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MEDIA PRODN EXAM
MEDIA PRODUCTION EXAM
| Term | Definition |
|---|---|
| PRE-PRODUCTION | The process of preparing all the elements involved in a media production that occurs before shooting begins. |
| PRODUCTION | The actual shooting or recording of the media production, video or film. |
| POST PRODUCTION | The last stage of the production process, where footage is edited, music and special effects are added and enhanced. |
| TREATMENT | A written summary of a program that is formatted as narrative prose; it may be as short as one paragraph or a scene-by-scene description. |
| STORYBOARD | Program documentation in graphic panels, like a graphic novel, with or without dialogue, narration, stage directions, and effects. |
| SCRIPT | Fully written documentation of a program, including scenes, dialogue, narration, stage directions, and effects. |
| LENS CAP | A cap used to protect the lens when the camera is not in use. |
| APERTURE | an opening in the lens that changes in size to control the AMOUNT of light passing through the lens of the camera. |
| SHUTTER SPEED | the length of TIME that the camera shutter is open, as measured in seconds or fractions of a second. |
| ISO | The sensitivity setting for how light is recorded on the camera's image sensor. (The higher the ISO number, the more sensitive the camera is to light.) |
| DEPTH OF FIELD (DOF) | is the distance between the nearest and farthest objects in a scene that appear acceptably sharp in an image. |
| FIELD OF VIEW (FOV) | The part of the world that is visible through the camera. (Usually measured in degrees) |
| FOCAL LENGTH | The FOCAL LENGTH of a lens is the distance between the optical center of the lens and the focal plane, and it determines the magnification, compression and angle of view of an image. |
| WIDE ANGLE LENS | A lens with a relatively short focal length and wide field of view. |
| NORMAL LENS | A lens that is close to the human field of view (35mm or 50mm lens). |
| TELEPHOTO LENS | is a lens with a focal length that is longer than normal. As a lens gets more telephoto, its magnification increases and its angle of view decreases. |
| INTERLACED | In displaying an image on a TV screen, the scanning of two fields consisting of half the lines merged to make one complete frame or picture. |
| NTSC | The TV video standard used in the Americas, and some parts of Asia. |
| MP3 | A data compression technique used for music. |
| MPEG | A data compression technique used for video. |
| LAVALIERE MIC | A very small condenser microphone that can be worn as a clip-on by a subject who is speaking on camera. |
| SHOTGUN MIC | A microphone with a highly directional pickup that must be pointed directly at the sound source. |
| CONDENSER (OMNI) MIC | A wide frequency microphone using charged plates to capture sound but requires a battery or phantom power source. |
| BOOM | A long pole which has a microphone attached to one end and is positioned above the action to record dialog. |
| COMPONENT | This cable provides a high definition connection between devices, it includes three separate color-coded video wires. (Red, Green, Blue) |
| S-VIDEO | A cable with 4 pins that breaks video up into two separate signals for TV, color (chrominance) and brightness (luminance). |
| COMPOSITE | A single channel analog video cable. The cables are yellow, and only send standard quality video. |
| HDMI | A video/audio cable for sending uncompressed video and audio signal |
| RCA | Audio and video connector with a central pin and a slotted outer shell typically used for connecting un-balanced A/V components |
| XLR | A balanced audio connector with three pins typically used to connect microphones |
| HEAD ROOM | vertical position of the subject where the eyes are ideally positioned one-third of the way down from the top of the image frame. |
| LEAD ROOM | the space from the front of a subject to the side edge of the frame where dramatic energy is directed. |
| ANTICIPATORY FRAMING | Setting up a shot so that the framing accounts for movement of the subject. |
| RULE OF THIRDS | place a distant subject near one of the four cross points on an imaginary tic-tac-toe grid to draw the viewers eye. |
| LEADING LINES | visual lines within an image that lead the viewer's eye to another point in the image or to a single focal point. |
| REACTION SHOT | Close-up of a character's reaction to events. |
| FOLLOW FOCUS | Controlling the focus of the lens, so that the image is continuously kept sharp regardless of if the camera or subject moves. |
| EXTREME CLOSE UP (XCU) | A shot that shows just a small part of the subject's face. |
| LONG SHOT (LS) | A shot showing an entire subject AND places it in relation to its surrounding. |
| BIG CLOSE UP (BCU) | A shot that shows only the entire head from the chin up |
| CLOSE UP (CU) | A shot that shows the entire head from the shoulders up |
| EXTREME LONG SHOT (XLS) | A shot where the subject is so small it is indistinct in a very large surrounding. |
| FULL SHOT (FS) | A shot that includes the full human body with the head near the top of the frame and the feet near the bottom. |
| MEDIUM CLOSE UP (MCU) | A shot that shows the subject from the chest to the top of the head |
| MEDIUM LONG SHOT (MLS) | A shot where the subject is distinct, but with considerable head and foot room. |
| MEDIUM SHOT (MS) | A shot that shows the subject from the waist to the top of the head |
| THREE-QUARTER SHOT | A shot that shows the subject from the knees to the top of the head |
| DOLLY | A movement shot where the camera pushes forward or away from the subject |
| PAN | horizontal movement or rotation of a camera from a fixed position. |
| TILT | A shot where the camera moves up and down on a swivel or tilting device. |
| TRUCK | Moving the camera physically to the left or right while maintaining its perpendicular relationship to the subject. (AKA |
| ZOOM | Changing the focal length or magnification of the lens, giving the ILLUSION of moving closer or away from the subject. |
| TRACKING | A movement shot where the camera is moving along side, parallel to the action or subject |
| BIRD'S EYE | A shot with the camera is directly above the scene facing straight down. |
| HIGH ANGLE | A shot with the camera above and looking down on the subject, tending to reduce its importance or size. |
| EYE LEVEL | A shot with the camera located at eye level of the subject |
| LOW ANGLE | A shot with the camera located below and looking up on the subject, tending to make it seem dominant or powerful. |
| WORM'S EYE | A shot with the camera directly under the subject, opposite of the bird's eye view. |
| DUTCH TILT | A shot where the camera is tilted creating stress and tension. |
| HARD LIGHT | A light source that is relatively small and far away (such as the sun) and creates harsh, sharp-edged shadows and reveals textures. |
| SOFT LIGHT | A light source that is relatively large and close to the subject that creates soft edged shadow transitions and conceals textures. |
| WHITE BALANCE | A camera color temperature adjustment to remove unrealistic color casts making white objects appear white in the image. (The "L" in LISA) |
| SPOT LIGHT | Lighting instruments with lenses that sharply focus the light they emit, producing intense, harsh lighting. |
| KELVIN | A unit of measure for color temperature . |
| THREE POINT LIGHTING | Basic lighting technique that helps create an illusion of three-dimensionality by separating the subject from the background, using key, fill, and back light. |
| BARN DOORS | devices/flaps that you put on your lights to change the amount of light that is directed at your subject. |
| REFLECTOR | A device that is used to redirect light towards a given subject to fill in and lessen shadows |
| SOFT BOX | a rectangular diffuser used to minimize shadows and soften hard light |
| NLE | A digital video editing method where edits can be performed in any order rather than in sequential order. |
| TRIM | The technique of selecting the in- and out-points of a clip to specify its content and exact length. |
| CUT | Instantaneous change from one shot to another. |
| CLIP | A single unit of video, audio, graphics or titles that is used in digital editing. |
| WIPE | A transition that allows one image to be replaced by another with a moving line separating the two pictures. |
| STRAIGHT CUT | A video edit in which one clip changes instantly to the next clip with no transition effects. |
| FADE | A video transition in which the image begins black and gradually lightens to full brightness. |
| CROSS CUT | Cutting away from one action to another action. (Suggests the simultaneity of these two actions) |
| DISSOLVE | A video transition in which one image is gradually replaced by another image. |
| WIPE | A transition that allows one image to be replaced by another with a moving line separating the two pictures. |
| KEY | Process of combining two or more images without the background image bleeding through the foreground image. |
| LOWER THIRDS | This refers to text or graphics that take up the lower area of the screen. |
| DROP OUT | A momentary glitch in a video. |
| Pre-Focus | Zoom all the way close in on the subject, manually focus, and then zoom where desired. |
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