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| A method of making a transition from one shot to another by briefly superimposing one image upon another and then allowing the first image to disappear. A dissolve is a stronger form of transition than a cut and indicates a distinct separation in action. Dolly A platform on wheels serving as a camera mount capable-of movement in any direction. |
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| A transitional device in which either an image gradually dims until the viewer sees only a black screen (Fade-Out) or an image slowly emerges from a black screen to a clear and bright picture (Fade-In). A fade provides a strong break in continuity, usually setting off sequences. |
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| An instantaneous cut from one action to another, at first seemingly unrelated, action. Jump cuts will usually call attention to themselves because of the abrupt change in time and/or place. |
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| This can be taken from as much as a quarter of a mile away, and is generally used as a scene-setting, establishing shot. |
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| This is the most difficult to categorise precisely, but is generally one which shows the image as approximately "life" size ie corresponding to the real distance between the audience and the screen in a cinema (the figure of a man would appear as six feet tall). This category includes the FULL SHOT showing the entire human body, with the head near the top of the frame and the feet near the bottom. |
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| Contains a figure from the knees/waist up and is normally used for dialogue scenes, or to show some detail of action. |
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| This shows very little background, and concentrates on either a face, or a specific detail of mise en scène. Everything else is just a blur in the background. This shot magnifies the object (think of how big it looks on a cinema screen) and shows the importance of things, be it words written on paper, or the expression on someone's face. |
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| As its name suggests, an extreme version of the close up, generally magnifying beyond what the human eye would experience in reality. An extreme close-up of a face, for instance, would show only the mouth or eyes, with no background detail whatsoever. This is a very artificial shot, and can be used for dramatic effect. |
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| This shows a scene from directly overhead, a very unnatural and strange angle. Familiar objects viewed from this angle might seem totally unrecognisable at first (umbrellas in a crowd, dancers' legs). This shot does, however, put the audience in a godlike position, looking down on the action. |
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| Moves closer to a subject. |
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| Moves away from a subject. |
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| Camera cuts to something Else. |
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| Camera scans a scene on a Horizontal axis |
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| Camera Moives alongside action on a track. (Dolly Train) |
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| Jerky guerilla technique (Blair Witch) |
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| Helicopter Follows Everything. |
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