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A+S Vocab-midterm
| Question | Answer |
|---|---|
| 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) |
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