MRTS 1320 Final
Terms in this set (94)
Responsibilities of DP
- properties of the shot
- framing of the shot
- speed and length of the shot
- special effects
- 1st AC: oversees everything having to do with the camera, lenses, supporting equipment and the material on which the movie is being shot
- 2nd AC: prepares the slate and feeds the stock into magazines that are located on to the camera
- best boy
Celluloid used to record movies. There are two types: One for black-and-white films and the other for color. Each type is manufactured in several standard forms.
Also called format. With measured in millimeters. The water the gauge, the more expensive the film is.
Exposure index. How sensitive it is still light. Films dogs that are extremely sensitive to light are called fast; those that require a lot of light are called slow.
Low key lighting
When little or no fill light is used, the ratio between bright illumination and deep shadow is very high
High key lighting
Produces an image with very little contrast between darts and light
Three point lighting
Aspects of lighting
Wide angle lens
(Insert types of lenses)
Also called a variable focal length lens, permits the DP to shrink or increase the focal length in a continuous motion. Simulates the effect of movement of the camera toward or away from the subject.
And adjustable Iris that limits the amount of light passing through a lens
The distance from the optical center of the lens to the focal point on the film stock or other sensor when the image is sharp and clear.
Depth of field
A property of the lens the permits the DP to decide what planes, or areas of the damage, will be in focus
The ratio of the width of the image to its height
Rule of thirds
A grid pattern that divides it into horizontal thirds representing the foreground, middle ground, and background planes and into vertical thirds the break up those planes into vertical thirds the break up those planes into further elements
(Other types of shots)
4 types of actors
1. Actors who take their persona from roll to roll (personality actors)
2. Actors who deliberately play against our expectations of their persona
3. Actors who seem to be different in every room (Chamaeleon actors)
4. Actors who are often non-professionals or people who are cast to bring versimilitude to a part
Invented the art of screen acting. Griffith encouraged her to study the movements of ordinary people on the street and in restaurants to develop her physical skills with regular exercise, and to tell stories through her face and body.
Delivering lines based only loosely on the written script
Emphasizes the collaborative intersection of a group of actors, not the work of an individual
Naturalistic versus non-naturalistic acting styles
Betolt Brecht and "the alienation effect"
A filming undertaken by an actor to audition for a particular role
The casting of actors because of their looks rather than for their acting talent or experience
The principal agent and helping to move the pot forward
Hold a small speaking part
A small or significant role taken by a famous actor
Actors who look reasonably like the major store and act as a substitute for them during the tedious process of preparing set ups or taking light ratings
Does the actor look and act naturally like the character he or she portrays?
Inherent thoughtfulness or emotionality
Does the end to convey the characters thought process or feelings behind the characters actions or reactions?
Has the actor used these first two qualities to create a characterization that holds together?
Wholeness and unity
Does the actor maintain the illusion of a seamless character, even if the character is purposefully riddled with contradictions?
Responsibilities of the editor
- spatial relations
- Temporal relations
- rhythm "content curve"
Master scene technique
A longshot used to begin a scene with
The imaginary horizontal line between the main characters being photographed, determines where the camera should be pleased to preserve screen direction
Cut on motion
Those in which shot A and shot B are matched in action, subject, content or two characters eye contact. This helps create a sense of continuity between the two shots
One of the most common engine Milyer of all editing patterns. A technique in which the camera switches between shots of different characters usually in a conversation or other interaction
Made popular by French new wave directors of the 1960s. Prisons an instantaneous resource old Indian Indian Ocean.
The jazz singer 1927
Phases of sound production
- sound recorder
- sound mixer
- foley artist
- boom operator
Quality of sound
The negative cost
Platforming versus wide release
Role of producer
Role of director
Unit production manager
Cinematic approaches of George Melies (fantasy) and and the Lumiere brothers (reality)
Thomas Edison, the kinetograph, and the Edison trust
The studio system
The production code
The Paramount consent decrees
The French new wave
John Luc Godard
The new American cinema
The nostalgic Hollywood blockbuster