Test 3

The process by which the editor combines and coordinates individual shots into a cinematic whole; the basic creative force of cinema.

The actual joining together of the two shots. The editor must first cut(or splice) each shot from its respective roll of film before gluing or taping all the shots together.

A device for presenting or reawakening the memory of the camera, a character, the audience, or all three, in which the acion cuts from the narrative present to a past event, which ma or may not have already appeared in the movie either directly or through inference.

A device for presenting the anticipation of the camera, a character, the audience- or all three- in which the action cuts from the narrative present to a future time.

in filmmaking, generally an omission of time- the time that separates one shot from another- to create dramatic or comedic impact.

• 1. word for editing.
• 2.the various forms of editing that expressed ideas developed by theorists and filmmakers in the 1920's.
• 3.in hollywood, beginning in the 1930's a sequence of shots, often with superimpositions and optical effects, showing a condensed series of events.

• a style of editing(now dominant through the world) that seeks to achieve logic, smoothness, sequential flow, and temporal and spatial orientation of viewers to what they see on the screen.
• It ensures the flow from shot to shot; creates filmicunity(beginning, middle, and end); and establishes and resolves a problem. in short, continuity editing tells a story as clearly and coherently as possible.

A style of editing- less widely used than continuity editing, often but not exclusively in experimental films-- that joins shots A and B to produce an effect or meaning not even hinted at by either shot alone.

A shot that ordinarily serves as a foundation for(and usually begins) a sequence by showing the location of ensuing action. although usually a long shot or extreme long shot, a master shot may also be a medium shot or close up that includes a sign or other cue to identify the location. master shots are also called cover shots because the editor can repeat them later in the film to remind the audience of the lcoation, thus "covering" the director by avoiding the need to reshoot.

• the fundamental means by which filmmakers maintain consistent screen direction, orienting the viewer and ensuring a sense of the cinematic space in which the action occurs. The system assumes three things:
• A. the action within a scene will always advance along a straight line, either from left to right or from right to left of the frame. 
• B.The camera will remain consistently on one side of that action; and C. everyone on the production set will understand and adhere to this system.

One of the most common and familiar of all editing patterns, is a technieque in which the camera(and editor) switches beteween shots of different characters, usually in a conversation or other interaction.

although the three terms have slightly different meanings. the intercutting of two or more lines of action that occur simultaneously, a very familiar convention in chase or rescue sequences. 

The removal of a portion of a film, resulting in an instantaneousadvance in the action--a sudden, perhaps illogical, often disorienting ellipsis between two shots.

OPtical wipe effect in which the wipe line is a circle; named after the iris of a camera. The iris-in begins with a small circle, which expands to a parial or full image; the iris-out begins with a large circle, which contracts to a smaller circle or total blackness.

A method, created either in the camera or during the editing process, of telling two stories at teh same time by dividing the screen into different parts. unlike parallel editing, which cuts back and forth betewen shots for contrast, the split screen can tell multiple stories within the same frame.

in conventiional filmmaking with film stock, the sound track is a narrow band to one side of the image on which the sound is recorded.

A polelike mechanical device for holding the microphone in the air, out of camera range, that can be moved in almost any direction.

Recording done via computer--a faster, less expensive, and more technically sophisticated process than rerecording that is done with actors.

The faithfulness or unfaithfulness of a sound to its source.

sound that originates from a source within a film's world.

sound that originates from a source outside a films world.

a form of diegetic sound in which we hear the thoughts of a character we see onscreen and assume that other characters cannot hear them. 

A form of diegetic sound that comes from a place within the world of the story, which we and the characters in the scene hear but do not see.

A sound belonging to a special category of sound effects, invented in the 1930's by Jack Foley, a sound technician at universal studios. Technicians known as foley artists create these sounds in specially equipped studios, where they use a variety of props and other equipment to simulate sounds such as footsteps in the mud, jimngling car keys, or cutlery hitting a plate.

Sound that carries over from one shot to the next before the sound of the second shot begins.

Literally, "writing with light"; technically, the recording of static images through a chemical interaction caused by light rays striking a sensitized surface.

Litterally, "dark chamber." A box (or a room in which a viewer stands); light entering(originally through a tiny hole, later through a lens) on one side of the box(or room) projects an image from the outside onto the opposite side or wall.

The use of a series of still photographs to record the phases of an action, although the actions within the images do not move.

An early device for exhibiting moving pictures--a revolving disk with photographs arranged around the center.

A form of the chronophotographic gun-a single, portable camera capable of taking twelve continuous images.

The first motion-picture camera.

A peephole viewer, an early motion picture device.

Film is an analog medium in which the camera creates an image by recording through a camera lens the original light given off by the subject and stores this image on a roll of negative film stock. opposite of digital.

The second stage of creating motion pictures in which a laboratory technician washes exposed film(which contains a negative image) with processing chemicals. Processing is preceded by shooting and followed by projecting.

the third stage of creating motion pictures, in which edited film is run through a projector, which shoots through the film a beam of light intesne enough to project a large image on the movie theater screen. Projecting is preceded by shooting and processing.

The length of time that the film is exposed to light

The capacity of the camera lens, film stock, and processing to provide fine detail in an image.

Short for "picture elements," these are the small dots that make up the image on a video screen. The dots(denoted by the binary numbers 0 and 1) are menaingless in themselves; but when they are arranged in order, like the pieces in a jigsaw puzzle, they form a picture.

The initial, planning-and-preparation stage of the production process. Preproduction is followed by production and postproduction.

The ssecond stage of the prodcution process, the actual shooting. prodcution is preceded by preproduction and followed by postproduction.

The third stage of the production process, consisting of editing, preparing the final print, and bringing the film to the public(marketing and distribution). postproduction is preceeded by preproduction and production.

The person who guides the entire process of making the movie from its initial planning to its release and is chiefly responsible for the organizational and financial aspects of the producion, from arranging the financing to deciding how the money is spent.

The person who a. determines and realizes on the screen an artistic vision of the screenplay; b. casts the actors and directs their performances; c. works closely with the production design in creating the look of the film, including the choice of locations; d. oversees the work of the cinematographer and other key producion personell; and e. in most cases, supervises all postproduction activity, especially the editing.