DPS2 Quiz 1

• Intensity


  Level of energy in a performance, or the quality of observation

  Empathy from the viewer

  The viewer can start to feel the intensity the character is experiencing

  "Lean forward event"

  Anxiety, accomplishment, relief
• Tempo


  Speed at which time passes

  Our perception of events in our lives varies depending on the nature of the activity taking place and the rate of change

  Video cuts give us a sense of tempo

  Long shots with no cuts feels longer than short cuts in the same duration

  "I was having so much fun, time just flew by!"
• Story Duration


  The entire time for the back story to be revealed

  Ex. Darth Vader's past, betrayal, and dark side alliance
• Plot Duration


  Time inside the story for the main premise to be created, revealed, or set up

  Ex. In Star Wars, it's 1 month from the princess being captured to the death star being destroyed
• Actual Duration

  Running time of a piece
• Duration


  There is actual duration, plot duration, and story duration
• Leitmotif


  Recurring theme or moment to bring awareness to the audience

  Ex. Imperial march in Star Wars
• Rule of Three

  Impact of a shot or scene is completely dependent on the shot or scene that came before it and will affect the shot or scene that comes after it
• Jump Cut (In Camera Editing)In camera editing

  Elliptical style of editing where one shot seems to be abruptly interrupted

  The background will change while the individuals stay the same or vice versa
• Long Take


  In camera editing

  Shots that extend for a long period of time before cutting to the next shot

  Generally, anything longer than a minute

  Usually done with a moving camera

  Build suspense or capture attention of audience without breaking their concentration by cutting the film
• Scene-to-Scene Transition

  Two differing elements that together make sense and allow the user to derive meaning

  Writer will usually imply the scenes are connected to lead the user along the story clearly

  User/viewer has moderate involvement
• Wipe


  Type of transition

  Pushing or pulling a shot away from another

  Zoom would be a wipe
• Lap Dissolve

  Type of transition

  Two shots fading into each other

  Superimpose

  Little bit longer than regular dissolve

  Implying something
• Fade

  Type of transition

  Dropped down into darken or lighten state

  Fade to black or even white
• Rhythmic Relationship


  Element of editing

  Flow or timing of a series of shots

  Based on an interplay between static and dynamic, on a contrast between light and dark, or on a combo of shots of different durations

  Follows the flow of music, dialogue, intensity, or a combination of these

  Assembling shots/sequences according to a rhythmic pattern of some kind, usually dictated by music

  Can be narrative or music video collage

  Dialogue is suppressed and musical element takes center stage
• Shot / Reverse Shot


  Type of spatial relationship

  Editing technique

  Multiple shots editing together in a way that alternates characters, typically to show both sides of a conversation

  Can have combo of over the shoulder shots, angled shots, left/right alternating shots

  Over the shoulder creates a sense of space between the characters that is greater than the actual distance between them to avoid the frame from being cramped and showing different viewpoints
• Establishing Shot


  Type of spatial relationship

  Situate the audience within a particular environment or setting and to introduce an important character(s)

  Usually, first or first few shots in a sequence so it must be efficient in portraying context
• Cut In / Cut Away


  Type of spatial relationship

  Cut in - bringing viewer from a distant view to close up

  Cut away - bringing the viewer from a close up to a distant view
• Counter Shot


  Type of spatial relationship

  One character is shown looking at another off screen, then the other character is shown looking back
• Eyeline Match


  Type of spatial relationship

  Showing a character looking at someone or something, then establishing both in a scene

  Character looking at something, cuts to another shot of what the character sees, essentially having the camera temporarily become the character's eyes
• 180 Rule

  Type of spatial relationship

  Imaginary uncrossable line that ensures consistency and clarity to a character's position

  
• Spatial Relationship

  Element of editing

  Expanding or compressing the stage in which action occurs

  Combining close up with wide shots, the filmmaker can increase or decrease the emotional connection between the actor and the audience

  There's the 180 rule, eyeline match, counter shot, cut in / cut away, establishing shot, shot / reverse shot
• Parallel Editing

  Type of temporal relationship

  Technique used to portray multiple lines of action, occurring in different places, simultaneously

  In most cases the line of action are occurring at the same time

  Shown simultaneously because there is a connection between them, either understood or revealed later
• Match on Action

  Type of temporal relationship

  Editing technique used in continuity editing that cuts two alternative views of the same action together at the same moment in the move in order to make it seem uninterrupted

  Fills out scene without jeopardizing the reality of the time frame
• Temporal Relationship


  Element of editing

  Parallel editing / simultaneity / cross cutting

  Technique used to portray multiple lines of action, occurring in two places, simultaneously

  Contrast - cutting between two shots to force the viewer to compare two different scenes in their mind

  There's match on action and parallel editing
• Parallelism


  Type of graphic relationship

  Connecting two clips by matching certain elements in those clips
• Graphic Relationship


  Element of editing

  Relationships through similarity

  Draw visual connection and hidden symbolism

  Ex. Match cuts - relating two disconnected scenes or helping establish relationship

  Ex. Parallelism - connecting 2 clips by matching certain elements in those clips
• Elements of Editing


  Graphic relationship

  Temporal relationship

  Spatial relationship

  Rhythmic relationship
• Lev Kuleshov

  Russian film theorist and cofounder of the world's first film school in Moscow
• Kuleshov Effect


  Mental phenomenon in which viewers develop more meaning between two sequential shots than shots in isolation

  The psychology of editing

  Believes the cut is more important than the characters in the shot
• Match Cut

  Type of cut and graphic relationship

  Technique of matching the movement or space of two opposite environments together

  Most effective when you need to move the narrative along but you need to find a way to connect them together seamlessly

  Can be hard to do - has to be thought out

  Can happen on action, object, lighting

  Get it as perfect as you can

  Can be audio

  Ending one shot with a frame containing the same compositional element (shape, color, size) as the beginning frame of the next shot so a connection is drawn between the two shots with a smooth transition

  Ex. Closing eyes in one place, opening in another
• Hollywood Montage

  A type of montage taken over a period of time where someone glows up
• Montage

  Type of cut

  Use rapid cuts to convey the passing of time or add context to the narrative

  Jump forward in time, tell a mini story

  Can be called associative editing

  Requires viewers to interpret or read the metaphor inherent in the clips to derive meaning
• Cross-Cut

  Type of cut

  Also known as parallel editing

  When you cut between two different scenes that are happening at the same time in different spaces

  Adds intensity

  Going faster and faster implies something's going to happen or the people are going to meet
• Cutaways

  Type of cut

  Take the audience away from the main action or subject

  Used as transition pieces to give the audience a view of what is happening outside the main character's environment

  Can be used to show what is happening in someone's head or what they're looking/pointing at

  Can imply what's happening next
• Cutting on Action

  Type of cut

  Huge component of action films

  Don't be tempted to wait for a pause and then cut unless you have reason

  Film will have better flow when doing this

  Does not have to be dramatic motion

  The larger the object/subject, the better

  Timing audio to this adds dramatic effect

  Less disruptive
• J Cut

  Type of cut

  Hearing audio before we see the video

  Used to foreshadow what's coming up
• L Cut

  Type of cut

  Hearing audio from the previous shot even though we've moved onto another shot

  Audience is looking at clip B but hearing audio from clip A

  Used all the time when characters are talking to each other

  Used to elongate something that happened
• Jump Cut

  Type of cut

  Standard cut over a period of time

  Allows the editor to jump forward in time

  Ex. People in a room, cut to the same room with people in different places, implying they've been there a while

  Trying to exaggerate what happened, like length of time

  Like time lapse without everything in the middle

  Handy for moving forward through a long time
• Standard Cut

  Type of cut

  Hard cut is the basic type of cut in editing

  Utilized when you want to cut from clip to clip without any type of transition

  When you cut from the end of one clip to the beginning of another