Uses visual language of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world (Rudolph Arnheim)
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Uses visual language of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world (Rudolph Arnheim)
Are meant to achieve the required lighting outcome. The light can be increased or decreased, directed, focused and coloured.
All of the choices made by the director when he/she’s planning the framing and starts filming. This aspect concerns the positioning of the subject, his/her relationship with the surroundings, the disposition of profilmic elements, the light sources and the overall lighting of the framing.
A way in which something is usually done.
The area in front of the camera that appears sharp in the frame is called depth of field. Depth of Field is defined as the range of acceptable focus on a shot or photograph. Depth of field is an important concept for cinematographers and camera operators to master because they often need to manipulate focus to achieve a desired effect. Selective focus, for instance, draws the audience’s attention to a specific portion of the frame.
Depth of field can be either shallow or deep. Shallow depth of field is the kind in which part of the frame is soft or out of focus. Thus, the areas of focus or sharpness are limited. Deep depth of field, on the other hand, is the kind in which the entire frame, from the foreground to the background, is sharp or in focus. [http://www.elementsofcinema.com/cinematography/depth-of-field.html]
The process (performed by a film editor) of selecting, assembling, arranging, collating, trimming, structuring, and splicing-joining together many separate camera takes (includes sound also) of exposed footage (or daily rushes) into a complete, determined sequence or order of shots (or film) – that follows the script; digital editing refers to changing film frames by digitizing them and modifying them electronically; relational editing refers to editing shots to suggest a conceptual link between them; an editor works in a cutting room; the choice of shots has a tremendous influence upon the film’s final appearance. [ https://www.filmsite.org/filmterms9.html ]
Artificial lights whose purpose is to create an effect which defines the scene’s mood and emotional tones
The portion of space framed by the camera’s lens without interruptions or cuts.
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The composition is the arrangement of the visual elements inside the frame. Patterns, texture, symmetry, asymmetry, depth of field, lines, curves, frames, contrast, color, viewpoint, negative space, filled space, foreground, background, visual tension, shapes are all elements of composition.
A painting, drawing, photograph principally focused on a landscape. in most cases, the aim is to create long shot that allow to contextualize the scene
Emanates either from the sun, stars or fire. The intensity of these sources will vary according to the time of day and the location.
The way that objects appear smaller when they are further away and the way parallel lines appear to meet each other at a point in the distance.
A painting, drawing, photograph, or engraving of a person, in which the face and its expression is predominant. The intent is to display the likeness, personality, and even the mood of the person. For this reason, in photography a portrait is generally not a snapshot, but a composed image of a person in a still position.
Artificial lights whose purpose is to create a light effect that conforms to the reality described
A series of framings that narrate/show a single narrative episode.
Or shot/countershot, is a film technique where one character is shown looking at another character (often off-screen), and then the other character is shown looking back at the first character. Since the characters are shown facing in opposite directions, the viewer assumes that they are looking at each other. [https://en.wikipedia.org/wiki/Shot_reverse_shot]
A painting or a shoot mostly inanimate subject matter, typically commonplace objects which are either natural or man-made.
It’s a camera angle used in film and television, where the camera is placed above the back of the shoulder and head of a subject. [Bordwell, David; Thompson, Kristin (2010). Film art : an introduction (9th ed.). New York : McGraw-Hill]
The guideline proposes that an image should be imagined as divided into nine equal parts by two equally spaced horizontal lines and two equally spaced vertical lines, and that important compositional elements should be placed along these lines or their intersections. [Bryan F. Peterson (2003). Learning to see creatively. Amphoto Press] Proponents of the technique claim that aligning a subject with these points creates more tension, energy and interest in the composition than simply centering the subject. [https://en.wikipedia.org/wiki/Rule_of_thirds#cite_ref-3]
It’s a standard method used in visual media such as theatre, video, film, still photography and computer-generated imagery.
The key light, as the name suggests, shines directly upon the subject and serves as its principal illuminator; more than anything else, the strength, color and angle of the key determines the shot’s overall lighting design.
The fill light also shines on the subject, but from a side angle relative to the key and is often placed at a lower position than the key (about at the level of the subject’s face). It balances the key by illuminating shaded surfaces, and lessening or eliminating chiaroscuro effects, such as the shadow cast by a person’s nose upon the rest of the face.
The backlight ( a.k.a. the rim, hair, or shoulder light) shines on the subject from behind, often (but not necessarily) to one side or the other. It gives the subject a rim of light, serving to separate the subject from the background and highlighting contours. [https://en.wikipedia.org/wiki/Three-point_lighting]
Based on the reciprocal positioning of camera and subject, framings are subdivided into different categories based on what is prevailing on the screen, the environment or a subject.