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COM 241
Final
| Question | Answer |
|---|---|
| visual unity | whole, self-contained, and complete. |
| visual balance | every object has a visual weight. |
| visual tension | interplay of balanced and unbalanced elements within the frame. |
| rhythm | repetitive elements. |
| proportion | size, relative to distance to create depth. |
| contrast | light, dark color, and texture |
| texture | flatten out as you move away |
| directionality | unproportional/symmetrical |
| overlap | objects overlap showing distance |
| relative size | showing how big/small |
| vertical location | creates visual organization |
| linear perspective | narrows as it goes goes further away |
| foreshortening | distorts the closer it gets closer to the length |
| chiaroscuro | shadow and light used to create meaning. |
| atmospheric perspective | air blurs |
| the line | three types: sinuous, horizontal, vanishing point. |
| the sinuous line | curving to create focus. |
| compositional triangles | things in the frame create a triangle and make space and frame more interesting. |
| the horizontal line | line that goes from right to left. |
| vanishing point | the point at which receding parallel lines viewed in perspective appear to converge. |
| open frame | things can pass in and out of the frame |
| closed frame | everything happens within the frame |
| frame within a frame | like a doorway, lighting, grass. anything that directs you from one place to another. |
| balanced frame | objects are balanced equally on both sides of the frame. |
| unbalanced frame | objects are not balanced equally on both sides of the frame. |
| positive/negative space | amount of space the objects take up. |
| the rule of thirds | divide screen into thirds. |
| headroom | the space between the top of a subject’s head and the top of the frame. |
| nose room | the space in front, and in the direction, of moving or stationary subjects. Well-composed shots leave space in the direction the subject is moving. |
| umbrella reflector | can be used in place of key light and fill light. |
| bounced light | creates a soft, even light throughout the entire room. |
| MPEG-2 | widely used audio and video compression scheme. |
| codec | generic term for a compression problems and issues. |
| artifacts | visible flaws caused by compression problems and issues. |
| rendering | process in which the computer "fleshes out" wire frames by adding surface materials and textures. |
| virtual reality sets | settings that are completely simulated. |
| bi-directional pick up pattern | microphone that picks up patterns from two directions. |
| omnidirectional pick up pattern | microphone that picks up patterns from all directions. |
| dynamic mic | regular mic whose transducer consists of a diaphragm connected to a movable coil. not as sensitive as high-grade mics. |
| 30-degree rule | camera should change atleast 30 degrees or it looks jumpy. |
| preview bus | shows what you are about to cut to/ what is about to become the program bus. |
| luminance key | the part of the video signal that includes the brightness. |
| AFTRA | American Federation Television and Radio Artists |
| acting | the study of people. |
| SAG | screen actors guild. |
| commission | payment. |
| cattle call | open auditions in select cities. |
| callback | an invitation to return for a second audition or interview. |
| slate | verbal identification of actor on camera. |
| key | the first and usually most important light that a photographer, cinematographer, or other scene composer will use in a lighting setup. |
| dissolve | an act or instance of moving gradually from one picture to another. |
| program bus/direct-take bus | screen that shows that the view is seeing. |
| chroma key | colored scree selected for removal and replaced with another video source. |
| key clip | don't know what key clip is. |
| motion tracking | process of recording movement and translating that movement into a digital model. |
| character generator | a device or software that produces static or animated text (such as crawls and rolls) for keying into a video stream. |
| phantom power supply | a method for transmitting DC electric power through microphone cables to operate microphones that contain active electronic circuitry. |
| sweetening | to use audio effects to enhance and manipulate the audio sound. |
| proximity effect | an increase in bass or low frequency response when a sound source is close to a microphone. |
| XLR | commonly used for transmitting balanced mic and line level signals to speakers and mixers. |
| crossing the line - 180-degree rule | states that if two people are filmed in a sequence there is an invisible line between them and the camera should only be positioned anywhere within the 180 degrees on one side of the line. |
| b-roll | supplemental or alternate footage intercut with the main shot in an interview or documentary. |
| presence effect | don't know what presence effect is. |
| room tone | the "silence" recorded at a location or space when no dialogue is spoken . This term is often confused with ambience. |
| improv | acting without a script |
| cold read | script that you have not seen before |
| Hitchcock's birthplace | England |
Created by:
shivi88
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