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Study Guide

by: Nicholas Spriggs

Study Guide Com 324

Nicholas Spriggs
Elon University

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About this Document

This simplifies what the two chapters will cover.
Television Production
Gerald Gibson
Study Guide
shots, Pans, chap.8, chap.9
50 ?




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This 4 page Study Guide was uploaded by Nicholas Spriggs on Thursday October 13, 2016. The Study Guide belongs to Com 324 at Elon University taught by Gerald Gibson in Fall 2016. Since its upload, it has received 6 views. For similar materials see Television Production in Film and Television at Elon University.

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Date Created: 10/13/16
Chapter 8: The Persuasive Camera Vocab Arc shot: A camera shot that moves around the subject in a circle. Deep focus: A very depth of field. Depth of field: The distance between the nearest and farthest objects in focus. Dolly shot: Moving the whole camera and mount toward or away from your subject. This shot does not require the use an actual dolly. Dutch: Tilting the camera is called a “Dutch” or a “Canted” shot. This movement increases the dynamics of the shot. Pan Shot: The pivoting of a camera to the left or right. Tilt: Moving the camera up or down. Truck: The truck, trucking, or tracking shot is when the camera and mount move sideways (left or right). High-angle shot: Provide a view from above the subject Low-angle shot: Provide a view from below the subject. Eye-level shot: Provide an image that is roughly at eye level of the talent (in a studio show) or the average viewing audience. Whenever a camera is pointed at action you have to make a series of important decisions: 1. Which is the best angle? 2. Which features of the scene need to be emphasized? 3. Does the audience need to focus on a specific the action? 4. Is there a certain message you’re trying to convey? Different Types of Shots Extreme Long Shot (ELS or XLS): This shot enables you to establish the location and create an overall atmospheric impression. It can be used to show widespread action or various activities going on at the same time. Long Shot (LS): This is often used at the start of productions. It shows where the action is happening and helps establish the location. Medium Shot (MS): Typically in these kinds of shots you are close enough to a person to see his or her facial expressions but far enough away to understand the context behind them. Usually physical gestures can be captured in these types of shots Close-Up (CU): Shots that are used to provide focus or emphasis. Extreme Close-Up (ECU or XCU): An even more focused close-up shot The Depth of Field is the distance between the nearest and farthest areas of focus. Different Depths of Field Deep Focus: Allows everything from the foreground to far distances appears sharply focused. Shallow Focus: Softens the background and allows for certain subjects to get a majority of the focus. A Pan Shot is the smooth pivoting of the camera from left to right. Different Types of Pans Follow Pan: This is most common type of pan. It consists of the camera following the subject’s movements. Survey Pan: This is when the camera slowly searches the scene allowing the audience to look at choice. Interrupted Pan: This is a long smooth movement that is suddenly stopped in order to provide visible contrast. Whip Pan: This is when the camera pans so rapidly from one subject to the next that the immediate scene becomes a brief, streaking blur. Chapter 9: Creating an Effective Image Vocab Axis of action line: Also known as an “Eyeline,” the “180 line”, or the “proscenium line”, this is the line along the direction of the action in a scene. Composition: Creating an image that is attractive or that captures and keeps the audience’s attention and effectively communicates the production’s message. Continuity: Making sure that the shots will edit together in the final production to avoid ending up with a series of shots that do not fit together smoothly. Camera Operators and directors can adjust an image’s composition in a number of ways: Adjust filming: Positioning the shot to deliberately include or exclude parts of the scene. Increase / Decrease the Lens Angle of View: The lens angle of view will determine how much of the scene appears in the picture from the viewpoint. Adjust Camera Positions: As the camera moves up / down or sideway, foreground objects change position in the frame more noticeably than distant ones, Change the Shot Proportions: By altering the lens angle, and changing the camera distance to compensate, you can keep the same size shot but adjust proportions within it. Framing is about deciding exactly what the viewer is going to see and what is to be included or excluded from the picture. Balance of composition and framing is affected by 4 things: -The size of a subject within the frame. -It’s tone. -It’s position within the frame. -The relationship of the subjects in the shot Visual Patterns The eye is attracted to a variety of patterns for different reasons -Horizontal lines can portray calm and tranquility -Vertical lines show strength and dignity -Diagonal lines can show movement and speed -Curved lines can portray serenity -Converging lines show depth Leading lines occur when the lines within the image lead the viewer’s eyes to whatever the director wants them to look at. Rule of Thirds: When composing a shot divide the screen into thirds both horizontally and vertically. Position the main subject on the intersection of those two lines. According to the rule of thirds the main subject should never be in the center of an image but rather slightly before or after the center. Theory of Dynamic Composition: When composing a shot consider what aspects of the subject you want the audience to notice. Try to capture the essence of the scene rather than just as many visual components as possible. Continuity is about filming logically. The following are common errors found encountered by filmmakers and photographers: -Part of the action is missing -The action shot from another angle does not match that of a previous shot of the subject -The shot sizes are too similar or too extreme -The direction of the action has changed between successive shots -Action leaves the frame, and re-enters it on the same side -Successive shots show continuity differences, such as with and without eyeglasses, different attitudes, or different clothing.


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