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E-TECH REVIEW
1ST SEM FINALS, 11-BLSD. GABRIELA
| Question | Answer |
|---|---|
| allow you to create personal accounts, pages, and groups where you can share content. | SOCIAL MEDIA PLATFORMS |
| A computer application (sometimes online or browser-based) allowing you to publish, edit, manipulate, organize, and delete web content. It’s used in blogs, news websites, and online shopping. | CONTENT MANAGEMENT SYSTEM (CMS) |
| A website that contains information from different sources and places them in one location in a uniform manner. | WEB PORTALS |
| Through video hosting sites, you can take a video and show it to the entire world | VIDEO |
| You can always record sounds if the production of videos seems quite tedious. | SOUND, MUSIC, OR AUDIO |
| Game developers (devs) now create what is referred to as “browser-based games.” These games do not require installation as they run in most updated web browsers | ONLINE GAMES |
| Online courses that simulate the classroom online | COURSEWARE |
| an episodic series of audio or text fields streamed online | PODCASTS |
| an episodic series of VIDEO streamed online | VODCASTS |
| It is the fundamental act of filmmaking or photography. Filmmakers must direct the attention of the audience. | THE FRAME |
| the most influential aspect of a lens is the focal length: how wide or long it is. | Focal Length |
| This is the aspect that takes up most of the time of the director. Visual tools that add additional layers of meaning to the story and evoke emotions at a gut-punching level. | COLOR & LIGHT |
| Manipulating the image in a certain way to add visual texture: This can be done via changing the color and contrast of the picture, desaturating the image color, filters, fogs, and smoke effects, rain, unusual film stocks, and printing techniques. | VISUAL TEXTURE |
| Filming is one of the few art forms that employs motion and time. | MOVEMENT |
| the Ability of the camera to reveal or conceal information; It is the visual equivalent of exposition, where verbal storytelling means conveying important information or background to the audience. | ESTABLISHING |
| The “eye” of the audience shapes how they will perceive a particular scene. It allows audiences to be more involved with the story for the reason that they see what the character sees concurrently. | POINT OF VIEW |
| Visual organization of elements to create a “whole”, self-contained, and complete design. This applies whether it is chaotic or unorganized. | UNITY |
| The weight of the overall visual composition. This may either be organized into a balanced or unbalanced combination. | BALANCE |
| The interplay of balanced and unbalanced elements and how they are placed in the frame creates such. | VISUAL TENSION |
| Repetitive or similar elements can create patterns of organization. | RHYTHM |
| How equal all the elements are when combined into one cohesive unity. | PROPORTION |
| Opposite elements combined to allow for the definition of depth, spatial relationships, as well as emotional and storytelling weight. | CONTRAST |
| Used to establish a location and environment. | LONG SHOT |
| Frames the character from head to toes with the subject filling the frame; emphasis is more on action rather than the emotional state. | FULL SHOT |
| Frames the subject from the waist up. Focus on the character with some environment. | MEDIUM SHOT |
| Fills the screen with part of the subject, such as a person’s head or face. This primarily shows the emotions and reaction of a character in the scene. | CLOSE SHOT |
| Emphasis on a small area or detail of a subject, such as the eyes or mouth. | EXTREME CLOSE SHOT |
| Framing is taken from above eye level, making the subject seem vulnerable, weak, or scared. | EAGLE’S EYE SHOT |
| Subject is photographed from BELOW eye level, making the subject look powerful, imposing, or dangerous | WORM’S EYE SHOT |
| is a shot that is taken from behind the shoulder of another, framed from a Medium to Close-Up. This shot is often used for conversations. | OVER THE SHOULDER |
| A shot where two subjects appear in the frame. | TWO SHOT |
| Shot intended to imitate what the character sees in a setting. This directly puts the audience into the head of the character, allowing them to experience their emotional state. | POINT-OF-VIEW SHOT |
| a Shot where the frame is not aligned with the horizon line. It is often used to show a disoriented or uneasy psychological state. | DUTCH TILT |