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| “putting into the scene”, includes setting, costumes and makeup, lighting, and staging. |
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| an object in the setting has a function within the ongoing action. |
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| a patch of relative brightness on a surface |
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| any repeated element in the film |
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| occurs when an object creates a shadow between the object or actor and the light source |
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| refers to the intensity of the illumination |
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| creates clearly defined shadows, crisp textures, sharp edges |
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| creates a diffused illumination |
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| refers to the path of light from its source or sources to the object lit |
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Definition
| recognized by its tendency to eliminate shadows |
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Definition
| comes from behind the subject filmed, tends to create silhouettes, can be combined with edge or rim lighting to create unobtrusively illuminated contours |
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| tends to sculpt the characters features, creates shadows |
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| light coming from under the object, tends to distort features |
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| exemplified by where the spotlight shines down from almost directly above |
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Definition
| the primary source, providing the dominant illumination and casting the strongest shadows, also the most directional light, and usually corresponds to the motivating light source in the setting, usually comes diagonally from the front and will usually be closer to the character than the fill |
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Definition
| a less intense illumination that “fills in”, softening or eliminating shadows cast by the key light, usually placed next to the camera |
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| usually comes from behind and above the figure |
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| other fill lights that fall on the background or setting |
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| refers to an overall lighting design that uses fill light and backlight to create low contrast, usually using soft light |
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| Low-key lighting/illumination |
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Definition
| creates stronger contrasts and sharper, darker shadows. Often the lighting is hard, and fill light is lessened or eliminated altogether, the effect is of chiaroscuro, or extremely dark and light regions within an image |
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| spatial cue where one object seems closer to us because it masks something farther away |
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| involves only a few colors in the same range |
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| Monochromatic color design |
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| the filmmaker emphasizes a single color, varying it only in purity or lightness |
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| aspects of the scene that suggest that a space has both volume and several distinct planes. i.e. overlaps of edges, cast shadows, size diminution, linear perspective, movement |
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| the hazing of more distant planes, is a depth cue |
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Definition
| figures and objects farther away from us are seen to get proportionally smaller |
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| suggest comparatively little depth, and the closest and most distant planes seem only lightly separated |
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| suggests a significant distance to separate planes |
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