Deep Focus
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Deep focus composition uses a short focal length lens to keep all three planes of a scene - foreground, middle ground, and background - in sharp focus, creating an illusion of depth. It allows the cinematographer to exploit the size and placement of people and objects in the frame to convey meaning and conflict. The arrangement and scale of objects between the planes can determine meaning in a film, with small exaggerated objects in the foreground emphasizing important meaning to the audience.
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The document discusses how eye lines and camera angles create different levels of empathy and perspective between the audience and the characters. It explains that a direct eye line and close camera angle results in the highest level of empathy, while a profile or back view creates more objective distance. As tension and drama increase in a scene, eye lines tend to move closer to the camera. The exact direction of the eye line compared to the face can also subtly influence the perceived expression or perspective.
Lighting Plans
The document outlines different lighting plans and experiments for morning and day scenes in cinematography. It lists lighting setups for morning scene 1 and 2 including normal lighting, no fill light, flashing light at 15% intensity, and smoke with no fill light. It also discusses flashing lights and lighting plans for day and night interior scenes.
Tone and Space
The document discusses different types of cinematographic space including flat space, deep space, limited space, and ambiguous space. Flat space emphasizes the two-dimensional screen and lacks depth cues, while deep space uses techniques like size change and perspective to create the illusion of three-dimensional depth. Limited space includes some depth cues but only frontal surfaces, and ambiguous space makes the spatial relationships unclear. Tone, color, position, contrast, and other visual elements can be manipulated to achieve different types of spaces.
Space
The document discusses different types of visual space in cinematography including:
- Deep space, which gives the illusion of 3D through techniques like perspective and size differences.
- Flat space, which emphasizes the 2D screen through frontal walls and actors on the same plane.
- Limited space, which uses some depth cues like size change but no longitudinal planes.
- Ambiguous space, where the spatial relationships are unclear due to limited lighting or other factors obscuring depth cues.
Portrait Photography
This document provides contact information for a portrait photography business called Creative Sparks Design & Photography located in Massachusetts. It lists their phone number as 781-942-0682 and includes a link to their website at http://creativesparksdesign.smugmug.com which likely contains examples of their portrait photography work.
Film shots and techniques
The document defines and describes various cinematography techniques used in film including shots (establishing shot, long shot, medium shot, close-up), camera angles (eye-level, high angle, low angle), camera movements (pan, zoom, tilt, dolly/tracking, boom/crane), lighting (high key, low key, bottom lighting/low lighting, front/rear lighting) and how they can influence messages and impact production elements like font, color and layout. Students will analyze the film To Kill a Mockingbird using these techniques.
Viewers also liked (20)
Comparetive Analysis of The character Mrs. Ramsey And Lily Briscoe.
Comparetive Analysis of The character Mrs. Ramsey And Lily Briscoe.
Similar to Deep Focus
Table of ContentsP E A R S O N C U S T O M L I B R .docx
Table of Contents
P E A R S O N C U S T O M L I B R A R Y
I
Glossary
1
1Stephen Prince
1. Film Structure
13
13Stephen Prince
2. Cinematography
57
57Stephen Prince
3. Production Design
95
95Stephen Prince
4. Acting
121
121Stephen Prince
5. Editing: Making the Cut
149
149Stephen Prince
6. Principles of Sound Design
187
187Stephen Prince
7. The Nature of Narrative in Film
229
229Stephen Prince
8. Visual Effects
287
287Stephen Prince
9. Modes of Screen Reality
325
325Stephen Prince
381
381Index
II
G L O S S A R Y
3D digital matte A matte painting that has been camera
mapped onto a 3D geometrical model in computer space.
The digital matte can then be moved or rotated to
simulate the perspective of a moving camera. See also
camera mapping .
Additive Color Mixing A system used for creating color
on television where red, blue, and green lights are mixed
together to create all other hues.
ADR Automated dialogue replacement (ADR) is a post-
production practice in which actors re-record lines of dia-
logue or add new ones not present at the point of filming.
Computer software enables proper synching of these lines
with the performer’s lip movements as recorded on film.
Aerial Image Printing Method of producing dimensional
effects using matte paintings in an optical printer. An image
(such as a matte painting) is projected to a focal plane in space
(rather than onto a surface) where it can be photographed by
the process camera in the optical printer. That footage can be
combined with live action footage and other optical elements.
Aerial Perspective A visual depth cue in which the effects
of the atmosphere make very distant objects appear bluish
and hazy.
Alpha Channel In a digital image, this channel of informa-
tion specifies a pixel’s degree of transparency. The alpha
channel is often used for generating male and female mattes.
Ambient Sound The background sound characteristic of an
environment or location. For a film such as The Last of the
Mohicans , set in a forest, ambient sounds include the rustle
of branches and the cries of distant birds.
Anamorphic Method of producing a widescreen (2.35:1)
image by squeezing the picture information horizontally and
stretching it vertically. This method is used for both theatri-
cal films and for DVD home video formatted for 16 × 9 (wi-
descreen) monitors or projection systems. Unsqueezing the
picture information during projection or viewing produces
the widescreen image.
Ancillary Market All of the nontheatrical markets from
which a film distributor derives revenue. These include home
video, cable television, and foreign markets.
Angle of View The amount of area recorded by a given
lens. Telephoto lenses have a much smaller angle of view
than wide-angle lenses.
Animation 2D Traditional form of animation in cinema
wh.
9 781292 041292ISBN 978-1-29204-129-2Movies and Meanin.docx
9 781292 041292
ISBN 978-1-29204-129-2
Movies and Meaning
An Introduction to Film
Stephen Prince
Sixth Edition
M
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Pearson New International Edition
International_PCL_TP.indd 1 7/29/13 11:23 AM
Movies and Meaning
An Introduction to Film
Stephen Prince
Sixth Edition
Pearson Education Limited
Edinburgh Gate
Harlow
Essex CM20 2JE
England and Associated Companies throughout the world
Visit us on the World Wide Web at: www.pearsoned.co.uk
© Pearson Education Limited 2014
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted
in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without either the
prior written permission of the publisher or a licence permitting restricted copying in the United Kingdom
issued by the Copyright Licensing Agency Ltd, Saffron House, 6–10 Kirby Street, London EC1N 8TS.
All trademarks used herein are the property of their respective owners. The use of any trademark
in this text does not vest in the author or publisher any trademark ownership rights in such
trademarks, nor does the use of such trademarks imply any affi liation with or endorsement of this
book by such owners.
ISBN 10: 1-269-37450-8
ISBN 13: 978-1-269-37450-7
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
Printed in the United States of America
Copyright_Pg_7_24.indd 1 7/29/13 11:28 AM
ISBN 10: 1-292-04129-3
ISBN 13: 978-1-292-04129-2
ISBN 10: 1-292-04129-3
ISBN 13: 978-1-292-04129-2
Table of Contents
P E A R S O N C U S T O M L I B R A R Y
I
Glossary
1
1Stephen Prince
1. Film Structure
13
13Stephen Prince
2. Cinematography
57
57Stephen Prince
3. Production Design
95
95Stephen Prince
4. Acting
121
121Stephen Prince
5. Editing: Making the Cut
149
149Stephen Prince
6. Principles of Sound Design
187
187Stephen Prince
7. The Nature of Narrative in Film
229
229Stephen Prince
8. Visual Effects
287
287Stephen Prince
9. Modes of Screen Reality
325
325Stephen Prince
381
381Index
II
G L O S S A R Y
3D digital matte A matte painting that has been camera
mapped onto a 3D geometrical model in computer space.
The digital matte can then be moved or rotated to
simulate the perspective of a moving camera. See also
camera mapping .
Additive Color Mixing A system used for creating color
on television where red, blue, and green lights are mixed
together to create all other hues.
ADR Automated dialogue replacement (ADR) is a post-
production practice in which actors re-record lines of dia-
logue or add new ones not present at the point of filming.
Computer software enables proper synching of these lines
with the performer’s lip movements as recorded on film.
Aerial Image Printing Method of producin.
9 781292 041292ISBN 978-1-29204-129-2Movies and Meanin.docx
9 781292 041292
ISBN 978-1-29204-129-2
Movies and Meaning
An Introduction to Film
Stephen Prince
Sixth Edition
M
o
v
ie
s a
n
d
M
e
a
n
in
g
P
rin
c
e
Sixth
Ed
itio
n
Pearson New International Edition
International_PCL_TP.indd 1 7/29/13 11:23 AM
Movies and Meaning
An Introduction to Film
Stephen Prince
Sixth Edition
Pearson Education Limited
Edinburgh Gate
Harlow
Essex CM20 2JE
England and Associated Companies throughout the world
Visit us on the World Wide Web at: www.pearsoned.co.uk
© Pearson Education Limited 2014
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted
in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without either the
prior written permission of the publisher or a licence permitting restricted copying in the United Kingdom
issued by the Copyright Licensing Agency Ltd, Saffron House, 6–10 Kirby Street, London EC1N 8TS.
All trademarks used herein are the property of their respective owners. The use of any trademark
in this text does not vest in the author or publisher any trademark ownership rights in such
trademarks, nor does the use of such trademarks imply any affi liation with or endorsement of this
book by such owners.
ISBN 10: 1-269-37450-8
ISBN 13: 978-1-269-37450-7
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
Printed in the United States of America
Copyright_Pg_7_24.indd 1 7/29/13 11:28 AM
ISBN 10: 1-292-04129-3
ISBN 13: 978-1-292-04129-2
ISBN 10: 1-292-04129-3
ISBN 13: 978-1-292-04129-2
Table of Contents
P E A R S O N C U S T O M L I B R A R Y
I
Glossary
1
1Stephen Prince
1. Film Structure
13
13Stephen Prince
2. Cinematography
57
57Stephen Prince
3. Production Design
95
95Stephen Prince
4. Acting
121
121Stephen Prince
5. Editing: Making the Cut
149
149Stephen Prince
6. Principles of Sound Design
187
187Stephen Prince
7. The Nature of Narrative in Film
229
229Stephen Prince
8. Visual Effects
287
287Stephen Prince
9. Modes of Screen Reality
325
325Stephen Prince
381
381Index
II
G L O S S A R Y
3D digital matte A matte painting that has been camera
mapped onto a 3D geometrical model in computer space.
The digital matte can then be moved or rotated to
simulate the perspective of a moving camera. See also
camera mapping .
Additive Color Mixing A system used for creating color
on television where red, blue, and green lights are mixed
together to create all other hues.
ADR Automated dialogue replacement (ADR) is a post-
production practice in which actors re-record lines of dia-
logue or add new ones not present at the point of filming.
Computer software enables proper synching of these lines
with the performer’s lip movements as recorded on film.
Aerial Image Printing Method of producin.
9 781292 041292ISBN 978-1-29204-129-2Movies and Meanin.docx
9 781292 041292
ISBN 978-1-29204-129-2
Movies and Meaning
An Introduction to Film
Stephen Prince
Sixth Edition
M
o
v
ie
s a
n
d
M
e
a
n
in
g
P
rin
c
e
Sixth
Ed
itio
n
Pearson New International Edition
International_PCL_TP.indd 1 7/29/13 11:23 AM
Movies and Meaning
An Introduction to Film
Stephen Prince
Sixth Edition
Pearson Education Limited
Edinburgh Gate
Harlow
Essex CM20 2JE
England and Associated Companies throughout the world
Visit us on the World Wide Web at: www.pearsoned.co.uk
© Pearson Education Limited 2014
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted
in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without either the
prior written permission of the publisher or a licence permitting restricted copying in the United Kingdom
issued by the Copyright Licensing Agency Ltd, Saffron House, 6–10 Kirby Street, London EC1N 8TS.
All trademarks used herein are the property of their respective owners. The use of any trademark
in this text does not vest in the author or publisher any trademark ownership rights in such
trademarks, nor does the use of such trademarks imply any affi liation with or endorsement of this
book by such owners.
ISBN 10: 1-269-37450-8
ISBN 13: 978-1-269-37450-7
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
Printed in the United States of America
Copyright_Pg_7_24.indd 1 7/29/13 11:28 AM
ISBN 10: 1-292-04129-3
ISBN 13: 978-1-292-04129-2
ISBN 10: 1-292-04129-3
ISBN 13: 978-1-292-04129-2
Table of Contents
P E A R S O N C U S T O M L I B R A R Y
I
Glossary
1
1Stephen Prince
1. Film Structure
13
13Stephen Prince
2. Cinematography
57
57Stephen Prince
3. Production Design
95
95Stephen Prince
4. Acting
121
121Stephen Prince
5. Editing: Making the Cut
149
149Stephen Prince
6. Principles of Sound Design
187
187Stephen Prince
7. The Nature of Narrative in Film
229
229Stephen Prince
8. Visual Effects
287
287Stephen Prince
9. Modes of Screen Reality
325
325Stephen Prince
381
381Index
II
G L O S S A R Y
3D digital matte A matte painting that has been camera
mapped onto a 3D geometrical model in computer space.
The digital matte can then be moved or rotated to
simulate the perspective of a moving camera. See also
camera mapping .
Additive Color Mixing A system used for creating color
on television where red, blue, and green lights are mixed
together to create all other hues.
ADR Automated dialogue replacement (ADR) is a post-
production practice in which actors re-record lines of dia-
logue or add new ones not present at the point of filming.
Computer software enables proper synching of these lines
with the performer’s lip movements as recorded on film.
Aerial Image Printing Method of producin.
9 781292 041292ISBN 978-1-29204-129-2Movies and Meanin.docx
This document provides the table of contents and glossary from the book "Movies and Meaning: An Introduction to Film" by Stephen Prince. The table of contents lists 9 chapters covering topics such as film structure, cinematography, editing, and narrative. The glossary defines over 100 key film terms from A-Z, such as auteur theory, deep focus cinematography, and continuity editing. It serves as a reference for film students and enthusiasts to understand specialized language related to the art and technique of cinema.
FILM COMMUNICATION - Understanding Aspects of Films
The document discusses key aspects of filmmaking including the director, writer, mise-en-scene, cinematography, and editing. It defines these terms and explains their importance. The director translates the screenplay through their unique vision. Mise-en-scene refers to everything visible in a scene and helps set tone. Cinematography comprises all visual elements and sets the overall look, while editing combines shots to tell the story and create meaning.
FINAL IS MIL IS A POWERPOIT TAH DISCUSS LESSON PLAN.pptx
Who do you think should be the respondents of the Why do you think there is a need to conduct this study?
to gauge the status of the program
to see whether the program needs revision
to measure the compliance level of the residents
Camera Angles and Movements
The document provides information on various camera angles, camera movements, and composition techniques used in filmmaking. It includes descriptions and examples of close-ups, establishing shots, extreme wide shots, wide shots, mid shots, medium close ups, extreme close ups, cutaways, two-shots, over the shoulder shots, point of view shots, tracking, tilting, zooming, framing, and the rule of thirds. Each technique is explained in terms of how it is used to convey meaning, focus audience attention, or establish elements like location, characters, and relationships between characters.
Mise en scène & camera presentation
Mise en Scène & Camera refers to the way in which aspects of a film's production design like setting, lighting, costumes and camerawork are used to establish mood and tell the story. Key elements that contribute to mise en scène include production design, lighting styles like high key and low key, costume, composition techniques, and different types of shots. The director and production designer carefully craft these elements to elicit specific feelings from the audience and reflect the emotions and circumstances of characters.
Mise en scène & camera presentation
Mise en Scène & Camera refers to the way in which aspects of a film's production design like setting, lighting, costumes, and camerawork are used to establish mood and tell the story. Key elements of mise en scène include setting, which reflects the mood and emotions of the scene; lighting, with high key lighting used for happier scenes and low key for darker ones; and costume, which conveys time period and character. Composition, camera angles like close-ups, and continuity rules guide how these elements are arranged and shot to effectively direct audience feelings and focus.
Cinematography (1).pptx
Cinematography is the art of capturing motion pictures through lighting, camera shots, focus, composition, placement and movement. It involves recording light onto film or sensors to tell a visual story. A cinematographer, or director of photography, oversees the camera and lighting crews to collaborate with the director to create the images seen on screen. They consider various elements like lighting types, shot sizes from establishing shots to close-ups, focus, composition techniques like rules of thirds, blocking, and leading lines, camera angles from eye-level to aerial shots, and camera movement.
Elements of Cinematography
All lighting in the film falls under the category of natural or artificial. Natural lighting could come from the sun, moon, fire or anything else occurring in nature. Artificial lighting is things like streetlights, flashlights, LED lights and even the massive spotlights used in big production films. Ambient lighting is a crucial way to use lighting. It refers to any light the crew didn't bring. This could refer to car headlights, or the most potent ambient light - the sun.
Formalists are often referred to as ______, because their self-expre.pdf
Formalists are often referred to as ______, because their self-expression is at least as important
as the subject matter itself. These filmmakers are often concerned with spiritual and
psychological truths, which they feel can be conveyed best by distorting the surface of the
material world.
Classicists
Expressionists
Realists
Surrealists
Most realists would claim that their major concern is with ____. In its most extreme form, the
realistic cinema tends toward documentary, with its emphasis on photography of actual events
and people.
Technique
Pure forms
Content
Form
____ tend to make people look powerless and trapped.
Eye-level shots
Low angle shots
Oblique angle shots
High angle shots
There are a number of different styles of lighting. Usually designated as a lighting key, the style
is geared to the theme and mood of the film, as well as its genre. Comedies and musicals, for
example, tend to be lit in ______, with bright, even illumination and few conspicuous shadows.
High concept
Studio lighting
High key
Three point technique
Color in film didn't become commercially widespread until _____.
The 1960s
The 1940s
The 1930s
The 1950s
____ lenses often flatten images, decreasing the sense of distance between depth planes.
Wide-angle
Telephoto
Standard
Selective focusing
Digital technology has changed motion picture exhibition in all of the following ways EXCEPT:
It provides greater flexibility for moving camera shots.
It saves money in production costs.
It makes editing more complicated.
It makes movie distribution easier.
The cinematographer has the choice of using several types of 'shots' in framing a scene. One can
best describe a 'long shot' as:
A shot that corresponds approximately to the distance between the audience and the stage in the
live theater.
A shot that has a wide appearance but focuses one's attention on a small area of space.
A shot that will fill the screen with one very specific item, such as a face, a door or car.
One that focuses on the knees or waist up. Good for dialogue and carrying movement.
A shot that is at least 100 feet from the camera to the subject.
A shot that requires a wide angle lens and captures objects at close, medium, and long ranges
simultaneously and all in sharp focus is called:
Deep focus or wide angle
Wide open
Medium close up
Medium Focus
A shot that is photographed from directly overhead is called a(n):
Bird's eye view
Deep Focus
Pilot's Angle
Low Angle
Oblique Angle.
Glossary
This document defines various camera angles, shots, and techniques used in filmmaking. It provides examples and purposes for different high and low camera angles. Additional terms explained include pan, tilt, track/dolly, crane/mechanical, steadicam, zoom/reverse zoom, hand held, deep focus, shallow focus, rule of thirds, eye line match, long shot, close up, pull focus, aerial shot, medium close up, medium shot, establishing shot, point of view, extreme close up, over the shoulder shot, two shot, and canted frame. Each entry describes how the technique is used and the effect it aims to achieve.
Lp2 camera
1. The document discusses how camera shots and angles are used in film to create meaning and influence the audience's perspective. It explains common shot types like long shots, mid shots, and close ups.
2. Camera angles like high and low angles are used to make characters seem powerful or weak. Distorted angles can make a scene seem frightening or unsettling.
3. As an exercise, students are asked to draw a series of images using different camera techniques to tell the story of a stickman trying to get fat, and annotate how each shot creates meaning.
Tia key concepts
This document provides information on key media concepts related to how meaning is created in films through technical and symbolic codes. It discusses concepts like camera shots and angles, editing techniques, sound, lighting, mise-en-scene, and color theory. Specific techniques are defined like establishing shots, point-of-view shots, match cuts, and symbolic meanings of colors. Reception theory is also summarized, outlining preferred, negotiated and oppositional readings.
HuffmanHUM130Cinematic terms assignmentPlease look up th.docx
Huffman
HUM130
Cinematic terms assignment
Please look up the following terms, either on the internet or in a book, and provide concise definitions.
Aerial view shot
A shot taken from an airborne device, generally while moving. Backlighting (lighting design) The main source of light is behind the subject, silhouetting it, and directed toward the camera.
Ambient sound
Ambient sound (AKA ambient audio, ambience, atmosphere, atmos or backgroundnoise) means the background sounds which are present in a scene or location. Common ambient sounds include wind, water, birds, crowds, office noises, traffic, etc. Ambient sound is very important in video and film work.
Asynchronous sound
are not matched with a visible source of the sound on screen. Such sounds are included so as to provide an appropriate emotional nuance, and they may also add to the realism of the film.
Axis of action
also commonly referred to as the "180° line," is an imaginary line which defines the spatial relations of all the elements of a scene, correlating them to the right or left. The camera is not supposed to cross the axis at a cut, as that would reverse those specific spatial relations.
Backlight
Illumination from behind
Bird’s eye view shot
A bird's-eye view is an elevated view of an object from above, with a perspective as though the observer were a bird, often used in the making of blueprints, floor plans, and maps. It can be an aerial photograph, but also a drawing.
Closed frame
"Closed frames refer to shots that do not acknowledge or require the existence of off-screen space to convey their narrative meaning, since all the information necessary for this purpose is contained within the edges of theframe
Cover shot
a wide-angle photographic shot including a whole scene.
Crane shot
In filmmaking and video production, a crane shot is a shot taken by a camera on a moving crane or jib.
Crosscutting
Alternating (one sequence) with another when editing a movie.
Cut
In the post-production process of film editing and video editing, a cut is an abrupt, but usually trivial film transition from one sequence to another. It is synonymous with the term edit, though "edit" can imply any number of transitions or effects. The cut, dissolve and wipe serve as the three primary transitions.
Deep-focus cinematography
Deep focus is a photographic and cinematographic technique using a large depth of field. Depth of field is the front-to-back range of focus in an image — that is, how much of it appears sharp and clear. In deep focusthe foreground, middle-ground and background are all in focus.
Deep-space composition
a significant distance seems to separate planes
Depth of field
In optics, particularly as it relates to film and photography, depth of field (DOF), also called focus range or effective focus range, is the distance between the nearest and farthest objects in a scene that appear acceptably sharp in an image.
Diegesis
a narrative or plot, typically in a movie.
Diegetic element
An elem ...
Visual Storytelling For Web: Tips And Techniques
Uwpocketmedia.org was conceived as an online community center for filmmakers, content creators, educators and anyone interested in sharing or learning about all forms of digital storytelling at the UW. The primary purpose of this social media platform is to serve as an educational resource. In an effort to launch the concept and gain the UW some social media presence at the same time, a pocketmedia film festival was created. A website containing festival information and instructions, tips on technique and resources for filmmakers was created with the goal of operating as a destination site during the festival and then being repurposed to meet the broader mission later.
A Beginner's Guide to Camera Shots and Angles
For video makers, film directors and animators using the correct, conventional camera terminology is key to giving the impression that you know what you're doing! This is where you'll want to brush up on the language (or grammar) of camera shots.
For the complete blog post and to download a free high-res version of this document visit https://www.enchanted.media/beginners-guide-to-camera-shots-and-angles/
Cinematography
Cinematography involves capturing photographic images through controllable elements like film stock, camera lenses, framing, and movement. Different techniques like deep focus, shallow focus, racking focus, and zoom shots manipulate what is in or out of focus to direct audience attention or illustrate relationships. Framing also influences perspective through angles, heights, and point-of-view shots. Scale is controlled through shots like extreme long shots and close-ups. Movement is created through pans and tracking shots that follow action through space. These techniques are used in horror to build suspense, emphasize emotions, and create jump scares.
Similar to Deep Focus (20)
Table of ContentsP E A R S O N C U S T O M L I B R .docx
Table of ContentsP E A R S O N C U S T O M L I B R .docx
9 781292 041292ISBN 978-1-29204-129-2Movies and Meanin.docx
9 781292 041292ISBN 978-1-29204-129-2Movies and Meanin.docx
9 781292 041292ISBN 978-1-29204-129-2Movies and Meanin.docx
9 781292 041292ISBN 978-1-29204-129-2Movies and Meanin.docx
9 781292 041292ISBN 978-1-29204-129-2Movies and Meanin.docx
9 781292 041292ISBN 978-1-29204-129-2Movies and Meanin.docx
9 781292 041292ISBN 978-1-29204-129-2Movies and Meanin.docx
9 781292 041292ISBN 978-1-29204-129-2Movies and Meanin.docx
FILM COMMUNICATION - Understanding Aspects of Films
FILM COMMUNICATION - Understanding Aspects of Films
FINAL IS MIL IS A POWERPOIT TAH DISCUSS LESSON PLAN.pptx
FINAL IS MIL IS A POWERPOIT TAH DISCUSS LESSON PLAN.pptx
Formalists are often referred to as ______, because their self-expre.pdf
Formalists are often referred to as ______, because their self-expre.pdf
HuffmanHUM130Cinematic terms assignmentPlease look up th.docx
HuffmanHUM130Cinematic terms assignmentPlease look up th.docx
More from University of Sunderland
Visual Form
This document discusses various visual forms including frames, graphic layouts, city forms, Rome in 1764, biological forms, cellular automata, and selective focus. It touches on different types of visual representations across domains like architecture, biology, and graphics. The document provides a high-level overview of visual forms without going into detail about any single topic.
Rule of Thirds
The rule of thirds divides an image into a 3x3 grid with two vertical and two horizontal lines. Placing subjects or points of interest along these lines or their intersections is more visually appealing than centering them. This grid helps photographers and filmmakers compose shots that draw the viewer's eye naturally to the intended areas.
Proxemics 1
Edward T. Hall proposed a theory of proxemics to analyze how physical distance between people affects their behavior. He identified four categories of distance: intimate distance (touching), personal distance (1.5-4 feet for friends), social distance (4-12 feet for acquaintances), and public distance (12+ feet for strangers). A film director can use shot size and camera placement to convey psychological attitudes about characters and situations based on the distances between them.
Proxemics 2
Edward T. Hall proposed a theory of proxemics to analyze how physical distance between people affects their behavior. He identified four categories of distance: intimate distance (touching), personal distance (1.5-4 feet for friends), social distance (4-12 feet for acquaintances), and public distance (12+ feet for strangers). A film director can use shot size and camera placement to convey psychological attitudes about characters and situations based on the distances between them.
The Colour Palette of Film
The document discusses how color palettes are used in films to convey moods, themes, and separate storylines. It provides examples of how specific films used color:
1) The Hours used different color filters and hues to separate the time periods and characters, giving Virginia Woolf's scenes a sepia tone, Julianne Moore's a pastel yellow, and Meryl Streep's a cold blue.
2) Munich defined each location with a specific color to orient viewers, with Beirut in blue-green, Rome warmer, Paris less saturated, and New York grainy.
3) Traffic used a blue/orange complementary scheme, with Mexico in orange and Ohio in blue.
Impress and Express
Impressionism began in the 19th century as artists painted outdoors to capture fleeting effects of light and color, influenced by photography, and Expressionism originated in Germany as a reaction to styles like naturalism that sought to distort reality and convey emotional experience rather than physical forms through vivid colors and compositions. Major Impressionist artists included Monet, Renoir, Degas, Cassatt, Pissarro and Sisley and Expressionist works aimed to provoke strong emotional responses.
Colour Theory
Newton discovered that white light is made up of the visible light spectrum when he passed sunlight through a prism. The colour wheel is used to demonstrate the relationships between primary, secondary, and tertiary colours. Primary colours are red, yellow and blue which can be mixed to create secondary colours of orange, green and purple. Tertiary colours result from mixing a primary and secondary colour adjacent on the wheel.
YUV, Y CB CR and Subsampling
This document discusses color models and chroma subsampling used in video formats. It explains that YUV and YCbCr models separate luminance and chrominance information. Chroma subsampling encodes less color resolution to take advantage of human vision prioritizing luminance over chroma. Common subsampling ratios like 4:2:0, 4:1:1, and 4:2:2 determine the encoded color resolution. Higher ratios like 4:4:4 provide full color resolution ideal for post-production.
Gamma and Colour Space
Gamma correction is used to code and decode luminance in video and images. It involves adjusting the curve to make images appear lighter or darker. Color models represent colors as tuples, like RGB or CMYK. Color spaces combine a color model with a mapping function to a reference space, defining a gamut or reproducible color range. The gamut and color model together define the color space.
Digital Workflow
The document discusses digital film production workflows. It covers various roles in post-production like post-production supervisors, digital imaging technicians, and what color decision lists and lookup tables are used for in the digital intermediate and color grading process. It then provides examples of different camera workflows for ARRI ALEXA, RED ONE, Sony F3 and discusses how Technicolor CineStyle is used in DSLR workflows.
Digital File Formats
Digital images use color channels of red, green, and blue to represent colors, with each channel having a bit depth that determines the number of possible intensity values. Higher bit depths allow for more possible colors but increase file sizes. Common file formats include JPEG for photographs, and H.264, Apple ProRes, and Avid DNxHD for video, with each having different color subsampling and bit depths suited to different uses. Image resolution of 2K and 4K refers to the total pixel count, with a true 4K image having approximately 4,000 pixels across by 3,000 pixels down.
Digital Cameras
The document discusses different types of digital camera image sensors including CCD, CMOS, and full frame sensors. It explains key sensor specifications like resolution, pixel size, and crop factor which is the ratio of a sensor's diagonal size compared to a full frame 35mm sensor. A larger crop factor means a smaller sensor that crops the image circle of a lens, but can have advantages for lens sharpness by discarding lower quality edge areas.
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Deep Focus
- 1. Deep Focus
- 4. Deep Focus Cinematography ►A tonal visual composition that can place significant information or subjects on all three planes of the frame and thereby creates an illusion of depth. ► Deep-focus cinematography, uses a short-focal length lens , which keeps all three planes in sharp focus. Deep space composition permits the cinematographer to exploit size of people and objects in the frame to convey meaning and conflict.
- 6. Depth ► Scale is the size and placement of a particular object or a part of a scene in relation to the rest a relationship determined by the type of shot used and the position of the camera. ► Thearrangement of objects between the planes of vision in terms of size and scale, can determine meaning within the film.
- 10. Deep Focus Cinematography ► The scale of small objects can be exaggerated for meaningful effect. If an object in the foreground looms larger than anything else in the frame, you can be sure that the filmmaker is giving great importance to emphasis its meaning to the audience.