2. 180 DEGREE RULE
In film making, the 180-degree rule is a basic guideline
regarding the on-screen spatial relationship between a
character and another character or object within a
scene. An imaginary line called the axis connects the
characters, and by keeping the camera on one side of
this axis for every shot in the scene, the first character is
always frame right of the second character, who is then
always frame left of the first. The camera passing over the
axis is called jumping the line or crossing the line.
The object that is being filmed must always remain in the
centre, while the camera must always face towards the
object.
3. 180 DEGREE RULE
This schematic shows the axis between two characters and the 180° arc on which cameras
may be positioned (green). When cutting from the green arc to the red arc, the characters
switch places on the screen.
4. 30 DEGREE RULE
The 30-degree rule is a basic film editing guideline that states the
camera should move at least 30 degrees between shots of the same
subject occurring in succession. If this rule isn't followed a jump cut
occurs and there is a risk that the audience starts focusing on the
filming technique instead of the story that is being narrated.
• The 30 degree change of perspective makes the shots different
enough to avoid a jump cut. Too much movement around the
subject may violate the 180-degree rule.
• Following this rule may soften the effect of changing shot distance,
such as changing from a medium shot to a close-up or extreme
close-up
• "The rule aims to emphasize the motivation for the cut by giving a
substantially different view of the action. The transition between two
shots less than 30 degrees apart might be perceived as unnecessary
or discontinuous--in short, visible."
5. 30 DEGREE RULE
The relationship between 30
degrees and the binocular
human experience
6. SET DESIGN AND PRODUCTION VALUES
Set design is the creation of theatrical, as well as film
or television scenery. Scenic designers come from a
variety of artistic backgrounds, but in recent years,
are mostly trained professionals, holding a B.F.A. or
M.F.A. degrees in theatre arts. Scenic designers
design sets and scenery that aim to fully immerse the
viewer in the production
Production values
is the technical elements of a production, as the
lighting, décor, or sound in a film, often, specif., such
elements that are enhanced to increase audience
appeal
7. VERISIMILITUDE
Verisimilitude is described as the quality of appearing
to be true or depicting reality. In storytelling, the
audience contributes to the experience by their
"willing suspension of disbelief". The more the story
resembles reality even in small details the easier it is
for the audience to engage. It is something that
seems to be true or real. Example: creation of reality
such as a story in a book or film/programme.
8. IDEOLOGY
These is the message that the media producers are
trying to put across. Audiences can also interpret
these messages differently, even though there may
be an intended message for the audience
Ideology is ideas, values and beliefs in a society.
These are often taken for granted and seen as
‘common sense’. Ideologies are ideas that are
normal, common sense and just the way things are.
However, ideas, values and beliefs are not static;
they evolve and develop over time.
For example ideologies of women has changed as
women have become more equal.
9. DIEGETIC AND NON DIEGETIC SOUND
DIEGETIC Sound whose source is visible on the screen or
whose source is implied to be present by the sounds within
their world : • Voices of characters • Sounds made by
objects in the story • Music represented as coming from
instruments in the story space Diegetic sound is any sound
presented as originated from source within the film's world
NON-DIEGETIC Sound whose source is neither visible on the
screen nor has been implied to be present in the action (in
their world) : • Narrator's commentary • Sound effects
which is added for the dramatic effect • Mood music
Non-diegetic sound is represented as coming from the a
source outside story space
10. SYNCHRONOUS/ASYNCHRONOUS
SOUND
SYNCHRONOUS Sound that appears to be matched
to certain movements occurring in the scene, for
example when footsteps correspond to feet walking
in sync.
ASYNCHRONOUS Are not matched with a visible
source of the sound on screen. For example, the
background sound of an ambulance's siren while the
foreground sound and image portrays an arguing
couple.
11. SOUND MOTIF/ BRIDGE/EFFECTS
SOUND MOTIF A sound effect or combination of
sound effects that are associated with a particular
character, setting, situation or idea through the film.
SOUND BRIDGE When the scene begins with the
carry-over sound from the previous scene before the
new sound begins.
SOUND EFFECTS A sound other than speech or music
made artificially for use in a play, movie, or other
broadcast production.
12. AMBIENT / PERSPECTIVE SOUND
AMBIENT SOUND Ambient sound means the
background sounds which are present in a scene or
location. Common ambient sounds include wind,
water, birds, crowds, office noises, traffic, etc.
SOUND PERSPECTIVE A sound’s position in space as
perceived by the viewer given by volume, timbre,
and pitch.
13. THEMES AND STRINGS
THEMES AND STINGS Themes is music that always
accompanies the particular TV show or even a
particular character (eg James Bond) and suits its
mood or themes. Stings are short bursts of music,
originally used in TV and radio to bump together
different sections and chapters of a show.
14. CROSS CUTTING
Cross-cutting is an editing technique most often used
in films to establish action occurring at the same time
in two different locations. In a cross-cut, the camera
will cut away from one action to another action,
which can suggest the simultaneity of these two
actions but this is not always the case.
