Term
| 3 characteristics of a lens |
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Definition
| focal length (mm), focal distance (ft), iris (f/stops) |
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Term
| f/stops (numbers) up to 32 |
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Definition
| 1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22, 32 |
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Term
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Definition
| lens with focal length of 75 (on Bolex), or greater than 25; compresses space, long lens |
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Definition
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Definition
| focal length of 10 or 16mm on Bolex, short lens, exaggerates space |
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Definition
| lens, shutter, diopter, gate |
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Term
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Definition
| a fixed focal length lens; does not zoom; tend to be "faster" lenses |
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Term
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Definition
| focal length divided by lens diameter (iris opening) |
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Term
| what kind of lenses do Bolex's have? prime or zoom |
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Definition
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Term
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Definition
| stopping down means opening up the iris |
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Term
| critical plane of focus/circles of confusion |
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Definition
| the ideal depth of field; the one thing that is truly in focus within the frame; everything before it and after it is rendered as a circle/out of focus (circles of confusion) |
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Term
| depth of field (basic definition) |
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Definition
| the region where all objects are in acceptable focus; you make the decision |
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Term
| 3 depth of field elements (what controls it) |
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Definition
| lens length, f/stop, focal distance |
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Term
| lens length and depth of field |
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Definition
| wider lens means more depth of field, longer lens means less depth of field |
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Term
| f/stop and depth of field |
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Definition
| when you "stop down" (open up), you have MORE depth of field because you are focusing the light. |
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Term
| focal distance and depth of field |
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Definition
| the subject's distance to the camera; further away has better chance of being in focus than its placement very close to the camera |
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Term
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Definition
| if you have two objects in different planes, you can split the focus between them by a THIRD of the distance between the two; example: one object at 10 feet away, one at 40; one third would be 20 feet; to assure your focus, use a depth of field chart (focal length, f/stop, gives you near and far distances) |
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Term
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Definition
| gives you a near and far distance where things should be relatively in focus if you are splitting your focus; based on focal length and f/stop |
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Term
| Bolex film ratio (ratio, size and name) |
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Definition
| 4 x 3, or 1:33.3 (Academy Aspect Ratio) |
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Definition
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Definition
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Definition
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Definition
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Term
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Definition
| gelatin with silver halide crystals |
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Term
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Definition
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Term
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Definition
| emulsion's reaction to light |
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Term
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Definition
| light hits emulsion, exposes film, creates latent image |
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Term
| why is negative film negative? |
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Definition
| the area's with more light create more areas with silver, which appear black on the image (not black, just more dense collection of silver) when it's processed |
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Term
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Definition
| initial reaction of silver halide to the light; physically on the film; you can't show it yet because film can still be exposed |
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Term
| characteristic curve components |
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Definition
| toe, shoulder, straight line, density (physical composition on film), log exposure (time): know how to label them all |
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Term
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Definition
| physical composition of the film |
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Term
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Definition
| the one word that describes the exposure range of film emulsion |
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Term
| ASA speeds (faster and slower) |
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Definition
| 50=slow, need more light, better quality; 200=fast, need less light, lower quality (more grainy) |
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Term
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Definition
| if you move up an ASA, you need half the amount of light |
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Definition
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Term
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Definition
| yellow (orange (AKA minus blue)), magenta (AKA minus green), cyan (minus red) (blue, green and red are primary) |
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Term
| filter factors and corresponding stops |
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Definition
| factor of 2=1 stop, factor of 2.5=1 1/3 stops, factor of 3=1 2/3 stops |
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Term
| color temperature in degrees Kelvin for daylight and tungsten |
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Definition
| daylight=approx. 5600 K, tungsten=3200K |
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Term
| candle flame (degrees Kelvin) |
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Definition
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Term
| overcast sky (in degrees Kelvin) |
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Definition
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Term
| 100 watt lamp (in degrees Kelvin) |
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Definition
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Term
| what are things that determine lighting plan |
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Definition
| location-define, blocking-action to show, lighting sources/types of light (diegetic? to enhance or remove), mood/emotion, time of day-define |
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Term
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Definition
| hard or soft; direct (easy to control, focused, but unflattering) or diffused (nice and soft, but spills): to control, diffuse and bounce (barn doors in-between quality and quantity) |
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Term
| quantity of light (how to control) |
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Definition
| amount of light, wattage, number of lights, blocking light, netting it off, use scrims (barn doors in-between quality and quantity) |
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Term
| light separation (what light?/other components) |
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Definition
| backlight/edge lights/set lights enhances 3D effect, distance of subject to objects, depth of field, camera movement |
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Term
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Definition
| key, fill, backlight or edge light/kicker |
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Term
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Definition
| high-key or low-key, ratio of key to fill (high-key good for sitcoms, low-key good for horrors); >4:1 is low-key, <4:1 is high-key |
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Term
| first light to set up for |
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Definition
| set light or lights-creates mood |
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Term
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Definition
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Term
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Definition
| kicks light off a particular object, includes backlight; separates subject from background |
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Term
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Definition
| fills in shadows caused by the key; sets the ratio which determines high- or low-key |
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Term
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Definition
| main source of illumination |
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Term
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Definition
| know when to use what gels/filters and what film for different scenarios |
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Term
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Definition
| a series of pressure waves caused by vibration |
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Term
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Definition
| height, measured in loudness (decibels) |
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Term
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Definition
| base level of things we can here; in regards to recording equipment, it is the background noise a device is picking up; the quietest thing a machine can hear |
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Term
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Definition
| pitch, how frequently the sound waves hit the ear; high frequency = high pitch; measured in hertz (Hz) |
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Term
| most sounds have a frequency, but no discernible pitch. true/false |
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Definition
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Definition
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Term
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Definition
| have a circuit to create sound electronically |
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Term
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Definition
| how often you take a digital sample of a sound; you turn it into numbers |
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Term
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Definition
| how big the sampling rate is |
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Term
| directionality of microphones |
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Definition
| what it can pick up; omni picks up from in front and behind; cardioid is heart-shaped; super cardioid is a stretched-out heard, more like an oval |
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Term
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Definition
| picks up sound from in front and behind |
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Term
| what mics need batteries? |
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Definition
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Term
| if a mic is plugged into a recording deck, do you set it to mic or line? |
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Definition
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Term
| if you have a mic plugged into a mixer, and the mixer is going into the camera, do you set it to mic or line? |
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Definition
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Term
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Definition
| the object, such as a camera, where the mic is plugged into, generates power for the mic. (+48) |
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Term
| recording technique (distance) |
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Definition
| 1-3 feet away; don't get too far away or you will get too much ambient noise |
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Term
| when you set your record level, what to look for on deck (VU meter (volume unit)) digital recorder |
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Definition
| don't peak higher than ZERO (-8 to -2, closer to -2 the better); if you peak, your sound will be distorted or overmodulated |
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Term
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Definition
| tell everyone be quiet, figure out if you need people to be in the room or not, tell them to be quiet and record for at least a minute (depending on your film); figure out what things were in scene (like air conditioners, etc.) |
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Term
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Definition
| sound is clear, moves story around, narrative exposition, sense of realism, difference between on and offscreen sounds, helps defy space, L-cuts; sound is predictable |
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Term
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Definition
| the overlapping of sounds and video; checkerboarded |
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Term
| dialogue as a sound effect |
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Definition
| ex. Barton Fink-producer talking really fast |
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Term
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Definition
| music can translate mood and emotion or be used ironically |
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Term
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Definition
| sound is synced up to the action on the screen |
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Term
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Definition
| instant new info; "blink" |
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Term
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Definition
| action over time; every shot has a big moment of action |
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Term
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Definition
| read the script, screen the rushes, assembly while production is in progress, take the film back and do a FULL LOG and mark on script based on what is shot; maybe paper edit, proper assembly, rough cut for the narrative, make sure scenes are in order, make sure POV is good, rough cut for sound, sound cut, fine cut, finishing (effects, titles, etc.) |
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Term
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Definition
| active verbs, facts (objectives), images (sensory), events, tasks |
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Term
| no rehearsals or casting on exam |
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Definition
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