CTVA 300 Final Exam
______________ hues are cyan & red, green & magenta and blue & yellow. -
ANS-COMPLEMENTARY
2D digicam actions (route): - ANS-PAN, TILT, ZOOM (all gadgets flow at equal price of
speed)
- a digicam can circulate in three instructions.
3-D digicam actions: - ANS-DOLLY, TRACK, CRANE (provides relative motion, gadgets can
circulate at exceptional speeds) This constantly greater intense than a 2D pass.
4 approaches to categorize motion of an object: - ANS-DIRECTION
QUALITY
SCALE
SPEED
A color correction filter for Tungsten balanced film (3200K) to shoot exterior in daytime
(5600k) an ___ is used. - ANS-85B (amber) filter is used.
A almost invisible visible element - ANS-Continuum of movement
- Visual depth will increase as greater comparison of continuum is used and will lower if
there's affinity of continuum.
A story has three basic parts (story structure) - ANS-1. EXPOSITION (beginning)
2. CONFLICT (middle)
three. RESOLUTION (end)
A SWISH PAN - ANS-is a horizontal flow that is going very quickly from Point A to Point B for
dramatic impact.
A VISUAL STRUCTURE CANNOT EXIST WITHOUT A - ANS-A POINT OF VIEW
Additive colour - mixing mild - ANS-pink + green + blue = white
Affinity of continuum - ANS-- Affinity of continuum courses the audience's POA as they go
searching the frame (inform us where to appearance in the course of classified ads)
- Improves visible continuity
- Can hide visible mistakes
- Makes visible events and transitions seem continuous and smooth.
Attracts the viewers interest first. - ANS-MOVEMENT
attracts the viewers attention 2nd. But if there is no motion this will be first. -
ANS-BRIGHTNESS
, - When the shifting item is vibrant and moving it will absolutely grasp the audiences interest!
BRIGHTNESS - ANS-is the position of a shade in terms of the grey scale.
The lightness or darkness of meditated light, decided in big element by the mild's intensity.
Choosing Components (4) - ANS-1. Instinctual Choices
2. Arbitrary Choice
three. Researched Choice
4. Analytic Choice
Color Correction - ANS-now carried out digitally, only a few movies are colour timed picture
chemically. So de-saturation can be performed at the virtual intermediate.
Conclusion - ANS-A summary primarily based on proof or information
- Keep it easy and locate the snap shots to fit your tale
- Use visible references (art work, pics, old films, magazines)
- Think of the visible additives and how they can contribute to the story
- Think of how evaluation and affinity can be used to maintain the target market engaged.
Conflict & Climax - ANS-- The center of the tale is the war.
- Can be inner or external
- Story conflict may be both inner & external
- Conflict builds in depth as the tale progresses
- Most severe part of the warfare is the climax
CONTINUOUS & FRAGMENTED EVENTS (work collectively) - ANS-1. For visual emphasis
2. Contrast and Affinity Control
three. Editorial occasion control
four. Editorial rhythmic control
5. Visual range
6. Finding rhythm
7. Directorial Choice
CONTINUOUS EVENT - ANS-- NO CAMERA CUTS
- CAMERA RUNS CONTINUOUSLY
- WHEN EVENT ENDS CAMERA SHUT OFF
- NO EDITING NECESSARY
Continuum of motion - ANS-How the viewer's factor of attention moves WITHIN a shot. How
the viewers factor of attention movements from SHOT to SHOT
- occurs as our eye tracks motion around the display
CONTRAST of Continuum - ANS-- Creates Intensity
- Can be visually disjointed, jarring and abrupt
- Can agitate the audience
______________ hues are cyan & red, green & magenta and blue & yellow. -
ANS-COMPLEMENTARY
2D digicam actions (route): - ANS-PAN, TILT, ZOOM (all gadgets flow at equal price of
speed)
- a digicam can circulate in three instructions.
3-D digicam actions: - ANS-DOLLY, TRACK, CRANE (provides relative motion, gadgets can
circulate at exceptional speeds) This constantly greater intense than a 2D pass.
4 approaches to categorize motion of an object: - ANS-DIRECTION
QUALITY
SCALE
SPEED
A color correction filter for Tungsten balanced film (3200K) to shoot exterior in daytime
(5600k) an ___ is used. - ANS-85B (amber) filter is used.
A almost invisible visible element - ANS-Continuum of movement
- Visual depth will increase as greater comparison of continuum is used and will lower if
there's affinity of continuum.
A story has three basic parts (story structure) - ANS-1. EXPOSITION (beginning)
2. CONFLICT (middle)
three. RESOLUTION (end)
A SWISH PAN - ANS-is a horizontal flow that is going very quickly from Point A to Point B for
dramatic impact.
A VISUAL STRUCTURE CANNOT EXIST WITHOUT A - ANS-A POINT OF VIEW
Additive colour - mixing mild - ANS-pink + green + blue = white
Affinity of continuum - ANS-- Affinity of continuum courses the audience's POA as they go
searching the frame (inform us where to appearance in the course of classified ads)
- Improves visible continuity
- Can hide visible mistakes
- Makes visible events and transitions seem continuous and smooth.
Attracts the viewers interest first. - ANS-MOVEMENT
attracts the viewers attention 2nd. But if there is no motion this will be first. -
ANS-BRIGHTNESS
, - When the shifting item is vibrant and moving it will absolutely grasp the audiences interest!
BRIGHTNESS - ANS-is the position of a shade in terms of the grey scale.
The lightness or darkness of meditated light, decided in big element by the mild's intensity.
Choosing Components (4) - ANS-1. Instinctual Choices
2. Arbitrary Choice
three. Researched Choice
4. Analytic Choice
Color Correction - ANS-now carried out digitally, only a few movies are colour timed picture
chemically. So de-saturation can be performed at the virtual intermediate.
Conclusion - ANS-A summary primarily based on proof or information
- Keep it easy and locate the snap shots to fit your tale
- Use visible references (art work, pics, old films, magazines)
- Think of the visible additives and how they can contribute to the story
- Think of how evaluation and affinity can be used to maintain the target market engaged.
Conflict & Climax - ANS-- The center of the tale is the war.
- Can be inner or external
- Story conflict may be both inner & external
- Conflict builds in depth as the tale progresses
- Most severe part of the warfare is the climax
CONTINUOUS & FRAGMENTED EVENTS (work collectively) - ANS-1. For visual emphasis
2. Contrast and Affinity Control
three. Editorial occasion control
four. Editorial rhythmic control
5. Visual range
6. Finding rhythm
7. Directorial Choice
CONTINUOUS EVENT - ANS-- NO CAMERA CUTS
- CAMERA RUNS CONTINUOUSLY
- WHEN EVENT ENDS CAMERA SHUT OFF
- NO EDITING NECESSARY
Continuum of motion - ANS-How the viewer's factor of attention moves WITHIN a shot. How
the viewers factor of attention movements from SHOT to SHOT
- occurs as our eye tracks motion around the display
CONTRAST of Continuum - ANS-- Creates Intensity
- Can be visually disjointed, jarring and abrupt
- Can agitate the audience
