Final Study Guide Essay

Chapter 11
Visualization Storyboard- Three ways of looking Field of View
Visualization – thinking in pictures or more precisely in individual shots or brief sequences and also it means thinking about the sounds that go with your video production or film.
Deductive – moving from the general to the specific. You start with a wide establishing shot and move progressively tighter into the event detail. This approach is especially well suited to the large motion picture screen with its sweeping horizontal expanse.
Inductive – You go from details of the event to a general overview. We select significant details that are characteristics of a whole event and present them as a series of close-ups. This visualization and sequencing is especially well suited to the small video screen.
4 aspects of POV-
Looking up and down:
Camera Angles:
Angles for Continuity, Angles for multiple view points, for event intensification, for setting style.

Chapter 12
Photographers have depicted movement
Photographers have also used multiples exposures, slow shutter speeds to depict time.
Types of time:
Objective: what an accurate clock reports. It is measured by observable change – some regularly recurring physical phenomenon
Subjective: “felt time” regardless of what the clock says, you may experience an activity or event as being short or long.
Vector Magnitude of Subjective time:
Event density –
Event Intensity –
Experience Intensity/Involvement –
Biological Time – a type of subjective time that operates quantitatively and we get a sense from natural indicators.
Time Edited Film – can change the order of events, can alter past, present, future time progression. Events in films can be reordered and altered through flashbacks.
Flashbacks can even stop the progression in time. Flash forward break time progression and propel us into the future.

Chapter 13
Frame rate:
Each frame depicts a moment in time. In the case of motion picture film 24 frames per second (fps) – normal projection. Each frame has its unique “at” position and it is distinct photo created by a mechanical and chemical process.
Bergson’s motion TV-
Video looks different than film first it is often shown in 30 fps consisting of two half resolutions interlaced fields. This is called interlaced video (interlaced scanning).
Motion paradox: whenever an object is in motion and
Figure-ground relationship in the perception of motion –
Z axis: a wide angle lens quickens speed along the z axis because it accentuates relative size along the z-axis. Narrow angle lens slows speed along the z-axis because there is little relative size change and a compression of the z-axis.
Slow motion – relies on frame density. The faster the film runs through the camera, the more frames of the photographed object are exposed per second, the higher the sampling rate, and the slower the motion during the playback standard of 24 fps. Moving more film though the camera during shooting is called overcranking.
Television slow motion: if you slow the speed of the playback recorder, the resulting display of motion slows down. In normal slow motion playback, some of the frames are scanned several times during playback thus increasing the frame density. There now are some video cameras that can record more FPS so they can overcrank like a film camera.
Freeze frame: shows arrested motion, not a picture of no motion. It picks a specific “at” position and repeats it for the duration of the freeze.
Accelerated motion: has its own aesthetic: it shows the object not merely faster than normal but also more erratic, more jumpy. The comic energy of many cartoons and silent movies is based on accelerated motion.
Slow motion though narrow angle lens distortion:

Chapter 14
Clock time: precise “at” position in the objective time continuum. Although all types of objective time are measured by the clock, clock time has come to mean a precise spot a specific “at” position.

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