Cinema 1
Terms to Study for Test #1
Page
numbers are from: “The Filmmakers Handbook 2019 Edition.” You will need to bring a
Scantron (#882) form to class (available in the LACC bookstore & the ASG)
and a #2 pencil. This is NOT an open book test, but you can use an
English/foreign language dictionary.
Chapter 1:
Telling A Story on Film pp. 58-77
·
Single Camera [lecture only]:
- Edited after the shoot
- Movies/TV Drama/Commercials
·
Multi-camera (2+ cameras) [lecture only]:
- Edited live OR after the shoot
- Talk/Game/Magazine/Sports/SitCom.
·
SD (Standard Definition) pp 86-87:
- DV; NTSC; One resolution: 720X480
- Aspect ratio: 4:3; 30 frames per second
- PAL (Europe + Asia TV: analog)
·
HD (High Definition) or Digital TV pp
86-87:
- HDTV or ATSC (USA transition 6/12/09)
- 18 format variations: Aspect ratio: 16:9
- Resolutions:1920x1080, 1280x720
- Lines: 1080 (HD) or 720 (HD) or 480 (SD)
- Interlace (i) & Progressive Scan (p) (pp. 91-93)
- 24 (23.98), 30 (29.97), or 60 (59.94) frames/second
·
UHDTV - 4K pp
86-87
·
Video pp 3-4
- Magnetic/Multi-record/Instant Playback
- Nonlinear Editing
- Telecine (film TO video) / Scan (video TO film)
·
Film pp 3-4
- Super-8, 16mm & S-16mm, 35 & 65mm, IMAX
- Chemical/ Processing Delay/ Single-record
- Contrast Ratio (40:1 older video 1000:1 Film)
- Resolution 4000x3000
- Analog/physical editing
- Shoot in Film / Edit in Video
- Some feature films, 1-hour TV dramas
·
Filmmaking 5 stages (p.
4-7):
- Development/Pre/Production/Post/Distribution
·
Aspect Ratio (pp. 10,
129-36)
- The width of the frame divided by the height
- 1.33:1 -
Non-widescreen: SDTV, (Academy Aperture)
- 1.66:1 - (5:3)
Super 16mm- European Features
- 1.78:1 - (16:9)
HD TVs & cameras (ATSC)
- 1.85:1 - U.S.
movie features: wide-screen
- 2.35:1 - “Scope”
- Anamorphic (cinemascope)
- Anamorphic lenses (pp 224-8) squeezed
cam/unsqueezed in post
- Conversion (pp 134-6) :
- Widescreen (16:9) to Non-widescreen (4:3):
- Letterbox/EdgeCrop/Horizontal Squeeze
- Conversion: Non-widescreen (4:3) to Widescreen (16:9):
- Sidebar/Blow
Up/Horizontal Stretch
·
Importance of Sound (pp. 20-1)
- ADR(Automatic Dialog Replacement) (p. 21)
- Foley (synchronous sound effects) (p. 752-3)
- SFX (Sound Effects) and WILD sound (p. 752)
- Single System Recording (recording sound in the camera
with picture) (p. 102)
- Double System Recording (recording sound separately
from the camera) (p. 102)
- SLATE (p. 435-7)
Chapter
2: Developing The Project pp.
58-77
·
How to start production/Who
is audience?
·
How much will it cost? (how
to pay)
·
Work Backwards from the
Budget
·
Work Backwards from the
Distribution: Length
·
Acquisition/Capture (p. 78)
- Video:cost benefits / Film: “look & feel”
- Postproduction (How to edit?)
- Distribution: Theatre/TV/OTT/Mobile/3D
Chapter 3:
Intro to Digital Systems pp.
78-146
·
Comparing Video Formats (pp.
86-93,100, 167)
·
Analog (VHS)
·
Digital Standard Definition
(Mini-DV)
·
Digital High Definition (p
100):
- AVCHD-H.264
(Advanced Video Coding)
- HEVC-H.254
(High Efficiency Video Coding)
- Codec (compression) (5:1, 40:1, etc.)
- Mbps (Megabits per second)
·
Digital Cinematography:
- Arri Alexa™, Red™, Canon C series, Panasonic, Sony F
series, Black Magic™, Panavision Millennium™
·
Camera Sensor Size (pp. 108-11)
·
Video Sensor: light
sensitive computer chip (pp. 108-111, 190)
- CCD (Charge Coupled Device) (p. 79)
- CMOS (Complementary Metal Oxide Semiconductor - most common)
(p. 79)
- Pixels (picture elements) (p. 79-80)
·
Choosing a Camera (pp. 107-16)
- DSLR (Digital Single Lens Reflex)
- Video camera / Smart Phone
·
Recording Media (pp. 97-101)
- Hard Drives (HDD or SSD)
- Flash Memory Cards (SDHC: school cameras)
·
Digital Connections (pp. 93-4,
348-50)
·
Composite or Component
(HDMI) (RGB)
- Data Connectors
(USB, Thunderbolt, SDI)
Chapter 4:
The Video Camcorder pp.147-95
·
Camera Overview (pp 147-148)
·
Viewfinder Zebra = Exposure
Indicator (p. 151-154)
·
Camera Power (pp. 184-8)
- AC Power Supply (power & charge battery)
- Battery: (Li Ion (travel restrictions)
·
Format/ Frame Rate (pp. 149)
- 1080 or 720: usually set by the camera
- 24 or 30 fps; progressive or interlace
- Speed: ISO or Gain setting
·
Exposure (AE Shift) (pp. 155-7)
- Backlight
·
Focus (auto vs. manual) (pp.
162-3)
·
White Balance (auto vs.
manual) (pp. 158-66)
- Electronic compensation/different color light
- Preset for indoor light (3200° K)
·
Image Stabilization (p. 195)
·
Low Light (Infrared) (p. 179)
- In-Camera Effects (NO do in post w/exceptions)
·
SMPTE Time Code (p. 331-332)
(hours:minutes:seconds:frames)
·
Recording Media (Chips) (pp.
163-6)
- Formatted, Backup 2 places, Copy all files
- MTS files (editing or conversion software)
Chapter 5:
The Lens (pp. 196-245)
·
Lens has two jobs (pp. 196):
- Focus, Gather & Bend light rays
- Control amount of light into camera (ƒ-stop)
- Elements (several pieces of glass) Barrel
- Flare (antireflective coatings)
·
Focal Length in millimeters
(pp. 198-202)
- Measures the power of a lens to bend light
- Short (wide),
Medium (normal), Long (telephoto)
·
Prime Lenses: only one focal
length (mm)
·
Zoom Lenses: variable focal
length
- Optical Zoom Range (HF-R300: 2.8–89.6mm)
·
Focusing a zoom (at longest
focal length)
·
Focal Plane (surface of film
or sensor)
·
Focal Length/Perspective
(pp. 196-202):
- Dolly - get closer to the object
- Zoom - change focal length
- Zoom vs. Dolly (Perspective) (p. 199)
·
Sensor Magnification/Crop
Factor (pp. 202-7)
- Camera sensor size affects view of view
·
Depth of Field (pp. 213-8)
- To minimize depth of field (p. 216-7):
- Open up
iris/longer focal length/move closer (blur is call bokeh)
- To maximize depth of field (p. 215):
- Close down
iris/shorter focal length/move farther away
·
Speed (pp. 207-9)
Light gathering power
- The faster a lens = more light let through
- The slower a lens = less light let through
- ƒ-Number is the ratio between the focal length of the
lens and its diameter
- ƒ-stop (white markings) - the light gathering power of
the lens at any opening
- t-stop (used in cinema-red markings) accounts for
light loss & is a higher number
- Standard ƒ-stop series;
Numbers get smaller = “hole” gets bigger (p. 208)
- 1.4,
2, 2.8, 4, 5.6, 8, 11, 16, 22,
32
- Each stop equals
halving or doubling of light
- Higher numbers =
less light; “stopping down”
- Lower numbers =
more light; “opening up”
·
Setting the Focus (p. 209-13)
- Tape Measure Focus - measure from focal plane (p. 21-3)
- Pulling focus: changing focus during a take, usually
done by First Assistant Camera
- Video/DSLR cameras focused “by eye” & tape
·
Hyperfocal Distance (focus
to infinity) (p. 218)
·
Prime Lenses for Special Uses
(pp. 221-9)
·
Fast (low light); Telephoto
(NFL Films™)
·
Macro
Lenses (focus very close)
·
Close-Up
/ Split Field Diopters (pp. 223-4)
·
Tilt/Shift
Lenses (p 229)
·
Lens Quality (Aberrations)
(pp. 228-32)
- Vignetting, Chromatic, Sharpness, Flare
·
Lens Seating Problems (pp. 236-7):
- Depth of Focus/Back Focus
·
Lens Care (wet or brush - no
dry) (pp. 238-9)
Chapter 8:
The Film Image (pp.384-421)
From Chapter 7
(Film Systems) (pp. 356-67)
·
Intermittent Movement
(camera or projector)
·
Shutter/Claw/Aperture/Frame
(p. 356-7)
·
Camera Capture Speed (pp. 482-8)
- Slow Motion (Over-cranking) more than 24 fps
- Fast Motion (Under-cranking) less than 24 fps
·
Intervalometer (Time-Lapse)
= camera “clock”
·
High-Speed Cameras (Special
Slow Motion)
·
Blurring (Wide Shutter) (p
138) “Baraka”
·
Strobing (Narrow Shutter) “Drumline”
·
Film Formats;
(width+size+shape) (pp. 358-62)
·
Larger format = better
quality (resolution)
- 35mm (1890s) = current theatrical films
- 4-perf &
3-perf (holes per frame)
- 16mm (1920s) & 8mm (1930s)
·
Film Stock (pp. 384-393)
- Negative (not positive) /Reversal (positive)
- Speed: Sensitivity to light (fast or slow)
- Film, Sensor,
Shutter, Lens
·
Editing Film On Video (p. 364-5)
- NLE (computer editor), Dailies or Rushes
- Video Out (for Digital Media)
- (DI) Digital Intermediate
·
Raw Stock: unexposed film/
“look” (pp. 394-9)
- Emulsion and Base
·
Negative / Reversal (can be projected)
- Tungsten (indoors) or Daylight (outdoors) balanced (pp
389-393)
- Chemical Changes: Optional (pp. 391-3)
- Push = brightens
- Pull = darkens
- Flashing =
reduces contrast
- Skip bleach (p. 393)
·
Contrast (pp. 391-3)
- Separation of light and dark tones
·
Characteristic Curve (p. 386-8)
- Gamma (steepness of straight line section)
·
Film Speed (sensitivity to
light) (pp. 388-9)
- EI (Exposure Index) (motion picture film)
- ASA (American Standard)
- ISO: ASA first, then DIN (i.e., EI 500/28°)
·
Graininess: visible particles
of chemicals/dyes (p. 393-4)
- Faster film = larger, more visible grain
·
Kodak stocks (pp. 395-9)
- 72_ _ for 16mm; (52_ _ for 35mm)
·
Latent Edge Numbers (after
processing) (p. 397)
·
Refrigerate Film Stock,
Avoid X-Rays
·
Exposure (p. 399-400)
- Overexpose (too light)
- Underexpose (too dark)
- Important Elements with sufficient detail
- HDR (High
Dynamic Range) (p. 124-127)
·
Light Meters (pp. 400-10)
- Direct (digital); Indirect (analog)
- Incident Light
- hold near
subject - point to camera
- Flat Disk Diffuser (individual lights)
- Reflectance calibrated with 18% Gray Card
- Spot Meter (1°)
·
Time or duration of the
exposure (p 402):
- 1/48 second (1/50) = 1/24 x 1/2
- 1/60 second for U.S. video
·
EXPOSURE = INTENSITY (f-Stop)
X TIME
- Exposure = amount of light to each frame
- Film speed
(ISO/ASA) set to speed on film box
- DV speed:
325-500 ISO (depends on sensor)
- Filter Factor:
for light loss w/ filter (p. 390)
- t-stops DO
account for lost light (p 403)
- footcandles =
non metric light measure
·
Four Ways to Control
Exposure (p. 411-2):
- 1) Film Speed (ISO)
- 2) Lens (ƒ-Stops)
- 3) Shutter Speed
- 4) Ambient Light
·
Exposure Range (pp. 410-412)
- Special: Night, Landscapes,Sunrise/set
- What is bright/dark/good detail?
- Negative film:
10-13
ƒ/stops
- Reversal
film & SD video: 6 ƒ/stops
- High End Digital
Video: 14-16 ƒ/stops
Color &
Filters:
·
Additive Primaries (RGB)
(video & film) (pp. 296-7)
·
Subtractive Primaries (CYM)
(printing) (pp. 296-7)
·
Color Temperature: Kelvin
Scale (pp. 298-300)
·
Emotionally:
- Warm light source [3200° K tungsten]
- Cold light source [5600° K daylight]
·
Conversion Filters (pp. 389-90)
- #85 (orange) converts Tungsten for Daylight
- #80 (blue) converts Daylight for Tungsten
·
Matte Box / Lens Hood (pp. 243-5)
·
Special Filters (pp. 239-45)
- UV/1A (ultraviolet)
- Neutral Density (less light: neutral color)
- Grads (half color/half clear)
- Polarizing (reduces reflections glass/water)
- Diffusion (dreamy, soft)
- Low Contrast (ProMist)
- Fog/ Star
·
Software filters (plug-in)
There will be a total of 50 questions in the format of Multiple
Choice and True/False. Also there will be extra credit questions on the videos
that have been shown in class.