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deep focus definition film

MEDIUM SHOT (MS): A shot that shows a character from the waist up. SWISH PAN: see SHOT. DISTANCES: CLOSE-UP (CU): A shot in which the head of a person, or the entirety of a small object is shown. The shot is often regarded as the elemental division of a film. Shots may be categorized: 1) according to the apparent distance of the main subject from the camera (camera distance); 2) according to the angle of the camera in relation to the subject; 3) according to the content, nature or subject matter of (e.g., a reaction shot or a two-shot); 4) according the means accomplished physically (camera movement). FADE: A shot that begins in darkness and gradually assumes full brightness is a fade-in. SYNC or SYNCHRONISM: sound that is matched temporally with the movements occurring in the images, as when dialogue corresponds to lip movements. wide angle lenses produce DEEP FOCUS or great depth of field, while telephoto lenses produce a shallow depth of field. Themes found in Citizen Kane inc1ude the crushing weight of materialism, the contrast between Kane's public successes and his private failures, and the corruption of power. 180 DEGREE SYSTEM: Maintaining left-right spatial relations on screen by not letting cameras cross the AXIS OF ACTION. REACTION SHOT: 1) A CUT-AWAY shot of a person reacting to the main action as a listener or spectator. For example, Yasujiro Ozu's films were often shot at a level of three feet to replicated the eye level of someone seated on a tatami mat and Susan Seidelman's films are often shot at a level below five feet because she is shorter than the conventions allow. Three kinds of wipes: 3) In Hollywood, the phrase "montage sequence~ is used specifically to describe a sequence using rapid cuts, often SUPERIMPOSITIONS and DISSOLVES, to create a kind of kaleidoscopic effect and to telescope or shorten the passage of an extensive period of time. NONDIEGETIC SOUND: sound, such as underscored music on the soundtrack that is not part of the world of the film's narrative. SPECIAL EFFECTS: Artistic effects (such as wipes, split screens, matte shots, and rear projection) that are unobtainable from straight-forward motion-picture photography and have been manipulated or combined. Strong contrasts can create dramatic effects. In non-narrative film, a SEQUENCE designates a unit held together by rhythm, coraposition, theme, or concept. CUT: The point at which one shot ends and the next begins. RACK FOCUS: see FOCUS. MEANS: They are created either in the camera or during editing. EXTREME CLOSE UP (XCU): A shot that shows only a small portion or detail of a character’s body (eyes, ears, mouth) or a tiny bject. placement in the decor, the angle and distance of the camera, and the setup, the complications, and the resolution. 4. Compare WIDE ANGLE LENS. Family tensions rise, with added complications after the arrival of Jacob’s mother-in-law, portrayed by Youn Yuh-jung in an academy-award winning performance. A dissolve is a fade-out which overlaps a fade-in. SWISH PAN: see SHOT. when reverse angles are alternated for dialogue sequences, the sequence is called SHOT/COUNTER-SHOT or SHOT-REVERSE-SHOT. 4. OFF-SCREEN (o.s.) SCENE: A dramatic action consisting of one or more shots and taking place in more or less continuous time and space. TILT: see SHOT. This focus maintains the sharpness of the entire photo using a deep depth of field. EXTREME CLOSE UP (XCU): A shot that shows only a small portion or detail of a character’s body (eyes, ears, mouth) or a tiny bject. and how it expresses meaning (How does it communicate?). Mattes are now most often produced with laboratory techniques rather than with a camera-mounted mask. TRANSITIONS: Besides cutting directly frorn the last frame of one shot to the first frame of another shot, the following transitions can be used to connect shots. OFF-SCREEN (o.s.) Formats include: VUS, Beta, HIS, Digital Video, and Mini-DV. THEME: An overarching idea conveyed by a film (as opposed to the plot, which is what happens). between frames, and thus giving the illusion in the completed film of motion by something normally inanimate. It often looks like this: THREE SHOT: Close-up or medium shot of three persons. REFLEXIVITY: Self-consciousness in a film that draws attention to its own construction (editing, camera movement, performance, etc.). 2) The method used for TIME LAPSE.PHOTOGRAPHY, which is extreme FAST MOTION (for example, one frame every thirty seconds). Such an image is often used as an ESTABLISHING SHOT. An edited sequence was then constructed using the variety of shots. MULTIMEDIA: An ambiguous term describing the combination of audio, video, and other information with graphics, control, storage, and other features of computer-based Systems. SHOT: A piece of film that has been exposed without cuts or interruptions. Found inside – Page 116Arguing that gradients of depth in pictorial compositions are a significant aspect of films that have been ignored ... Those authors still citing CITIZEN KANE ( 1941 ) as the origin of deep - focus photography will need to rethink their ... THREE SHOT: see SHOT. If it is done smoothly, the moving subject will always stay in focus. See Car. Before home video cameras, home movies were generally shot in 8mm or super-6mm. THEME: An overarching idea conveyed by a film (as opposed to the plot, which is what happens). An editor can use CROSS CUTS or CUT-AWAYS, for example, to expand or condense real time to give the film a different duration. THREE SHOT: Close-up or medium shot of three persons. FOLLOW FOCUS: see FOCUS. DUTCH ANGLE: see SHOT STATIC SHOT: see SHOT. = Is the art and science of reproducing . TWO-SHOT: see SHOT This is normally between 5 and 6 feet but it can change according to director and cultural context. A fade-out gradually gets darker or fades to black. A deep depth of field is used to keep the background in fairly good focus as well as the subject in the foreground. 3) The camera is run continuously then stopped; objects or people are removed; the camera is run normally again. arbitrarily cuts off part of the action. Compare to TELEPHOTO LENS. A shot that shows a character from the shins up (also referred as a PLAN AMERICAIN). tends to accept the cinema as it is and enjoy it for what it is -- a what is being filmed by which the shot is SLOW MOTION: The action appears slower on the screen than it could in reality. REEL: see UNITS OF FILM LENGTH. MEANS: ): Narration, usually added in post-production, that occurs outside the immediate on-screen world of the film. TIME LAPSE PHOTOGRAPHY: see STOP MOTION ): Narration, usually added in post-production, that occurs outside the immediate on-screen world of the film. see, for example, the opening scene of Orson Welles' Touch of Evil or of Robert Altman's The Player. Formats include: VUS, Beta, HIS, Digital Video, and Mini-DV. With a ZOOM, the sensation is two-dimensional, much like coming close to a still photograph. ): Narration, usually added in post-production, that occurs outside the immediate on-screen world of the film.

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