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Visual Communication Final - David Nolan
Set based off of the completed study guide for David Nolan's Vis Comm class at TXST.
Terms in this set (96)
story, sound, visuals
Three fundamental building blocks of visual structure. (separate with commas)
The greater the ________ in a visual component, the more the visual intensity or dynamic decreases. _______ equals LESS visual intensity.
The greater the ________ in a visual component, the more the visual intensity or dynamic increases. _______ equals GREATER visual intensity.
The physical space in front of the camera, the space as it appears on a screen, and the spatial size and shape of the screen itself are examples of the three different kinds of _______.
The illusion of a three-dimensional world on a two-dimensional screen surface.
The specific combination of deep and flat space. Uses all depth cues except longitudinal planes and object movement perpendicular to the frame.
Occurs when the viewer is unable to understand the actual size or spacial relationships of objects in the picture.
Emphasizes similarities and differences between objects. Asks audience to compare and contrast each divided area. Helps direct eye to specific areas of the frame.
Can exists outside the frame lines of the screen. Gives the audience a sense of space outside the frame. Occurs when the picture seems to extend past the frame lines.
Based on perception; result of other visual components that allow us to perceive them.
All of these are constructed from lines. The three basic kinds are circle, square, and equilateral triangle.
The brightness of objects in relation to the gray scale. Important factor in black and white, and also in color.
While "tone" refers to black and white and the gray scale, _________ deals with viewer perception of depth due to the brightness of objects.
The most powerful visual component.
The FIRST visual component to attract the eye; occurs using objects, the camera, and the viewer's eyes as they watch.
TYPES OF MOVEMENT: ________ movement is movement in the real world.
TYPES OF MOVEMENT: ________ movement is when one stationary object is replaced by another.
TYPES OF MOVEMENT: ________ movement occurs when a moving object transfers its movement to a nearby stationary object.
TYPES OF MOVEMENT: ________ movement occurs when the movement of one object can be gauged by its changing position relative to a second, stationary object.
Combination of spaces, lines, shapes, tones, colors, movements, and rhythms; found in stationary objects, moving objects, and editing.
Image begins as one thing and changes to something else. Fundamental to story structure. ex: simple to complex
point of view
The way the filmmaker wants the audience to feel about the subject. Communicated by what is shown on the screen. (three words)
Coordination of one shot with another in order to create a coherent whole. Purpose is to create and provide efficient and artful transitions.
The four main functions of film editing:
1. Make sure the production is the required length of time
2. Remove unwanted material or mistakes
3. Alter (if necessary) the way or sequence in which events will be portrayed
4. Establish particular style and character of a production
(no question here; just type "got it" into the answer space)
SHOT RELATIONSHIPS: In a _________ relationship, editors work to achieve visual interest by creating transitions between shots that are graphically similar and dissimilar, depending on the desired effect.
Achieved by joining two shots that have a SIMILARITY in terms of light/dark, line or shape, volume or depth, movement or stasis.
Creates a clash of visual content by joining two shots that are DISSIMILAR in terms of light/dark, line or shape, volume or depth, movement or stasis.
SHOT RELATIONSHIPS: In a _________ relationship, editors manipulate the rhythms experienced by viewers through juxtapositions of longer and shorter shots, as well as through transitional devices that affect the viewer's sense of beat or tempo.
Straight cut, fade-out, fade-in, dissolve, wipe, flip frame, and jump cut are examples of these.
SHOT RELATIONSHIPS: In a _________ relationship, editing is the process by which the difference between temporal duration and screen duration is reconciled.
SHOT RELATIONSHIPS: In a _________ relationship, viewers are provided with a reliable sense of physical space that constitutes the world of the film.
Standard pattern for editing a scene in a narrative film.
A shot that shows the spacial relationships among the important figures, objects, and setting in a scene.
Two or more shots edited together that alternate characters. Over-the-shoulder framing is common in this type of editing. (two terms, separate with a slash)
When a character looks into an off-screen space, the viewer expects to see what he/she is looking at. Followed by a cut to show what is being looked at.
Shows us again the special relationships introduced with the establishing shot.
Several cameras are employed and simultaneously record a scene.
axis of action
Also known as the "180 Degree Rule"; states that two characters in the same scene should always have the same left/right relationship to each other. (three words)
match on action
Editing cut between either two different objects, two different spaces, or two different compositions in which an object in the two shots graphically match. (three words)
A cut which purports to show continuous time and space from shot to shot, but which actually mismatches the position of figures or objects in the scene.
The _______ Effect comes from a man by the name of Lev _______, who intercut an actor's face with unrelated footage taken later. Audiences interpreted emotional responses based on the actor's face based on the juxtaposition of images.
SHOT RELATIONSHIPS: In a _________ relationship, very powerful techniques for manipulating the viewer's place in the hierachy of knowledge are employed, and therefore affect their thematic understanding of the film.
Sequence that emphasizes dynamic, often discontinuous, relationships between shots and the juxtaposition of images to create ideas not present in either shot by itself.
Editing that alternates shots of two or more lines of action occurring in different places, usually simultaneously. The two actions are therefore linked, associating the characters from both lines of action.
Father of motion pictures; created the galloping horses in 1878. (last name)
First person to use special effects and animation in film; realized the aesthetic potential of movies. Famous for "Trip to the Moon". (last name)
Shot where focus is changed while shooting; usually not done from necessity of keeping someone in focus but to shift attention from one thing to another.
Nearly approximates how we see the environment immediately around some person, object, or action.
The "intimate shot"; provides a magnified view of some person, object, or action.
More inclusive shot; frames more of the environment around a person, object, or action and often shows their relationship in physical space much better than other shots.
extreme long shot
Also referred to as a "very wide shot" or "very wide angle shot"; traditionally used in exterior shots. Shows a large amount of the environment. Often used as an establishing shot. (three words)
____-Key Lighting: light is used to brighten the scene; very few shadows.
____-Key Lighting: light is used sparingly; emphasizes shadows.
Basic Character Lighting:
~three point lighting
(no question, just enter "got it" in the blank)
Explored in editing; shots must have a logical connection to each other.
Stationary camera moves left or right.
Stationary camera moves up or down.
Camera moves up and down, NOT stationary.
Camera moves left and right, NOT stationary.
A device that steadies the camera through use of gyroscopic stabilization.
Used to move a camera in multiple directions.
every compositional decision you make**** ____________________________________
Frame axes- x & y only =
frame axes- z=
z axis emphasized through
the use of depth cues
rule of thirds
placing a main point of emphasis on any axes created by intersecting lines when the picture. plane is divided by thirds both horizontally and vertically.
the size of an object in the frame should be directly related to its importance in the story at that moment
balanced/ unbalanced frame- The size, color, brightness, and placement of an object affects:
audience perception of its visual weight
balanced frame used to convey
order, uniformity, and predetermination
unbalanced frame used to convey
chaos, uneasiness, and tension
The height of the camera relative to a subject can be used to
manipulate the audience's reaction to that subject
high angles show
weakness, passiveness, and powerlessness
low angles show
confidence, power, and control.
do not require off screen place to convey meaning. all the information is in the frame. (Everything you need to see is in the shot, nothing is out of frame)
do not contain all the necessary information to understand their narrative meaning and require the existence of elements off screen
center of interest in a composition, the area where the viewers gaze will gravitate to because of the arrangement of all the visual elements
180 degree rule/ axis of action
states that two characters in a scene should always have the same left/right relationship to each other
when you break the 180 degree line
a person who was originally facing left in a scene is all of a sudden facing right
focal length = the measurement
in millimeters, from the optical center of the lens to the recording surface
focal length has a direct impact on the way
lenses show perspective along the z axis and on the field of view spanning the x axis
Lenses that reproduce perspective the way a human eye sees it are called
wide angle lens
A lens that has a focal length shorter than the normal (50mm) for its format is referred
field of view refers to
how much space along the x and y axis a lens can include in the frame
Lenses with short focal lengths (wide angles)
have a greater field of view than lenses with long focal lengths (telephoto)
wide angle lenses
capture a wider field of view and distort distances along the z axis, making them appear longer than they actually are
normal lenses reproduce perspective in a way that
closely resembles what a person would see if he or she stood where the camera is.
telephoto lenses have
a narrower field of view than normal and wide angle lenses, and compress space along the z axis of the frame
zoom lenses (Also known as variable focal length lenses.)
have the capability to slide through the various focal lengths.
a composition with a
deep depth of field has a large area in focus, while a composition with a shallow depth of field has only a small area of the frame in focus
two major technical components of motion pictures
1. what you see
2. what you hear
"Fly on the Wall" Seen as more strictly observational.
Cinéma Vérité (Truthful Cinema)
Characterized by the use of the camera to provoke and reveal. camera becomes part of the film, you see the questions being asked.
The Shot is the
The shot is the smallest unit of photographic coverage of a person, action, or event in a motion picture.
3 components of movie sound
3. Noise (Sound Effects) Foley Artist
a term that describes the process of live recording of sound effects that are created by a Foley artist.
basic character lighting
fill light (left light), key light (right light), and back light (behind them, separates the charcter from the background)
also called rembrandt lighting
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