TFM Unit Quiz #3
Terms in this set (63)
What are the differences among a setup, a shot, and a take?
-one camera position and everything associated with is
-the basic component of the film's production process
-one uninterrupted run of the camera
-the recording on film, video, or other medium resulting from that run
-the basic building block of the film
-the number of times a particular shot is taken
Who is the director of photography? What are their general duties?
Specifically refers to the art and technique of film photography, the capture of images, and lighting effects, or to the person expert in and responsible for capturing or recording-photographing images for a film, through the selection of visual recording devices, camera angles, film stock, lenses, framing, and arrangement of lighting; the chief cinematographer responsible for a movie.
How the lighting for any movie look is determined, in part, bu its source and direction.
what are the names of the most commonly used shots used in a movie?
close up, extreme close up, medium shot, full shot, medium long shot, long shot, extreme long shot
Subject, usually face or body part, is completely dominant, facial expressions are extremely significant. Background plays no direct role.
extreme close up
Single object or body part (e.g. lighter, lips). Emphasizes detail; used to show importance or value of an object, makes the audience wonder about its significance.
Subjects from the waist up. Background much less significant, emotions and subject details much more noticeable.
Reduced background often shows human subject(s) from head to toe. More Detail about subjects is more explicit. Often used for fights, embraces or physical comedy
medium long shot
Subjects filmed from the knees up
shows whom, what and where. Often an establishing shot. Subjects are generally recognizable, but not dominating.
extreme long shot
Background information is pertinent, specific subjects are not the focus. Often used to establish location
what is the rule of thirds?
Tool used to divide the image with horizontal and vertical lines that make a grid. -The horizontal thirds representing the foreground, middle ground, and background planes and into vertical thirds that break up those planes into further elements. The grid assists the designer and cinematographer in visualizing the overall potential of the height, width, and depth of any cinematic space.
the movie camera can shoot from various angles, what are they?
What does the meaning of each camera angle imply
-Low angle: camera is viewing from the bottom of subject implying empowerment of subject and/or observer is in the position of feeling hopeless
-High angle: above the subject (aka high shot or down shot) view to imply inferiority
-Eye Level: eye level angle; neutral
-Aerial Angle: implies omniscience
what are the basic types of camera movement?
pan shot, tilt shot, dolly shot, crane shot, handled camera, steadicam
Horizontal movement of the camera mounted on the gyroscopic head of a stationary tripod
Pedestal: Moving the camera up or down without changing its vertical or horizontal axis. A camera operator can do two types of pedestals: pedestal up means "move the camera up;" pedestal down means "move the camera down." You are not tilting the lens up, rather you are moving the entire camera up.
roll in or roll out
camera is mounted on an elevated arm that is on a vehicle capable of moving around and turning
small and handled, shaky
device attached to camera assistants body to steady it
Perhaps the best-known lighting convention in feature filmmaking, a system that employs three sources of light—key light, fill light, and backlight—each aimed from a different direction and position in relation to the subject.
also known as main light or source light. the brightest light falling on a subject
lighting, positioned at the opposite side of the camera from the key light, that can fill in the shadows created by the brighter key light, fill light may also come from a reflector board
Lighting, usually positioned behind and in line with the subject and the camera, used to create highlights on the subject as a means of separating it from the background and increasing its appearance of three-dimensionality.
The relationship and balance between illumination and shadow—the balance between key light and fill light.
-if the ratio is high, shadows are deep and the result is called low-key lighting
-if the ratio is low, shadows are faint and the result is called high-key lighting
low key lighting
Lighting that creates strong contrasts; sharp, dark shadows; and an overall gloomy atmosphere. Its contrasts between light and dark often imply ethical judgments.
Lighting that produces an image with very little contrast between darks and lights. Its even, flat illumination expresses virtually no opinions about the subject being photographed.
lighting from below for eerie effect
An approach to composition within the frame that places figures in all three planes (background, middle-ground, and foreground) of the frame, thus creating an illusion of depth. Deep-space composition is often, though not always, shot with deep-focus cinematography.
The process of rendering the figures on all planes (background, middle-ground, and foreground) of a deep-space composition in focus.
the level and height of the camera in relation to the subject being photographed. the five basic camera angles produce aerial-view shots, dutch-angle shots, eye-level shots, high-angle shots, and low-angle shots
a shot that is made from the observer's eye level and usually implies that the observer's attitude is neutral toward the subject being photographed
also known as high shot or down shot. a shot that is made with the camera above the action, and typically implies the observer's sense of superiority to the subject being photographed
also known as low shot. a shot that is made with the camera below the action, and typically places the observer in a position of inferiority
also known as dutch shot or oblique-angle shot. a shot in which the camera is tilted from its normal horizontal and vertical positions so that it is no longer straight, giving the viewer the impression that the world in the frame is out of balance
aerial-view shot (bird's eye view)
an omniscient point of view shot that is taken from an aircraft or extremely high crane and implies that the observer can see all
a shot in which the image is magnified by movement of the camera's lens only, without the camera itself moving. this magnification is the essential difference from dolly in
Computer Generated Imagery
live shooting against a background that is front or rear projected on a translucent screen
also known as mocap, motion tracking, or performance capture. an elaborate process in which the movement of objects or actors dressed in special suits, are recorded as data that computers subsequently use to render the motion of CGI characters on screen
what is persona
A role or character adopted by an actor OR the aspect of someone's character that is presented to or perceived by others
-the image of character and personality that we want to show the outside world
what are the differences between acting for screen and acting for the stage?
Acting for the screen is more toned down and focuses on subtleties since the audience is closer. Stage acting is a full body performance and often larger so the audience at a distance understands.
-Stage actors play to the audience/ screen actors play to the camera
-Stage actors must project vocally and physically/ small gestures are fundamental tools for the screen actor
-Stage actors memorize their lines and then speak and act them in story order/ screen actors learn only the line needed for the moment and act out of sequence
what are the four key types of actors presented early in your reading?
actors who take their personality from role to role (personality actors)
actors who deliberately play against our expectations of their personae
actors who seem to be different in every role (chameleon actors)
actors who are often non-professionals or people who are cast to bring verisimilitude to a part
who was Lillian Gish and how did she serve in the evolution of screen acting
Griffith encouraged Gish to study the movements of ordinary people on the street or in restaurants, to develop her physical skills with regular exercise, and to tell stories through her face and body. He told her to watch the audience's reactions. In the film Broken Blossoms, Gish invoked a span of emotions that no movie audience had seen before and few have seen since. She was hiding in a closet and was found and beaten to death. Her performance illustrated the qualities of great screen acting:appropriateness, expressive coherence, inherent thoughtfulness/emotionality, wholeness and unity. She gave a similar performance in The Wind (1928).
in what ways was the evolution of screen acting dependent upon technological changes in the making of motion pictures?
Before the development of sound and live audio in motion pictures, acting on screen was very similar to acting on stage. The breakthrough of hearing an actor's voice allowed for the facial and bodily subtleties that we appreciate in screen acting today.
what is method acting? and what was it based upon?
encourages actors to speak, move, and gesture not in a traditional stage manner but just as they would in their own lives.
what is casting?
the process of choosing and hiring actors for both leading and supporting roles
what are the factors involved in casting
-Budget and expected revenues
what is meant when an actor is typecast?
the casting of actors because of their looks or "type" rather than for their acting talent or experience
when evaluating an actor's performance, the textbook stresses for criteria. What are the four?
-Wholeness and Unity
what does each criteria for evaluating an actor's performance represent?
-Appropriateness/Transparency: an actor looks and acts naturally like the character he or she portrays, as expressed in physical appearance, facial expression, speech, movement, and gesture
-Inherent Thoughtfulness/Emotionality: an actor conveys the character's thought processes or feelings behind the character's actions and reactions. character has a credible inner life
-Expressive Coherence: actor's appropriateness and emotionality creates a characterization that holds together. This allows the actor to create a complex characterization and performance, to express thoughts and reveal emotions
-Wholeness and Unity: an actor has maintained the illusion of a seamless character. The actor's ability to achieve aesthetic consistency
a role that is a principle agent in helping move the plot forward. whether movie stars or newcomers, actors playing major roles appear in many scenes and-ordinarily, but not always- receive screen credit preceding the title
minor roles (supporting roles)
a role that helps move the plot forward-and thus may be as important as a major role-but played by an actor who does not appear in as many scenes as the featured actors do
an actor's part that represents a distinctive character type (sometimes a stereotype): society leader, judge, doctor, diplomat
an actor who looks reasonably like a particular movie star or an actor playing a major role- in height, weight, coloring, and so on, and substitutes for that actor during the tedious process of preparing setups or taking light readings
stunt person/stunt double
a performer who doubles for another actor in scenes requiring special skills or involving hazardous actions, such as crashing cars, jumping from high places, swimming, or riding (or falling off) horses
a digital character
an actor who holds a small speaking part
an actor who usually appears in a nonspeaking or a crowd role and receives no screen credit
cameos and walk ons
-cameo: a small but significant role often played by a famous actor
-walk on: a role even smaller than a cameo, reserved for a highly recognizable actor or personality
animals that are actors