Also calledĬUT: The point at which one shot ends and the next begins. Such an editing pattern also gives the spectators access to more information than any one character in the narrative. In cases like the above last-minute rescue, tension is often increased by shorting the shots and accelerating the rhythm of the cross-cutting. For example, alternating between a character nearing a waterfall and another character galloping to the rescue. Also called Invisible Editing.ĬROSS-CUTTING: Switching back and forth between two or more scenes in different locations that are occurring simultaneously in order to create the feeling of PARALLEL ACTION. See CONTINUITY EDITING.ĬOMPOSITION: The arrangement of all the elements of a shot in relation to the frame.ĬONTINUITY EDITING: A style of editing marked by its emphasis on maintaining the continuous and seemingly uninterrupted flow of action in a story. The cuts are not literally invisible but are designed to be unobtrusive, so that the viewer rarely notices them. These films preserve a sense of narrative continuity but also make use of cuts for emotional and dramatic purposes (for example, INSERT and REACTION SHOTS) which do not literally advance the action. Today, cin6ma verite can be achieved in video or digital video as well as 16mm film.ĬLASSICAL EDITING: Most Hollywood films make use of classical or invisible editing. Cinema verite films are often characterized by AVAILABLE (natural) LIGHTING, DIRECT SOUND, HAND-HELD CAMERA (HAND HELD SHOTS), and LONG TAKES. Cinema verite is a highly self-conscious or REFLEXIVE, form of filmmaking which often acknowledges the presence of director (either aurally or visually). In cinema verite filmmaking, the director, rather than imposing his or her views, allows the subject to speak. See SPECIAL EFFECTS.ĬINEMA VERITE: An approach to documentary filmmaking which originated in France and was made possible through the development of light-weight cameras and portable recording equipment that allow& for smaller, more portable crews. Often just part of the frame has been created via CCI, snob as the background setting for astronauts floating in space. TILT: A shot taken when the camera stays in one place (on a tripod, for example) but rotates or swivels vertically.ĬGI (computer-generated-imagery): This can include photographed images that have been manipulated digitally or images designed on a computer from scratch. SWISH PAN: A rapid pan that results in a blurred image. compare DOLLY SHOT, in which the camera moves bodily from one place to another. PAN: A shot taken when the camera stays in one place (on a tripod, for example) but rotates or swivels horizontally. one of the early effective uses of the Steadicam is in Stanley Kubrick's The Shining, where the camera follows characters through the maze of the hotel. when the camera moves towards the subject, it is a "dolly in.0 when it moves away from the subject, it is a “dolly back" or a "dolly out.0 With the use of Steadicams and other mobile cameras, a moving camera may not be mounted on a dolly in order to achieve the same smooth effect. A term used in film production more than as a term in film analysis.īIRD'S-EYE VIEW see AERIAL SHOT and SHOT.ĬRANE SHOT: A HIGH ANGLE, moving shot photographed from a crane (a mechanical arm which carries both camera and camera operators).ĭOLLY, TRUCKING, OR TRACKING SHOT: A shot taken from a moving dolly (a platform on a set of wheels). Ensures constant screen space and constant screen direction. The camera is not supposed to cross the axis at a cut and reverse the spatial relations. Supported by Sergei Eisenstein as part of his larger theory of dialectical montage.ĪXIS OF ACTION: In CONTINUITY EDITING, the imaginary line that passes from side to side through the main actors, defining the spatial relations of the scene. For example, you see a train arriving while you hear a bird chirping. At its extreme, asynchronous sound is contrapuntal that is, the soundĬontrasts with the image. TheĪSYNCHRONISM: A disparity between what is seen and what is heard. In the l95Os, Hollywood attempted to attract newĪudiences by developing various kinds of widescreen systems, such as CinemaScope and Cinerama, which average 2.35:1. Shapes may vary,įrom the television standard, a nearly square ratio of 1.33:1 to a very long rectangle. The standard for Hollywood theatrical releases is 1.65:1. Second, they appear to move (or are animated)ĪSPECT RATIO: The ratio of the projected image's width to its height. When the images are projected at 24 frames per Also referred to as a BIRD’S-EYE VIEW.ĪNIMATION: A form of filmmaking which consists of photographing individual drawings (cels) or inanimate objects (such as puppets or clayįigures) FRAME by frame, with each frame differing slightly from the one before. AERIAL SHOT: An exterior shot taken from a plane, crane, helicopter or any other very high position.
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