CTVA 300 Exam 4
30/30 rule - ANS-meant to indicate the filmmakers should either change the position of the
camera at least 30 degrees from the axis of the previous shot or change the focal length of
the lens by at least 30mm, effectively, usually, changing the image size.
Are the shots cut together in the dance number examined in this unit continuity shots or
spatial separations? - ANS-Spatial separation
autonomous camera movement vs.
semi-autonomous camera movement - ANS-When subject movement doesn't motivate the
operation of the camera, we call that operation "autonomous".
"semi-autonomous", a movement that has an element of motivation, but is also working
according to its own principals, principals that have little or nothing to do with the characters
on screen.
continuity error (discontinuity) - ANS-Any noticeable but unintended discrepancy from one
shot to the next in costume, props, hairstyle, posture, etc.
Crane - ANS-a physical movement of the entire camera along the y- or yx- or yz- axis (in
other words, a movement of the camera during which its height changes)
cutting on action - ANS-the editor joins shots A and B at a point of action or strong subject
movement, as opposed to cutting between shots at a point when the subject is motionless.
Desaturation - ANS-When a hue's complementary is mixed into it, that hue starts becoming
more and more gray. This process is called "desaturation".
Describe how the design of Bob's agent's office changes over the course of Auto Focus. -
ANS-Three times Bob goes to speak to his agent:
1st - Note the saturated high tone yellow drapes, the white and light gray and pale blue
papers covering the agent's desk, the saturated and medium tone blue couch, the tan
carpet, etc. Not quite as high tone as the shots in Bob's home, but in the same ballpark.
2nd - Bob now wears more "drab" (in other words, desaturated and somewhat lower tone)
clothes. Like the shots from the set of Hogan's Heroes, these images exhibit a tonal range
generally lower on the gray scale than the shots, including shots of the same office, from the
first third of the film. Not only that, but the furnishings have changed. The high tone yellow
drapes have been replaced with some middle tone reds ones. And the bright blue couch
from the first scene is now a dark brown one!
3rd - These shots are even more dark and more devoid of color than the ones from the
middle of the film. There is a lot of black, but, as you can see, there are also strong whites.
These, then, are relatively hi-contrast images, or, to use the language of the text, images
which exhibit contrast of tone within the shot. This scene's tonal organization sets it apart
, from the other scenes in the agent's office. And its tonal design reflects the overall tonal
design of the film. Tone has, again, helped to structure the film.
Describe how the makers of Auto Focus use tone to structure their film. - ANS-The
filmmakers have manipulated tone to chart the psychological path of Auto Focus'
protagonist. The film is structured by tone - a high tone suburban oblivion, the middle-to-low
tone TV grind, and Bob's extremely low tone collapse.
Describe how the makers of Mishima visually structure their film. What part does tone play in
that structuring? - ANS-The "present tense" of Mishima's life is given in relatively
low-contrast high tone images with lots of desaturated color and handheld camera.
The flashbacks are distinguished primarily by virtue of the fact that they are drained of color.
Though the range of tones varies from flashback scene to flashback scene, none of them
are hi-contrast with true blacks and whites. Most, like the images below, evidence a much
more narrow range of tones. Each of the following exhibits an affinity of tone within the shot.
The scenes that recreate portions of Mishima's novels contain significantly more lurid colors
and stronger tonal contrasts.
Describe the camera operation/movement in the sections of the R.E.M. video. - ANS-Verse 1
- Verse 1 has 27 shots. Six of them (22%) have significant camera operations; all six,
autonomous pans and tilts. The remaining 21 shots are static
Verse 2 - More dynamic (Quicker across a greater range of space)
Bridge - Only one shot has camera operation, rest is static
Verse 3 - The camera is moved in 67 of the 82 shots (82%) of verse 3. Camera is often
handheld.
Describe the color design of the clip from Mauvais sang. - ANS-(clip 13 03)
Describe the color design of the clip from William Shakespeare's Romeo + Juliet. - ANS-You
will notice immediately how dynamic, how energetic the scene is. Ask yourself what
contributes to that energy. Consider, in addition to today's topic (color), some of the
previously discussed visual components like angle and image size. (clip 19 02)
Describe the placement of the camera in the various sections of the video. - ANS-Camera
placement allows for shots with more depth
Verse 1 - super flat
Verse 3 - greatest ranger of camera position
Describe the rendition of space in verse 1. in verse 2. in the bridge. in verse 3. - ANS-Verse
1 - Flat space
Verse 2 - Deep space
Bridge - Flat space
Verse 3 - Dynamic, even departs from the 180 degree rule
30/30 rule - ANS-meant to indicate the filmmakers should either change the position of the
camera at least 30 degrees from the axis of the previous shot or change the focal length of
the lens by at least 30mm, effectively, usually, changing the image size.
Are the shots cut together in the dance number examined in this unit continuity shots or
spatial separations? - ANS-Spatial separation
autonomous camera movement vs.
semi-autonomous camera movement - ANS-When subject movement doesn't motivate the
operation of the camera, we call that operation "autonomous".
"semi-autonomous", a movement that has an element of motivation, but is also working
according to its own principals, principals that have little or nothing to do with the characters
on screen.
continuity error (discontinuity) - ANS-Any noticeable but unintended discrepancy from one
shot to the next in costume, props, hairstyle, posture, etc.
Crane - ANS-a physical movement of the entire camera along the y- or yx- or yz- axis (in
other words, a movement of the camera during which its height changes)
cutting on action - ANS-the editor joins shots A and B at a point of action or strong subject
movement, as opposed to cutting between shots at a point when the subject is motionless.
Desaturation - ANS-When a hue's complementary is mixed into it, that hue starts becoming
more and more gray. This process is called "desaturation".
Describe how the design of Bob's agent's office changes over the course of Auto Focus. -
ANS-Three times Bob goes to speak to his agent:
1st - Note the saturated high tone yellow drapes, the white and light gray and pale blue
papers covering the agent's desk, the saturated and medium tone blue couch, the tan
carpet, etc. Not quite as high tone as the shots in Bob's home, but in the same ballpark.
2nd - Bob now wears more "drab" (in other words, desaturated and somewhat lower tone)
clothes. Like the shots from the set of Hogan's Heroes, these images exhibit a tonal range
generally lower on the gray scale than the shots, including shots of the same office, from the
first third of the film. Not only that, but the furnishings have changed. The high tone yellow
drapes have been replaced with some middle tone reds ones. And the bright blue couch
from the first scene is now a dark brown one!
3rd - These shots are even more dark and more devoid of color than the ones from the
middle of the film. There is a lot of black, but, as you can see, there are also strong whites.
These, then, are relatively hi-contrast images, or, to use the language of the text, images
which exhibit contrast of tone within the shot. This scene's tonal organization sets it apart
, from the other scenes in the agent's office. And its tonal design reflects the overall tonal
design of the film. Tone has, again, helped to structure the film.
Describe how the makers of Auto Focus use tone to structure their film. - ANS-The
filmmakers have manipulated tone to chart the psychological path of Auto Focus'
protagonist. The film is structured by tone - a high tone suburban oblivion, the middle-to-low
tone TV grind, and Bob's extremely low tone collapse.
Describe how the makers of Mishima visually structure their film. What part does tone play in
that structuring? - ANS-The "present tense" of Mishima's life is given in relatively
low-contrast high tone images with lots of desaturated color and handheld camera.
The flashbacks are distinguished primarily by virtue of the fact that they are drained of color.
Though the range of tones varies from flashback scene to flashback scene, none of them
are hi-contrast with true blacks and whites. Most, like the images below, evidence a much
more narrow range of tones. Each of the following exhibits an affinity of tone within the shot.
The scenes that recreate portions of Mishima's novels contain significantly more lurid colors
and stronger tonal contrasts.
Describe the camera operation/movement in the sections of the R.E.M. video. - ANS-Verse 1
- Verse 1 has 27 shots. Six of them (22%) have significant camera operations; all six,
autonomous pans and tilts. The remaining 21 shots are static
Verse 2 - More dynamic (Quicker across a greater range of space)
Bridge - Only one shot has camera operation, rest is static
Verse 3 - The camera is moved in 67 of the 82 shots (82%) of verse 3. Camera is often
handheld.
Describe the color design of the clip from Mauvais sang. - ANS-(clip 13 03)
Describe the color design of the clip from William Shakespeare's Romeo + Juliet. - ANS-You
will notice immediately how dynamic, how energetic the scene is. Ask yourself what
contributes to that energy. Consider, in addition to today's topic (color), some of the
previously discussed visual components like angle and image size. (clip 19 02)
Describe the placement of the camera in the various sections of the video. - ANS-Camera
placement allows for shots with more depth
Verse 1 - super flat
Verse 3 - greatest ranger of camera position
Describe the rendition of space in verse 1. in verse 2. in the bridge. in verse 3. - ANS-Verse
1 - Flat space
Verse 2 - Deep space
Bridge - Flat space
Verse 3 - Dynamic, even departs from the 180 degree rule
