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CINE 100 > Chapter 5: Cinematography > Flashcards

Chapter 5: Cinematography Flashcards

1
Q

Cinematography

A

a general term for all the manipulations of the film strip by the camera in the shooting phase and by the laboratory in the developing phase

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2
Q

The Range of Tonalities

A

the control of the image’s range of tones and shades

tonality is a matter of considering how the light registers on the film

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3
Q

Contrast

A

refers to the comparative difference between the darkest and lightest areas of the frame

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4
Q

What is the function of contrast?

A

contrasts in the image help filmmakers to guide the viewer’s eye to important parts of the frame and to give the shot an emotionally expressive quality

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5
Q

High-Contrast

A

bright white highlights, stark black areas, and a narrow range of shades in between (stark and dramatic)

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6
Q

Low-Contrast

A

intermediate grays or color shades with no true white or black areas (muted emotional states)

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7
Q

What controls contrast?

A

lighting, filters, choice of film stock, laboratory processing, and post-production work

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8
Q

Exposure

A

regulates how much light passes through the camera lens

too dark = underexposed
too bright = overexposed

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9
Q

What is one key function of exposure?

A

it is a crucial way to alter the tonalities in the image

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10
Q

Filters

A

slices of glass or gelatin put in front of the lens of the camera or printer to reduce certain frequencies of light reaching the film

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11
Q

Tinting

A

accomplished by dipping the already-developed film into a bath of dye- the dark areas remain black and gray, while the lighter areas pick up the color

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12
Q

Toning

A

the dye is added during the development of the positive print- darker areas are colored, while lighter portions of the frame remain white or only faintly colored

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13
Q

What is the speed of motion dependent on?

A
  1. the rate at which the film was shot
  2. the rate of projection

both rates are calculated in frames per second

(if the movement is to look accurate on the screen, the rate of shooting should correspond to the rate of projection)

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14
Q

Fast-Motion Effect

A

a film is exposed at fewer frames per second than the projection rate

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15
Q

Slow-Motion Effect

A

the more frames per second shot the slower the screen action will appear

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16
Q

What is the fast-motion effect typically used for?

A

to grab our attention and accelerate the pace, whisking us through a setting to the heart of the action

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17
Q

What is the slow-motion effect typically used for?

A

expressive purposes, to render sports events in detail, to suggest that the action takes place in a dream or fantasy, to convey enormous power, for emphasis- dwelling on a moment of spectacle or high drama

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18
Q

Ramping

A

varying the frame rate during shooting

alters exposure- must be coordinated with lighting

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19
Q

Time-lapse

A

a very low shooting speed is required

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20
Q

High-speed

A

the camera may expose hundreds or thousands of frames per second

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21
Q

What is the function of the freeze-frame effect?

A

can underscore a piece of action or a line of dialogue, suggest a character’s memory, and suggest the story action hasn’t been resolved

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22
Q

Freeze-Frame Effect

A

when a single frame of content shows repeatedly on the screen—”freezing” the action

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23
Q

Perspective

A

a set of spatial relations organized around a viewing point

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24
Q

What does the lens of a photographic camera do?

A

gathers light from the scene and transmits that light onto the flat surface of the film or video chip to form an image that represents size, depth, and other dimensions of the scene

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25
Q

Focal Length

A

the distance from the center of the lens to the point where the light rays converge to a point of focus on the film

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26
Q

What does focal length do?

A

alters the size and proportions of the things we see, as well as how much depth we perceive in the image

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27
Q

Short-Focal-Length Lens

A

(wide angle)
in capturing the wider field, these lenses tend to distort straight lines lying near the edges of the frame, bulging them outward

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28
Q

What is the effect of the short-focal-length lens?

A

exaggerates depth, making figures in the foreground seem unnaturally large and those in the distance seem quite far away

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29
Q

Middle-Focal-Length Lens

A

(normal)
seeks to avoid noticeable perspective distortion- horizontal and vertical lines are rendered straight and perpendicular

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30
Q

What is the effect of the normal lens?

A

parallel lines should recede to distant vanishing points; foreground and background should seem neither stretched apart nor squashed together

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31
Q

Long-Focal-Length Lens

A

(telephoto)
flattens the space along the camera axis

32
Q

What is the effect of the telephoto lens?

A

cues for depth and volume are reduced, and the planes seem squashed together- magnifying action at a distance

33
Q

Zoom Lens

A

to enlarge some part of a shot

34
Q

What is the function of a zoom lens?

A

resizes what is shown and changes the image’s perspective, and can create intriguing deformations of depth and scale

35
Q

Depth of Field

A

a range of distances within which objects can be photographed in sharp focus, given a certain exposure setting

36
Q

Deep Space

A

the way the filmmaker has staged the action on several different planes, regardless of whether all of these planes are in focus

a matter of mise-en-scene- involving how the scene is arranged

37
Q

Selective Focus

A

choosing to focus on only one plane and letting the other planes blur

often involves focusing on the main character and throwing the surroundings out of focus

38
Q

Deep Focus

A

use of the camera lens and lighting that keeps objects in both close and distant planes in sharp focus

tends to make several areas equally visible

39
Q

Racking Focus

A

focus can be altered within a shot

commonly used to switch our attention between foreground and background, making one plane blurred and another sharp

40
Q

Special Effects

A

a general term for various photographic manipulations that create fictitious spatial relations in the shot, such as superimposition, matte work, and rear projection

41
Q

Superimposition

A

images are laid over one another, creating multiple perspectives within the frame

created in digital post-production

42
Q

Composite

A

separately photographed images are blended in a single composition

43
Q

Rear Projection

A

project footage of a setting onto a screen, then film actors in front of it

44
Q

Matte Work

A

a matte is a portion of the setting photographed on a strip of film, usually with a part of the frame empty

45
Q

Framing

A

the use of the edges of the film frame to select and to compose what will be visible onscreen

46
Q

Functions of framing

A
  1. camera position shapes the way we perceive the filmed event
  2. the frame defines onscreen and offscreen space
  3. creates a vantage point- has a certain distance, angle, and height
47
Q

Aspect Ratio

A

the ratio of frame width to frame height

ex) as image that is twice as wide as it is high is said to be in a 2:1 ratio

48
Q

Academy Ratio

A

1:37:1

modified to allow room for a soundtrack

49
Q

Masking

A

in the exhibition, stretches of black fabric that frame the theater screen

can be adjusted according to the aspect ration of the film to be projected

50
Q

Anamorphic Process

A

a spatial lens squeezes the image horizontally, either during filming or in printing

51
Q

Mask

A

an opaque screen placed in the camera or printer that blocks part of the frame off and changes the shape of the photographed image, leaving part of the frame a solid color

52
Q

Iris

A

a moving circular mask that opens to reveal or closes to conceal a scene

53
Q

Multiple Frame/Split-Screen Imagery

A

two or more images, each with its own frame dimensions and shape, appear within the larger frame

54
Q

Camera Position: Angle

A

straight-on, high, low

55
Q

Camera Position: Level

A

parallel to the horizon

56
Q

Canted

A

if the framing is tipped to one side or the other

57
Q

Camera Position: Height

A

related to camera angle because some angles demand that you position the camera higher or lower than the subject

58
Q

Camera Position: Distance

A

the framing of the image stations us relatively close to the subject or farther away

59
Q

Extreme Long Shot

A

the human figure is lost or tiny

the framing for landscapes, bird’s-eye views of cities, and other vistas

60
Q

Long Shot

A

figures are more prominent but the background still dominates

61
Q

Medium Long Shot

A

figures are more prominent but the background still dominates

common since they permit a nice balance of figure and surroundings

62
Q

Medium Shot

A

frames the human body from the waist up- gestures and expressions are more visible

63
Q

Medium Close-Up

A

frames the body from the chest up

64
Q

Close-Up

A

traditionally the shot showing just the head, hands, feet, or a small object

65
Q

Extreme Close-Up

A

singles out a portion of the face or isolates and magnifies an object

66
Q

What is the function of camera distance?

A
  1. framing can stress a narratively important detail
  2. camera distance specifies where characters are and how they respond to each other
  3. distances and angles form patterns that guide us in building up the story
67
Q

Mobile Framing

A

allows the filmmaker to change the camera angle, level, height, or distance during the shot

usually referred to as camera movement

68
Q

Pan

A

swivels the camera on a vertical axis

onscreen, the pan scans space horizontally, as if the camera is “turning its head” right or left

69
Q

Tilt

A

rotates the camera on a horizontal axis

onscreen, the tilt movement yields the impression of unrolling a space from top to bottom or bottom to top

70
Q

Tracking/Dolly Shot

A

the camera as a whole changes position, travelling in any direction along the ground- forward, backward, diagonally, in circles, or from side-to-side

71
Q

Crane Shot

A

the camera moves above ground level- vertically or at some angle forward or back

72
Q

What are the functions of frame mobility?

A
  1. can increase information about the space of the image
  2. can make objects seem sharper and more vivid than in stationary framings
  3. can give bodies greater solidity
  4. a substitute for our movement
  5. are often subjective- motivated narratively to represent what a moving character sees
73
Q

Reframing

A

if a character moves in relation to another character, often the frame will slightly pan or tilt to adjust to the movement

74
Q

What is the relationship between frame mobility and space?

A
  1. different sorts of camera movements create different treatments of space
  2. the mobile frame is motivated by the demands of the narration
75
Q

What is the relationship between frame mobility and time?

A
  1. our sense of duration and rhythm is affected by the mobile frame
  2. because a camera movement consumes time on screen, it can create an arc of expectation and fulfillment
  3. frame velocity can create expressive qualities
  4. the filmmaker can pace our understanding of the plot action
76
Q

Long Shot

A

refers to the apparent distance between camera and object

77
Q

Take

A

one run of the camera that records a single shot

CINE 100 (7 decks)

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