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A+S Vocab-midterm

3 Act Structure B_M_E_ Act 1-set stage, Act 2-tension rises, Act 3-story resolves
Plot vs Story P-sequence of events in order they appear on screen S-everything that happened in chronological order
Inciting Incident Act 1 sets stage and incident then Act 2
Climax Act 2 tension rises and climax then Act 3
Resolution/Denuement Act 3 story resolves
Archetypes basic blueprint for a character
Theme Unifying or dominant idea
Motifs reoccurring element that has symbolism
Arc continuing story line over multiple episodes (Episodical)
WS Wide Shot-establishing shot (shows large view of location/setting)
MS Medium Shot-frames subject from waist up
CU Close Up-emphasis on face or other part of the body detail/feature of subject
ELS/EWS Extreme Long/ Extreme Wide Shot-large view of location/setting (wide shot)
LS Long Shot-whole human figure; shows larger physical movements and activity
MLS Medium Long Shot-frames subject from knees up (cowboy/american shot)
MCU Medium Close Up-from chest/shoulders; emphasis of facial expression but connection to broader physical attitude of body is maintained
ECU Extreme Close Up-isolates a very small detail/feature to show detail
Two-Shot 2 subjects in shot
Three-Shot 3 subjects in shot
Group Shot 3+ subjects in shot
Over the shoulder shot (OTS) reverse shot is from an angle that includes a portion of other person's head/shoulder (dirty single)
Steadicam/Glidecam arm and a system of counterweights and springs to minimize gravitational forces and absorb shock (move/run/walk and camera stays steady)
Handheld cheapest and readily available; hands and arms hold camera/on on shoulder bracing with arm
Zoom changes focal length
Simple shot vs complex/developing shot S-shot made without movement of the lens,pan,tile, or mounting (NO movement of frame) C/D-shot made with movement of subject, lens, camera pan, tilt, mounting
Natural vs artificial lighting N-light source from nature A-light source that generates light through electricity
Available light light source that ordinarily exist in any given location
Mixed lighting combining available sources and artificial lights to achieve look
Motivated lighting using movie lights to duplicate where light would logically be emanating from (strategy for creating naturalistic lighting designs)
Intensity (high vs low) strength/brightness of light measured in footcandles (high-closer subject placed to light=higher light low-farther subject place to light=lower light)
3 point lighting (for dramas and interviews) Key, Fill, Back K-main source of illumination F-softens and controls key shadows B-separate subject from backgound
Chiaroscuro using light distribution and dark/shade for effect and to enhance subject (used in old gangster movies)
Attached or cast shadows A-shadows directly defines a form C-dark areas that occurs on surface between light source and surface
Off screen space frame crops real world environment and determines what the audience sees and doesn't see
Diminishing perspective notion of receding planes (objects will appear to be smaller the farther they are from the viewer)
Vanishing point point towards which receding parallel lines converge
Leading lines create depth; convey distance-relationship between foreground and background of image; draw eyes into picture
Foreground-Midground-Backgound give depth to picture/video and prevents flatness
Mise-en-scene everything that goes into the composition of a shot (put on stage)
Rule of thirds guide for framing subjects and composition
Head room subject frames from head to top of frame
X/Y/Z axes X-horizontal Y-vertical Z-depth
Depth of field range of focus along z-axis
Rack focus shift plane of focus between 2 subjects on z-axis
Follow focus adjust plane of focus to follow subjects moving along z-axis (subject moving closer/farther away from camera)
Soft focus deliberate blurring or lack of definition
Dutch angle canted angle (camera titles so horizon of composition is oblique) (make background aesthetically interesting)
180 degree rule must shoot all of the shots in a continuity sequence from only ONE side of the action
Cutting on action create smooth sense of continuous time and movement from one shot to the next
Continuity of acting body, appearance, and movements are identical in takes
Continuity of mise-en-scene make sure characters/props/sets/costumes are continuous in shots
Audio continuity make sure sound doesn't have radical shifts from shot to shot (ambient sound)
Pitch frequency of cycles per second
Timbre quality; tonal composition and characteristics of sound
Volume degree of loudness
Diegetic sound whose source is visible on screen or implied to be present (voice of character)
Non-diegetic sound whose source is neither visible on screen nor implied in action (narrator's commentary or background music)
Internal diegetic inside a character's mind
Synch/non sync Sync-synchronized with on screen action of secondary importance (audio and video recorded together in sync) Non sync-sound not synchronized with picture (room tone and wild sound)
Natural sound unadorned production sounds
Wild sound sound recorded at any time without sync reference
Voice-overs voice/audio recorded separately
Sound bridges sound that overlaps from one scene to another
Sound ambience background sound of the set (room tone)
Atmospheric sound background noise that naturally occurs in any location
Room tone sound of a room without any movement
Sound effects dramatic effect/sets mood; helps communicate to the audience; sound production misses
Foley means of supplying the subtle sounds that production mics miss
Sound Motifs sound effect or combo of sound effects that are associated with setting, character, or idea throughout film (shapes story and helps unify; conditions audience emotionally and clarify narrative functions)
Created by: deleted user
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