThe type of slicing used for A and B printing.
62CHECK PRINTA print sometimes made before the answer print to check on the various printing effects or to check on an older negative.
63CHERRY PICKERA colloquial term for a crane.
64CHIAROSCUROThis term derives from the Italian words for ''bright'' (chiaro) and ''dark'' (oscuro). It means the arrangement of light and dark in a pictorial composition. German expressionist films achieved some remarkable effects of this sort.
65CHICKEN COOPA luminaire with six one-thousand-watt bulbs which is covered in the front by wire mesh and frequently used as an overhead light.
66CHILD ACTORA child who performs in films.
67CHINA GIRLThe model in a series of frames whose skin and apparel contain all the primary and complementary colors. Her colors, along with those of various patches in the frame, are used by the grader for color correction during processing.
68CHINA PENCIL, CHINA MARKERA grease pencil used in editing for marking up the work print with instructions.
69CHINESE DOLLYA shot in which the camera moves back on slated tracks while panning the scene.
70CHOREOGRAPHER, DANCE, DIRECTORThe person who plans and stages the dancing in a film.
71CHRISTMAS TREE(1) A single stand on which several lumiarires are mounted. Also called a tree. (2) A small vehicle on which lighting equipment is stored.
72CHROMAThe intensity of a hue or saturation of a color; the freedom of the color from white or gray.
73CHROMATIC ABERRATIONThe defect in the lens causing colors to be dispersed instead of focusing at the same point; the result is a color fringe around the objects of the image.
74CHROMATICITYThe objective definition or measurement of color quality.
75CHRONOPHOTOGRAPHSThe multiple photography shot by Etienne-Jules Marey in the 1880's with his gunlike camera. The lens was positioned at the end of a long barrel and a glass plate revolved twelve times per second in the chamber, taking twelve consecutive pictures. Later the plate was exchanged for paper film.
76CIDThe letters stand for ''compact indium discharge'' and refer to an enclosed arc discharge lamp that offers a high degree of illumination for its small size and from the small amount of wattage it uses. Although not as popular in this country as the similar HMI light, the CID is making inroads in film and television.
77CINCHINGTightening a roll of film by pulling the end.
78CINCH MARKSScratch marks on a film that are caused either by the layers of film rubbing against one another when an end is pulled to tighten a loosely wound roll or from particles between the layers.
79CINEThe prefix that means ''cinema'' (e.g., in cinematographer).
80CINÉASTEA French term meaning (1) anyone involved in the making of films; or (2) a film enthusiast.
81CINÉASTEA quarterly film journal, published from New York City, with a political emphasis and concern for international and noncommercial films.
82CINECALCULATORSee calculator
83CINE CAMERAA motion-picture camera.
84CINECOLORAn early two-color film process used in place of the more expensive Techicolor process from the late 1930's until the development of tripack color systems in the 1950's. A print with emulsion on both sides, one orange-red and the other blue-green, was made from a single negative.
85CINEFANTASTIQUEAn intelligently written and attractively illustrated bimonthly magazine that deals with fantasy films, especially the science-fiction and horror genres. Articles, interviews, and reviews are features. The magazine is published from Oak Park, Illinois.
86CINEFEXPublished three times a year from Riverside, California, this magazine is concerned with special effects in the movies. Each edition focuses on only a few films and presents lengthy articles and interviews that examine technical matters in depth with accompanying photographs.
87CINEMAThe term comes from the Greek word kinema, meaning ''motion'' and refers to (1) motion pictures in general; or (2) motion-picture theaters (especially called so in Europe). When referring to the general world of motion pictures, the term has more aesthetic and artistic connotations than the terms ''film,'' ''movies,'' or ''motion pictures.''
88CINEMACROGRAPHYThe filming of small objects without a microscope but with normal, supplementary, or special lenses and with extension devices for the lens. This type of photography is often used for nature or biology films. Also called macrocinematography and cinephotomarcography.
89CINEMAJOURNALThe journal of the Society of Cinema Studies, published by the University of Illinois Press at Champaign: it features scholarly articles on commercial and noncommercial films.
90CINEMA NÔVOThe ''new cinema'' that flourished in Brazil in the 1960's and sought to establish a political cinema with a bold revolutionary spirit and film technique. Important directors in this group were Glauber Rocha, Nelson Pereira dos Santos, and Ruy Guerra. By the early 1970's an oppressive government had repressed this movement.
91CINÉ-PURSee pure cinema
92CINEMASCOPE, SCOPEThe anamorphic-lens system introduced by Twentieth Century-Fox in 1953 with its production of The Robe (dir. Henry Koster).
93CINÉMATHÉQUE FRANCAISENow a film library, two theaters, and a museum located in Paris, this film institution was founded in 1963 by Henri Langlois along with Georges Franju and Jean Metry.
94CINEMATIC(1) Anything directly relating to the motion picture, for example cinematic technique or cinematic lighting. (2) Anything outside of motion pictures that has the ambiance or suggestion of film: for example, a work of fiction with cinematic characters or techniques. The word ''filmic'' is also used in the context of the first definition, but infrequently in that of the second.
95CINÉMATOGRAPHEThe camera and projector, at first in one housing, developed by the French brothers Augueste and Louis Lumiére.
96CINEMATOGRAPHERSee director of photography
97CINEMATOGRAPHYThe word is derived from the Cinematographe of the Lumiére brothers and applies to (1) the photography of moving images in the making of a motion picture. Cinematography involves such technical concerns as camera, lens, film stock, and lighting, and such techniques as camera angle, distance, and movement. Significant to each image and the relation of images are composition, form, color, light and dark, and motion. The term also applies to (2) the entire procedure for making motion pictures, which includes photography, processing, printing, and projection.
98CINÉMA-VÉRITÉThe term means ''camera truth'' in French and applies to a series of documentary films which strive for immediacy, spontaneity, and authenticity through the use of portable and unobtrusive equipment and the avoidance of any preconceived narrative line or concepts concerning the material.
99CINEMICROGRAPHYThe filming of tiny objects or life through a microscope. This process is used both for research and for making scientific and medical films. Also called microcinematography, cinephotomicrography, and cinemicroscopy.
100CINEMOBILEA mobile production unit that contains cameras, sound equipment, lighting equipment, generators-everything needed to make a film-and also includes dressing rooms and space for personnel. The cinemobile is a truck that can be transported anywhere in the world on a cargo airplane. It was developed in 1967 and since that time has been widely employed in film and television production.
101CINÉORAMAA wide-screen system of 360 degrees that used ten separate films and projectors. The viewer, in a circular building, was surrounded by moving images of painted scenery to create the effect of traveling in a large balloon. The show was presented in Paris 1990, but after three performances had to be closed because of the risk of fire caused by the ten projectors.
102CINEPLEXSeveral movie theaters in one location, generally in a single building. As large individual theaters have closed down, these complexes of small theaters have sprung up, especially in shopping centers or as subdivisions of large theaters.
103CINERADIOGRAPHYThe filming of x-rays for medical examinations, especially of the cardiac, blood, and digestive systems. Patients drink or have infused into them barium, an x-ray opaque liquid, while an image intensifier is used with fast film.
104—CINERAMA
A wide-screen process created by Fred Waller.
105CINE-SEMIOTICSSee semiotics
106CINE-STRUCTURALISMSee structuralism.
107CINETABSee trim tab
108CINEX-STRIP, CINEXA strip of positive film, made from a Cinex printer and included with the rushes, that shows adjacent frames in graded degrees of exposure. The strip allows the director of photography to judge the success of the shot and to see how it would appear with different printer lights.
109CIRCARAMAA system, developed for Disneyland, that projects a 360-degree image around an audience on a cylindrical screen by means of a series of projectors. At first, eleven 16mm projectors were used, but the system later used nine 35mm projectors.
110CIRCLED TAKESThe takes circled on a camera report for printing by the laboratory.
111CIRCLE OF CONFUSIONA small circular patch formed by the lens on film that is actually the image of a specific point in the subject being photographed. Because light rays from any point nearer than infinity must converge at a point farther behind the lens than the focal plane, they will always appear as a circular patch. The smaller the circle, the less the confusion or blur and the sharper the image. Proper focusing of the lens keeps these circles to a minimum size.
112CIRCLE OF LEAST CONFUSION, CIRCLE OF BEST DEFINITIONThe circle of confusion formed by the light rays from a point on the subject acceptable for photographing.
113CIRCLE-VISIONA wrap-around film and screen system developed by the Walk Disney Corporation and now employed at the Epcot Park in Florida. The wraparound screen is 140 feet, and five 35mm projectors, run syn-chronically, create 200-degree film viewing, which allows more than peripheral vision and creates for the viewer a sense of being immersed in the scene. The system also employs seven-track stereo sound. Films are made from five 35mm cameras, run syn chronically, all of which are aimed upward at mirrors, giving them the same nodal point and avoiding difficulties with parallax.
114CIRCUIT THEATERA movie house that is part of a chain of theaters all belonging to the same owner or corporation. Such theaters often play the same films or rotate the same films among themselves. Circuit theaters, because of wider circulation of films and larger guaranteed audience, have been able to rent films more easily and with better financial arrangements than individually owned theaters, which, as a result, have considerably decreased over the years.
115CIRCULAR PAN, 360-DEGREE PANA pan shot in which the camera rotates around a fixed axis a full 360 degrees. Ingmar Bergman positioned his camera in the middle of a circular dining table and had the camera slowly pan the faces of the guests in a full circle in Hour of the Wolf (1968). This circular pan not only creates a sequence of strange babbling faces as seen by the protagonist, but also a sense of the protagonist's own separation and isolation.
116CITY SYMPHONIESA series of nonfiction films exploring the life and physical reality of a major city, frequently in an impressionistic style. The generic name for this type of film derives from the subtitle of Walter Ruttman's Berlin, die Symphonie einer Grosstadt (1927).
117CLAMPING DISCSee KNUCKLE CLAMPING DISC HEAD
118—CLAPBOARD,
CLAPPER BOARD,
CLAPSTICK BOARD,
NUMBER BOARD,
SLATE BOARD,
PRODUCTION BOARD,
TAKE BOARD
A slate with a pair of boards hinged together that is photographed at the beginning of each take, both for information concerning the take and for synchronization of sound and picture. On the slate are written such data as the names of the film, director, and cameraman, the date, and the numbers of the scene and take. Such information identifies the piece of film being shot and is read onto the sound track as well as photographed. The hinged boards on top, called clap sticks, are then banged together, allowing the editor later to synchronize picture and sound by coordinating the frame of the clap sticks coming together and the first noise on the sound track. An electronic system is also used today for synchronization of picture and sound.
119CLAPPER BOY, CLAPPER LOADER, CLAPPER PERSONSee second assistant cameraman
120CLAPSTICKSThe two boards in the clapboard that are hinged together and attached to a slate. Since they are both photographed and recorded when banged together at the start of a take, they serve as a synchronizing device for the picture and sound track in editing.
121CLARKE PROCESSA system, devised by Charles Clarke in the early 1950's, to photograph live action through a dis-positive plate, which generally is clear at the bottom and has a still image, such as clouds, at the top. The live action and image on the plate combine on the film.
122CLASSICAL CUTTINGA type of cutting for dramatic or emotional effect rather than for continuity: for example, a sudden cut from a long shot of an actor to a close-up.
123CLASSIC FILMA work that has achieved both fame and praise because of its insightful and innovative treatment of a significant subject. The term generally applies to fictional films that have withstood the test of time, that continue to contribute to our understanding of both human behavior and the medium itself, and that still seem to contribute to the development of film. Classic films seem to sum up the state of art at their time of production, to bring together the best techniques and insights about people, and also to advance the art and permanently change the future course of film.
124CLASSIFICATIONSee motion picture rating system
125CLAWA metal tooth in a camera's and small-gauge projector's intermittent mechanism that pulls each frame of the film, one at a time, into the gate for photographing or projecting respectively. A double claw is often employed in case the first perforation is torn.
126CLEAN ENTRANCEA term used when no part or shadow of the performer or object is seen before movement into the scene. Also an order to the performer to enter in such a way.
127CLEANING BATHSee WASH
128CLEAN EXITWhen the performer or object moves out of the scene and completely out of sight. Also an order to the performer to exit in such a way.
129CLEAN SPEECHWhen the performer gives his or her speech during a shot without any problems.
130CLEANUPThe process of retracing an animator's rough drawings and making them into finished artwork, a task performed in an animation studio by the cleanup artist.
131CLEAR, CLEAR YOURSELFAn order for a performer to appear unobstructed in front of the camera, with no part hidden by some object or another performer.
132CLEARANCE(1) Legal consent for the filmmaker or production company to use copyrighted material from another medium, such as music or literature, or from another film. (2) The exclusive rights obtained by a theater from a distributor to play a film in a specific geographic area.
133CLEAR THE FRAMEAn order to vacate the set in front of the camera during rehearsal.
134CLICHÉIn film, like literature, the term applied to (1) hackneyed and trite language that through overuse has lost its impact and sometimes its original meaning; (2) stereotyped and trite characters of plot that have lost power and significance through overuse. In film term also applied to (3) any visual image or technique that has been used and imitated so much that it has lost freshness, power, or even meaning for an audience.
135CLICK TRACKA metronomic beat on a sound track, normally made by punching equidistant holes on the film; it guides (1) the conductor of an orchestra in bringing the music in on cue and keeping a tempo for recording music after the film has been shot and edited (either the conductor alone or both he and the musicians follow the beat by earphones); (2) a composer i writing music for a film that has already been shot and edited; or (3) an animation editor in creating the rhythm and timing for a sequence of action.
136CLIFFHANGERA film of great suspense with an especially tense ending, named after early serials in which the heroine, hanging from a cliff, was rescued at the last minute.
137CLIMAXFrom the Greek klimax, meaning ''ladder'' the word refers to that point in any narrative art (1) of highest plot complication when action ceases to rise and begins to resolve itself and fall; or (2) of highest dramatic interest for the viewer. Both kinds of climax occur toward the end of the work, but not necessarily at the same time.
138CLIP(1) A brief selection from a film used as an illustration of the work to which it belongs or as an illustration of some point. Clips are frequently used in advertising or as parts of compilation films. (2) A brief selection from another film or any kind of film footage used in motion picture.
139CLIP-TO-CLIPPrinting selections of an original roll of film without having to cut the original. The footage on the roll to be printed is designated for the laboratory. Also called section printing.
140CLOSED FORMA film style, in contrast to open form, that seems self-contained and self-sufficient both in style and content, and that creates its own world within the frame and seems to make little reference to any reality outside the frame.
141CLOSE DOWN, STOP DOWNTo reduce the opening of the lens' diaphragm by turning the calibration ring on the barrel to a higher f-stop number. To open up the diaphragm requires the opposite procedure.
142CLOSE SHOT(1) A shot somewhere between a medium shot and close-up; generally one that shows a character;s head and shoulders with some background. (2) Sometimes used synonymously for close-up.
143CLOSE-UP (CU)A shot in which the camera seems to be very close to the subject.
144CLOSE-UP LENSSee diopter lens
145CLOSING CREDITSThe names of all the performers and their roles, the complete list of technical and production personnel, the acknowledgements for various services, and the list of music and recordings that appear at the conclusion of a film. Also referred to as end titles.
146CLOTHES LIGHTSpecific lights, often kicker lights with snoots, for bringing out the texture or highlighting areas of the garment worn by a character.
147CLOUD WHEELA rotating wheel through which light is projected to cast a skyline effect on the rear of the set.
148CLUSTER BARA single mount for supporting more than one luminaire.
149C-MOUNTThe single-thread screwing device that attaches lenses to 16mm cameras. Though more common than the bayonet mount, it is not as strong and hence is less efficient in supporting such heavy lenses as the zoom lens.
150COATED LENSA lens coated with magnesium fluoride on the surface to reduce loss of light by reflection. Coating has become a routine procedure in the manufacture of most lenses.
151COATINGThe process of laying emulsion on a film base.
152—COAXIAL MAGAZINE
A film magazine with two separate chambers next to each other on the same axis for the feed and take-up reels.
153COBWEB GUN, COBWEB SPINNER, COBWEB MAKERA hand-held device, composed of an electric motor, a container of latex solution, and a fan, that blows artificial cobwebs onto the set.
154CODE AND RATING ADMINISTRATIONSee Motion Picture Rating System
155CODE NUMBERSConsecutive and corresponding numbers printed at one-foot intervals along the edge of both the picture and sound work prints during editing facilitate synchronization.
156CODESSee semiotics and structuralism
157CODING MACHINESee edge numbering machine
158CO-FEATUREThe second feature on a double bill, generally a low-budget film or a work of lesser significance. See B-Picture and double feature.
159COLLAGE FILMAn experimental film of animated collage.
160COLLECTIVE STORY FILMSee composite film
161COLLIMATORAn optical device for testing a lens by magnifying the image of a test object reflected directly off moving (or stationary) film in a camera. The image is itself projected off the film and into the collimator reflex viewfinder where it can be examined for accuracy, resolution, and other qualities.
162COLLISIONSergei Eisenstein's theory of montage, based on his application of Marxist dialectics. (pg 55)
163COLOR(1) The visual perception of the quality of any substance caused by the different wavelengths of reflected light and generally measured by hue, saturation, and brightness. White light is itself composed of separate wavelengths, each of which creates a different color the spectrum. (2) Any details within a film-setting, objects, costumes, music, lighting, or visual color-that give the work the feel and aura of a particular time and place.
164COLOR ANALYZER, COLOR FILM ANALYZERSee video color analyzer
165COLOR BALANCE(1) The adjustment of a film emulsion either for artificial (i.e, tungsten) light, which means it is sensitive for 3200 degrees Kelvin, or for daylight, which means it is sensitive for approximately 5600 degrees Kelvin. (2) The emphasis upon a particular part of the color spectrum in a film image; for example, when an image focuses more upon green than blue or red, it is said to be ''balanced toward green.'' (3) An image with all parts of the spectrum in balance is said to be ''in balance'' or to have a ''neutral balance.''
166COLOR-BLIND FILM(1) Any film insensitive to part of the color spectrum-for example, early monochromatic film, which was insensitive to red. (2) Certain print stocks that are made insensitive to yellow light so that they can be matched with the actual card to help with the timing process.
167COLOR CARDA card with a color scale that is photographed on a piece of film to facilitate color correction. The photographed card can be matched with the actual card to help with the timing process.
168COLOR CASTAn overall tint in a film image. This effect may be caused by faulty stock or printing, but sometimes such a tint is intentionally achieved to create a desired visual quality (e.g. a sepia tint to create a sense of the past as in old photographs).
169COLOR CINEX-STRIPSee Cinex-strip
170COLOR-COMPENSATING FILTER, COLOR CORRECTION FILTER, COLOR-BALANCING FILTERA camera filter that changes, in minimal degrees, the color balance of a scene by reducing the amount of red, blue, or green. This change might correct light sources or film stock, or simply achieve a particular effect.
171COLOR-CONVERSION FILTERA camera filter. A camera filter that changes the color temperature of the light to suit the color balance of the film stock. For example, with a blue filter, daylight film can be used indoors with tungsten lights; with an amber filter, indoor film can be used outdoors in daylight.
172COLOR CORRECTION(1) Altering the color of a scene's lighting by placing filters in front of the lamps or in front of or behind the camera lens. (2) Altering the quality of color for an image during printing.
173COLOR DIFFERENCE MATTESee blue-screen process
174COLOUR DUPLIATE NEGATIVE, COLOR DUPEFirst generation colour negatives (i.e., internegatives) are made (1) directly from a colour master positive (2) by printing onto colour reversal intermediate stock (CRI) firm the original negative; and (3) from three black-and-white colour separation positives. Colour duplicate negatives may be used for making release prints.
175COLOR FILM, COLOR CINEMATOGRAPY(1) A motion picture in colour as opposed t one in black and white. (2) The colour used for making a colour motion picture
176COLOR GRAD FILTERA camera filter containing both clear and coloured areas, with a smooth transition between the two. Such filters are used for altering only part of the image-for example, a partly blue filter for deepening the sky.
177COLOR INTERNEGATIVESEE INTERNEGATIVE
178COLARIZATION, COLOR SYSTEMS TECHNOLOGYTwo recent processes for changing black-and-white images to colour. Film images are transferred to video tape and then coloured by means of a graphics computer. Key frames are given colour values by the colourist, and the computer colours the remaining frames in the scene. See color film
179COLOUR MASTER POSITIVEA colour positive of high quality made from a colour original negative and used for making fine-grain colour duplicate negatives, themselves to be used as the source of release prints.
180COLOUR MATCHThe continuity, balance, and harmony of colours throughout the entire film, from shot to shot and scene to scene.
181COLOUR REVERSAL INTERMEDIATE (CRI)A colour dupe made directly from the original negative by means of tri-pack reversal film. Although such film must be printed optically for perfect orientation, the elimination of a colour master-positive results in a negative of fine quality for making release prints.
182COLOUR SATURATIONSee saturation
183COLOR SENSITIVITYThe degree to which a film emulsion is responsive to the various colours of the spectrum.
184COLOR SEPARATION(1) Using a separate negative for each of the three primary colours in subtractive-colour cinematography process such as Technicolour. Technicolour used a beam splitter to record on each negative: besides negatives for green, two other negatives were bipaced, emulsion to emulsion, for blue and red. See Technicolour.
185COLOR SYSTEMS TECNOLOGYSee Colorization
186COLOR TEMPERATUREThe measurement of the various light rays of the colour spectrum coming from a light source. This measurement has been initially calculated by heating a enclosed piece of black carbon, which cannot emit indecent light and is therefore a perfect source of radiant energy, and measuring the temperatures for the different colours among the spectrum from the lower blue end to the higher red.
187COLOUR TEMPERATRE METERA device that measures the colour temperature of a light source on the Kelvin scale.
188COLUMBIA PICTURESA film company, begun as CBC Sales Corporation in 1920 by Harr Cohn, his brother Jack, ad Joseph Brandt, and named Columbia Pictures in 1924.
189COMAA lens aberration that causes images off the optical axis to smear out; points of light form comet shaped blurs.
190COMBINED DUPE, COMPOSITE DUPEA duplicate negative with both synchronized sound and picture ready for printing.
191COMBINED MOVE, COMPOUND MOVEMovement of both actor and camera at the same time: for example, a tracking shot that follows the walk of a character.
192COMBO ENGAGAMENTThe release of two new films to ply together for a single admission price. Frequently this practice is used to promote public interest for later runs of each film, but sometimes it is a way of generating revenue for films that might not appeal to audiences if shown on their own. See double feature.
193COMEBACKA return of a performer to fame and fortune after a layoff or an unsuccessful period.
194COMEDYA basic definition of comedy both in drama and film is a work inciting within the viewer humour and mirth and ending happily, but there are many types of comedy that inspire degrees of humour and mirth; sometimes, as in black comedy, laughter is somewhat muted by our realization of serious implications and perhaps even by a unhappy ending.
195COMETINGTiny spots of light on the film caused in the processing bath by metallic pollution.
196COMIC ATTRACTIONSSEE PREVIEW
197COMMENTARYAn explanation, normally delivered by an off-camera voice, concerning the action and characters appearing on the screen. The commentator generally speaks as an unbiased authority on the subject of the film. See voice-over
198COMMENTATIVE SOUNDSound that does not derive from any action or conversation on the screen, but in some manner comments on what is being seen: for example, spoken commentary or programmatic music.
199COMMISSARYThe studio restaurant; a place on the lot where all those involved in the making of films have their meals and which, as a result, has been glamorized in the public mind.
200COMPILATION CUTSA series of cuts or shots unrelated by a continuous action or narration, but instead used in total to create the impression of a place, period of time, or a character's reactions to an event or memory of past events.
201COMPILATION FILMA film, generally a documentary, made by combining footage from other films and assembling them in such a way that the achieve new significance from their present context.
202COMPLEMENTARY ANGLESShots of different subjects, generally within the same scene, that are photographed with similar camera angles, so that they will match together in editing. The technique normally implies the subjects' spatial proximity.
203COMPLEMENTARY COLORS(1) Colours opposite to the primary colours on the colour wheel.
204COMPLEMENTARY TWO-SHOTSA series of two shots alternating favouring each of two speakers. The technique is frequently employed for conversation.
205COMPLETION GURANTEEA contractual agreement generally between those financing a film and those making it, that the film will be completed by a specific time and for a specified cost. Sometimes certain artistic requirements are included. It is normal in such an agreement to include a contingency, generally of ten percent, to allow for cost overruns.
206COMPLETION SERVICESThe various activities that finish a film after it has ben shot- for example, processing, editing, sound mixing.
207COMPONENTAn individual and complete image in computer graphics. Such an image may itself be composed of smaller elements (called macros) stored in the computer's memory (e.g., a figure composed of parts of the body already stored). See Computer graphics.
208COMPOSER(1) The individual who creates original background music for a film. Sometimes composers may also adapt classical music and folk or popular tunes in a new way. (2) The individual who writes the music for songs that appear in a film.
209COMPOSITE(1) Any film with both picture and sound in synchronization; that is, a composite print. (2) Any image created by the combination of two or more components from separate shots.
210COMPOSITE FILMA full-length film made up of two or more distinct stories.
211COMPOSITE PRINTA print with both picture and sound in synchronization. Sometimes called a married print.
212COMPOSTIONThe arrangement of all the elements within a scene, including setting, props, lighting, characters, and movement.
213COMPOUND TABLEThe table of an animation stand that allows multiple arrangements and movements of the cels for photographing
214COMPRESSOR, VOLUME COMPRESSORA device for reducing the amplitude of sound at the time of recording or rerecording. A compressor can act as a limiter, cutting off peak areas of volume, but is more likely to be used to diminish lower levels or the entire range of sound for a more even or subtle diminishment and for a compressed volume range.
215COMPSYSee Computerized Multiplane System
216COMPUTER ANIMATIONSee computer graphics
217COMPUTER GENERATED IMAGERY (CGI)See computer graphics
218COMPUTER GRAPHICSAnimation created through a computer.
219COMPUTER INTERPOLATIONIn computer graphics, the technique of having the computer itself create all the in-between images from the animator's key drawings.
220COMPUTERIZED MULTIPLANE SYSTEM (COMPSY)A motion-control animation apparatus first devised by Douglas Trumball for Star Trek: The Motion Picture (1979; dir Robert Wise).
221CONCAVE LENS, PLANO-CONCAVE LENSA lens with one surface curved and receding like the interior of a circle. A bi-concave or concavo-concave lens has both sides curved and receding in the centre. A concavo-convex has one side receding and the other convex or curving outward in the center, with the concave side having the greater curvature. A convexo-concave side is similar with the convex side having the greater curvature.
222CONCENTRIC MAGAZINESEE COAXIAL MAGAZINE
223CONCERT FILMA film that records a live musical performance before a public audience.
224CONDENSER LENSA lens that gathers and concentrates light rays from a wide source, thus increasing illumination. Such lenses are employed in projectors.
225CONDENSER MICROPHONE, ELECTRO-STATIC MICROPHONEA microphone in which the vibrations of a diaphragm in relation to a fixed plate cause a variation in voltage that is the source of the amplified sound.
226CONEA cone-shaped lamp that sends light rays in a wide beam to create a general, soft light
227CONFLICTThe struggle between two forces in a narrative that is frequently the motivating factor in action and plot.
228CONFORMERSee conforming
229CONFORMING(1) The process of matching the original film to the work print, frame by frame, normally done by matching the edge numbers on both films. This job is done in the laboratory by someone called a conformer, negative cutter, or negative matcher. See WORKPRINT. (2) In checkerboard cutting with 16mm film, properly alternating frames between two rolls of film.
230CONGLOMERATESLarge companies that own film studios as one of many holdings. Such companies have forced studios to diversify their activities and have brought a degree of financial stability, though often at some loss of artistic quality. For example, Gulf and Western purchased Paramount in 1966.
231CONNOTATIONIn literary study, the term refers to the suggestive or associative quality of a word as opposed to its explicit or denotative meaning.
232CONSECUTIVE ACTIONAction of a film in the order that it is shot, which is not necessarily its chronological order or the order in which it will appear in the film. It is often more economical and expedient to shoot scenes out of order to take advantage of a star's time or a single location.
233CONSENT DECREESSEE PARAMOUNT DECREES
234CONSOLE(1) A desk or table for monitoring and controlling sound recording. See mixing console. (2) A flat-bed editing machine. See flat-bed editing machine. (3) A Moviola with a picture head and two sound heads.
235CONTRUCTON CREWThe group of people who, working under a construction manager or foreman, are responsible for the building of sets.
236CONSTRUCTION MANAGER, CONSTRUCTION FOREMANThe person in charge of the construction of sets. He or she generally works under the art director and is in charge of a large crew.
237CONTACT PRINTERSEE CONTACT PRINTING
238CONTACT PRINTINGMaking a print by running the negative and positive together, with their emulsions touching, in front of the aperture where a light transfers the image from the first onto the second.
239CONTENT CURVEThe period of time needed for an audience to acquire the important information of a shot. Proper cutting should be at the peak of the curve.

Informationen

Beschreibung: Karteikarten am C, erstellt von lanni.nguyen am 08/12/2013.
Erstellt von: lanni.nguyen
Aufrufe: 50
Bewertung

C

Karten in diesem Stapel (239)

Informationen

Feedback

Wie gefällt dir das neue Design?