A+S Vocab-midterm
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| 3 Act Structure | B_M_E_
Act 1-set stage, Act 2-tension rises, Act 3-story resolves
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| Plot vs Story | P-sequence of events in order they appear on screen
S-everything that happened in chronological order
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| Inciting Incident | Act 1 sets stage and incident then Act 2
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| Climax | Act 2 tension rises and climax then Act 3
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| Resolution/Denuement | Act 3 story resolves
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| Archetypes | basic blueprint for a character
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| Theme | Unifying or dominant idea
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| Motifs | reoccurring element that has symbolism
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| Arc | continuing story line over multiple episodes
(Episodical)
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| WS | Wide Shot-establishing shot
(shows large view of location/setting)
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| MS | Medium Shot-frames subject from waist up
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| CU | Close Up-emphasis on face or other part of the body detail/feature of subject
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| ELS/EWS | Extreme Long/ Extreme Wide Shot-large view of location/setting (wide shot)
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| LS | Long Shot-whole human figure; shows larger physical movements and activity
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| MLS | Medium Long Shot-frames subject from knees up
(cowboy/american shot)
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| MCU | Medium Close Up-from chest/shoulders; emphasis of facial expression but connection to broader physical attitude of body is maintained
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| ECU | Extreme Close Up-isolates a very small detail/feature to show detail
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| Two-Shot | 2 subjects in shot
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| Three-Shot | 3 subjects in shot
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| Group Shot | 3+ subjects in shot
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| Over the shoulder shot (OTS) | reverse shot is from an angle that includes a portion of other person's head/shoulder
(dirty single)
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| Steadicam/Glidecam | arm and a system of counterweights and springs to minimize gravitational forces and absorb shock
(move/run/walk and camera stays steady)
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| Handheld | cheapest and readily available; hands and arms hold camera/on on shoulder bracing with arm
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| Zoom | changes focal length
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| 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
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| Natural vs artificial lighting | N-light source from nature
A-light source that generates light through electricity
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| Available light | light source that ordinarily exist in any given location
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| Mixed lighting | combining available sources and artificial lights to achieve look
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| Motivated lighting | using movie lights to duplicate where light would logically be emanating from
(strategy for creating naturalistic lighting designs)
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| 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)
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| 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
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| Chiaroscuro | using light distribution and dark/shade for effect and to enhance subject
(used in old gangster movies)
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| Attached or cast shadows | A-shadows directly defines a form
C-dark areas that occurs on surface between light source and surface
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| Off screen space | frame crops real world environment and determines what the audience sees and doesn't see
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| Diminishing perspective | notion of receding planes
(objects will appear to be smaller the farther they are from the viewer)
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| Vanishing point | point towards which receding parallel lines converge
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| Leading lines | create depth; convey distance-relationship between foreground and background of image; draw eyes into picture
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| Foreground-Midground-Backgound | give depth to picture/video and prevents flatness
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| Mise-en-scene | everything that goes into the composition of a shot
(put on stage)
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| Rule of thirds | guide for framing subjects and composition
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| Head room | subject frames from head to top of frame
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| X/Y/Z axes | X-horizontal
Y-vertical
Z-depth
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| Depth of field | range of focus along z-axis
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| Rack focus | shift plane of focus between 2 subjects on z-axis
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| Follow focus | adjust plane of focus to follow subjects moving along z-axis
(subject moving closer/farther away from camera)
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| Soft focus | deliberate blurring or lack of definition
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| Dutch angle | canted angle
(camera titles so horizon of composition is oblique)
(make background aesthetically interesting)
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| 180 degree rule | must shoot all of the shots in a continuity sequence from only ONE side of the action
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| Cutting on action | create smooth sense of continuous time and movement from one shot to the next
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| Continuity of acting | body, appearance, and movements are identical in takes
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| Continuity of mise-en-scene | make sure characters/props/sets/costumes are continuous in shots
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| Audio continuity | make sure sound doesn't have radical shifts from shot to shot
(ambient sound)
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| Pitch | frequency of cycles per second
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| Timbre | quality; tonal composition and characteristics of sound
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| Volume | degree of loudness
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| Diegetic | sound whose source is visible on screen or implied to be present
(voice of character)
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| Non-diegetic | sound whose source is neither visible on screen nor implied in action
(narrator's commentary or background music)
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| Internal diegetic | inside a character's mind
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| 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)
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| Natural sound | unadorned production sounds
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| Wild sound | sound recorded at any time without sync reference
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| Voice-overs | voice/audio recorded separately
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| Sound bridges | sound that overlaps from one scene to another
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| Sound ambience | background sound of the set
(room tone)
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| Atmospheric sound | background noise that naturally occurs in any location
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| Room tone | sound of a room without any movement
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| Sound effects | dramatic effect/sets mood; helps communicate to the audience; sound production misses
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| Foley | means of supplying the subtle sounds that production mics miss
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| 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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