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Flashcards

Film

Randall Miller Film 1000 English 94 cards

Cards in this deck (94)

  1. 1Range of Tonalities: ContrastThe comparative difference between the darkest and lightest areas of the frame.
    o Most cinematographers strive for a middle range of contrast: pure blacks, pure whites and a large range in between, either greys (in black and white highlights) or hues (in color filming).
    o High contrast images can seem stark and dramatic, which low-contrast ones suggest more muted emotional states.
  2. 2Range of Tonalities: ExposureExposure regulates how much light passes through the camera lens.
  3. 3Changing Tonality after Filming:o Films could be printed on stocks that yielded different tonal values.
    o In the silent film era people added color to black and white images through tinting and toning.
    o Tinting is accomplished by dipping the already developed film into a bath of dye. The dark areas remain black and gray while the lighter areas pick up color.
    o Toning: the dye was added during the developing of the positive print. Darker areas are colored where the lighter colors remain the same.
  4. 4Digital intermediate Filethe frames that is adjusted with software
  5. 5Perspective:A set of spatial relations organized around a viewing point.
    The lens of a camera does roughly the same as your eye. Located a specific point, it gathers light from the scene and transmits that light onto the flat surface of the clip to form an image that represents size, depth, and other dimensions of the scene.
  6. 6Focal Length• The focal length is the distance from the center of the lens to the point where light rays coverage to a point of focus on the film.
    • The focal length alters the size and proportions of the things we see, as well as how much depth we perceive in the image.
  7. 7The short-focal-length (wide angle) lens• When a figure move towards or away from the camera, a wide-angle lens makes them seem to cover ground more rapidly.
  8. 8The middle-focal length (medium) lens.• Vertical and horizontal lines are rendered as straight and perpendicular.
    • Foreground and background should seem neither stretched out nor squished.
  9. 9The long-focal-length (telephoto) lens• Longer lenses flatten the space along the camera axis.
    • The planes seem squished together.
    • A person moving towards the camera takes more time to cover what seems to be a small distance.
  10. 10Zoom lenses• During a zoom, the camera remains stationary, while the zoom shot magnifies or demagnetizes the objects filmed.
  11. 11Rear projectionProject footage of setting onto a screen, then film actors in front of it. Creates very convincing depth cues.
  12. 12Front Projectionused angled mirrors to summon up more realistic looking backgrounds
  13. 13Matte Worka matte is a portion of the setting photographed on a strip of film, usually with a part of the frame empty. Through laboratory printing, the matte is joined with another strip of film containing the actors. The empty parts were painted and actors were put in front it (Wizard of Oz).
  14. 14aspect ratioratio width to frame height
  15. 15The anamorphic processa special lens squeezes the image horizontally, either during filming or in printing. This projection uses a comparable lens to unsqueeze the image during projection.
  16. 16The simplest way to create a widescreen image (??)by masking it at some stage in production of exhibition. This masking is usually called a hard matte. Alternatively, many contemporary films are shot full-frame (between 1.37:1 to 1.17:1).
  17. 17MasksFilmmakers use masks to embed other image shapes overtop over the rectangular shape. This usually has been done by attaching masks over either the camera’s or the printer’s lens to block the passage of light.
  18. 18irisA moving circular mask that opens to reveal or closes to conceal a scene
  19. 19cantedIf the framing is tipped to one side or the other
  20. 20Extreme long shotsthe human figure is lost or tiny
  21. 21long shotfigures are more prominent but the background still dominates
  22. 22Medium long shotsfigures are filmed from around the knees up
  23. 23Medium shotsframes the human body from the waist up
  24. 24Medium close upframes the body from the chest up
  25. 25Close upshowing just the head, hands, feet or small objects
  26. 26Extreme close upsingles out a portion of the face or isolates and magnifies an object
  27. 27SpeechDialogue can present and convey relevant information quickly.
    o If we hear information through dialogue the camera is freerer.
    o Speech can be used expressively – poetic, street language.
    o Dialogue can be used in continuity, smooth over a cut (dialogue overlap)
    o Can enhance the image or be set in opposition of the images to create various effects.
    • Don talks about his experience but the flashback image shows something different.
    • Creates a humorous effect, irony and speaks to the artificiality of Hollywood.
    o Speech is preformed, a way a line is preformed can create/alter meaning.
    o Tone conveys meaning
    o Accents and dialect, in Hollywood films the villain often speaks with an accent (British?)
  28. 28Music• This music can have several functions
    o Lyrics of a theme song may provide information relate to the narrative
    • Music can establish oppositions
    • Music can function to define characters
    • Function as a motif, the repetition of diegetic or non diegetic can become motifs
    • Diegetic music can extend plot time, foreshadows events that are coming and narrative halts.
    • Noise can create elements of suspense
    • Carry meaning
    • Only with sound when silence takes on a dramatic function. When a film goes silent you notice it.
  29. 29Functions of Sound: Censoring impact• When someone is stabbing someone we expect to hear the sound of someone stabbing.
  30. 30Functions of Sound: Narrative information and exploitation• As a camera focuses on stone-faced hero, off-screen we hear the trains chug chug telling us the train is taking his lover away.
  31. 31Functions of Sound: Conventional Association of Sound• Thunder in the distance we anticipate that a (metaphorical) storm coming
  32. 32Functions of Sound: Sound Image Relations• Sound can direct our attention
    o If a character says the man with the hat is a bum, we will scan the image to find that man
  33. 33Functions of Sound: Interpretationalter our interpretation depending on music or what is said
  34. 34Fidelity of Soundthe extend that sound is faithful to the source as we conceive it
  35. 35Diegetic soundComes within narrative world, even if it is off screen
  36. 36External diegetic soundo Whether on of off screen means that it is objective, sound has a physical source in the scene.
  37. 37Internal Diegetic soundo We assume other people can’t hear it because it is in the mind of a character.
    o Subjective sound
  38. 38Sound Perspectiveo Sounds position in the diegetic space indicted by volume, pitch, timber and sound reproduction
  39. 39Non Diegetic SoundNot part of the world of the story
  40. 40Establishing ShotDoor is on end of axis, man is on the other side of the axis.
  41. 41Eye line matcha cut that links a shot of a character looking off screen to the next shot of what the character is looking at. Will almost always adhere to the 180-degree rule. Offer directional queues, they create strong spatial continuity.
  42. 42Point of view shottaken with a camera of a shot of where the characters eye would be. We usually get an objective shot of the character looking. Gives us a further intensification of a characters look, more interpretive but there are clues that are given to let us know it’s a POV shot
  43. 43MOAa continuity cut that splices two different views of the same action together at the same moment in the movement.
    • The same action seems to continue uninterrupted in-between the two same shots.
    • You can have a few in a row though. You would want to know why they do this instead of just using a long shot.
  44. 44Temporal continuitythe progression of a scene that has no gaps. Seconds, min, days years are omitted from the plot.
  45. 45Fades, dissolves and wipeswill be used to indicate that time has passed. Dissolve is a brief ellipsis and a fade is a much longer ellipsis.
  46. 46Straight cutsShot A abruptly ends and Shot B abruptly begins
  47. 47Montage scenesa sequence of a film that summarizes a topic, or compresses the passage of time into symbolic and typical images.
    • Within the montage you get dissolves, fades, wipes, superimpositions to link the images and indicate the passage of time.
  48. 48Underlying Realisma theory of knowledge that suggests thee is some final objective unmediated real world about which we can have knowledge.
    • Realism constitutes a style that perpetuates an illusion of a stable noble world though a world that has diversity in its truth
    • To expose reality not take away from it… to do so they have to observe the world
    • BRUCE TERMS: theory of knowledge that underlies in the opening scene of Saving Private Ryan is that D-Day is a knowable event, people told their little bits about D-Day and the government/winners/historians put it together the reality of D-Day.
    (We think the stuff that isn’t real is real)
  49. 49Mobile Framingallows the filmmaker to change the camera angle, level, height or distance during the shot.
  50. 50Panswivels the camera on a vertical axis
  51. 51Tiltmoves the camera on the horizontal axis
  52. 52Tracking or Dolly Shotthe camera as a whole changes position
    o Travelling in any director along the ground. Forward, backward, diagonally, in a circle.
    o Put the camera on a dolly on a track.
  53. 53Crane Shotcamera moves above ground level
  54. 54Body Mounted Cameraallows the camera operator to steer the camera while walking.
    o Servo mechanisms adjust for imbalanced and jerkiness so the camera seems to glide or float.
  55. 55Steadicamthe body worn camera that stabilizes the camera
  56. 56Handheld Cameracreates jerkiness/bumpy image
  57. 57Take vs. ShotA take is one run of the camera that records a single shot
    shot is from the viewers perspective
    take is from the directors
    Long take can represent real time and real space. But not necessarily, the camera can control space and time making it more realistic. The longer the shot lasts on screen then the viewer has more time to notice details in the scene.
  58. 58fade-outgradually darkens the end of a shot to black
  59. 59fade-inlightens a shot from black.
  60. 60dissolvebriefly superimposes the end of shot A and the beginning of shot B
  61. 61wipeshot B replaces shot A
  62. 62four basic areas of choice and control in editing1. Graphic relations between shot A and shot B
    2. Rhythmic relations between shot A and shot B
    3. Spatial relations between shot A and shot B
    4. Temporal relations between shot A and shot B
  63. 63Graphic Relations• Every shot provides possibilities for purely graphic editing, and every cut creates some sort of graphic relationship between two shots.
    • Graphics may be edited to achieve smooth continuity or abrupt contrast.
    • The filmmaker may link shots by close graphic similarities, thus making a graphic match.
    o Shapes, colors, and overall composition or movement in shot A may be picked up in the composition of shot B.
  64. 64Rhythmic Relations• The filmmaker can adjust the lengths of any shot in relation to the shots around it. That choice taps into the rhythmic potential of editing. Patterning of short lengths contributes considerably to what we intuitively recognize as a films rhythm.
    o In any genre flash frames may mark transitions between segments or signal flashbacks or subjective sequence.
    o Gradually lengthening shots can slow the rhythm
  65. 65Spatial Relations• Editing the permits the filmmakers to juxtapose any two points in space and suggest some kind of relation between them.
    • Establishing and Manipulating Space
    o Common to start with a shot that establishes a spatial whole and follows this with a shot of a part of the space.
    o Things could not be together but with editing we believe that they are.
  66. 66Kuleshov Effect• Intercut neutral shots of an actors face with other shots. When the face was intercut with a bowl of soup, viewers reportedly said the man looked hungry.
    • Shot two actors looking at each other but on Moscow streets miles apart, then meeting and strolling together – and turning to the White House in Washington.
    • Most often this happens because the director withholds the establishing shot.
  67. 67Temporal RelationsOrder, duration, frequency are included in temporal relations.
    • Editing Shapes Chronology
    o Filmmaker may control story chronology through the editing.
  68. 68overlapping editingif the action from the end of one shot is partly repeated at the beginning of the next
  69. 69Continuity editingGraphics, rhythm, space and time are at the service of the filmmaker through the technique of editing.
    • Filmmakers usually keep graphic qualities roughly continuous from shot to shot. The figures are balanced and symmetrically deployed in the frame; the overall lighting tonality remains constant; the action occupies the central zones of the screen.
    • Long shots are left on the screen longer than medium shots and they are left longer on the screen than close ups.
  70. 70Spatial Continuity• Axis of action, the center line or the 180 degree line
    • Axis of action, the center line or the 180 degree line.
    • 180-degree system can be imagined as the birds eye view. A girl and a boy are talking. The axis of action is the imaginary line connecting them. A typical series of shots for continuity editing of the scene would be these:
    1. a medium shot of the girl and the boy
    2. a shot over the girls shoulder favoring the boy
    3. a shot over the boys shoulder favoring the girl
    • The 180-degree system
    o Ensures that relative positions in the frame remain consistent.
    o Ensures consistent eyelines
    o Ensures consistent screen direction.
  71. 71Continuity Editing: Fine Points• Characters in a circle, shifting the axis
    o If people are in a circle then the axis of action will probably run between the characters of greatest importance.
    o The 180 line may shift as the characters move around the setting.
    • Deleting the Establishing Shot
    o The power of the axis of action may be so strong that filmmakers may be able to eliminate an establishing shot… then relying on Kuloshov effect.
    • Cheating with Cuts
    o Mismatch the position of characters and angles in order to create continuity, without the audience noticing.
    • Crossing the Axis
    o A scene occurring in a doorway, on a staircase or in other symmetrical settings may occasionally break the line.
    o They can do this most easily when a scenes physical layout is very well defined.
    • On the Axis: POV Shot:
    o Eyeline-match editing known as point-of-view cutting.
  72. 72Crosscutting• A cut can take us to any point on the correct side of the axis of action.
    • Crosscutting gives us a comparatively unrestricted knowledge of story information. It does this by alternating shots of events in one location with shots of events in other places.
    o Risks come discontinuity
    • Gives a sense of cause and effect
    • Crosscutting ties together the different lines of action, bringing out a temporal simultaneity and the twists and turns of pursuit.
    • Creates suspense, expectations, parallels.
  73. 73Temporal Continuityorder, frequency and duration
    Order and Frequency
    • Presents stories in a 1-2-3 order.
    three ways to achieve it
    1. The narrative progression of the scene has no gaps.
    2. There’s a soundtrack
    3. There’s the match on action between shot 5 and 6
  74. 74Duration: Continous or Elided• Duration is presented continuously (plot time and screen time equaling story time) or is elided (story time being greater than plot time and screen time.)
  75. 75Film as an objective mediumfilm is faithful to the external world, mechanical
  76. 76Film as a subjective mediumfilm that is stylized, artificial that is art. Expressive of the processes of imagination, film is able to go into the private mental world.
  77. 77psychological realismRecognizable human behavior
  78. 78Realisma close resemblance to what is real; fidelity of representation, rendering the precise details of the real thing or scene.
    Realism is relative to culture, period and differences among peoples. What was realism in 1940 may not be today.
  79. 79Discontinuity editingan alternative system of joining shots together using techniques that would be unacceptable with continuity editing principles
    mismatching or contrasting the 4 dimensions of film editing.
    Techniques of discontinuity can be used to create associations and to cue the audience to do the thinking instead of doing the thinking for them. It can jolt the viewer out of the film but the discontinuity will weaken the story flow.
  80. 80Jump cutline but jump cut is greeted when it moves less than 30 degrees of the previous sho
  81. 81Nondigetic insertthis is an insert of a shot or shots from outside the films time and space narrative. Prompting the spectator to search for implicit meanings.
  82. 82Swish PanCamera movement where the camera panning left or right does so so quickly that it blurs the image.
  83. 83Motivated ShotCamera movement will generally be motivated by characters movement
  84. 84Unmotivated ShotCamera will have a mind of its own. Will be used to reveal something of significance.
  85. 85Backstage musicalswith the action centering on singers and dancers who preform for an audience within the story world.
    o In the movie, Girl breaks leg before a show and still goes out and preforms and does well.
  86. 86Straight musicalpeople may sing and dance in situations of everyday life.
    o Straight musicals tend to be romantic comedies as songs and dance express the characters fears, longings, and joys.
  87. 87Loudnessrelative to perspective distance.
    All other things being equal, the louder the sound, the closer we take it to be. Film may startle the viewer by exploiting abrupt and extreme shifts in volume, as when a quiet scene is interrupted by a loud noise. Changes in loudness may be combined with cutting or camera movement to reinforce our sense of moving toward or away from the source of the noise.
  88. 88PitchHighness or lowness or the sound.
    Pitch plays a useful role in helping pick out distinct sounds in a film.
  89. 89Timbrethe harmonic components of sound give it a certain color, or tone quality – what musicians call timbre. → The texture or “feel” of a sound.
    In everyday life, the recognition of a familiar sound is largely a matter of various aspects of timbre. Loudness, pitch and timbre interact to define the overall sonic texture of a film.
  90. 90Sergei Einstein“synchronization of senses” – making a single rhythm or expressive quality bind together image and sound.
  91. 91Foley ProcessMany sounds are generated using the Foley Process. creating noises tailored to the film. Experts record people walking, pouring drinks… any events that put human contact with surfaces.
    o New sounds can be made from old ones. For the T-Rex roar in Jurassic Park, sound engineers used a tigers roar and a baby elephant trumpeting and an alligator for the lower tones.
  92. 92Sound Mixingit is useful to think of the sound track not as a set of discrete sound bits but as an ongoing stream of auditory information. Each sound takes its place in a specific pattern. This pattern both links events in time and layers them at any given moment.
  93. 93Peter Bogdanovichediting and continuity system
    how shots are put together
    Four basic areas of control in editing
  94. 946 Zones of Screen SpaceBehind the Camera
    Above
    Below
    Left
    Right
    Behind the Set

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1000 Film Flashcards on Film, created by Randall Miller on 14/01/2016.
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