monochromatic color design color design which emphasizes a narrow set of shades of a single color.

1. long shota framing in which the scale of the object shown is small; a standing human figure would appear nearly the height of the screen.

2. low-key lightinglighting tht creates strong contrast between light and dark areas of the shot, with deep shadows and little fill light

3. matte shota type of process shot in which different areas of the image (usually actors and setting) are photographed separately and combined in laboratory work.

4. medium close-upa framing in which the scale of the object shown is fairly large; a human figure seen from the chest up fill most of the screen.

5. medium long shota framing at a distance which makes an object about 4 or 5 feet high appear to fill most of the screen vertically. See plan americain, the special term for a medium long shot depicting human figures.

6. medium shota framing in which the sclae of the object is of moderate size; a human figure seen from the waist up would fill most of the screen.

7. mise-en-sceneall the elements placed in front of the camera to be photographed, that is, part of the cinematic process that take place on the set, as opposed to montage, which takes place afterward. It includes the settings and props, lighting, costumes and make-up, and figure behavior.

8. Mise-en-scene tends to be very important to realists, montage to expressionists.mise-en-shot the design of an entire shot, in time as well as space.

9. mobile framethe effect on the screen of moving camera, a zoom lens, or special effects shifting the frame in relation to the scene being photographed.

10. monochromatic color designcolor design which emphasizes a narrow set of shades of a single color.

11. multiple exposurea number of images printed over each other.multiple imagea number of images printed beside each other within the same frame, often showing different camera angles of same action, or separate actions. Also called split screen

12. 180-degree systemthe continuity approach to editing which dictates that the camera should stay on one side of the action to ensure consistent spatial relations between objects to the right and left of the frame. The 180-degree line is also called axis of action.

13. offscreen spacethe six areas blocked from being visible on the screen but still part of the space of the scene: to four sides of the frame, behind the set, and the behind the camera.

14. overlapa cue for suggesting depth in the film image by placing closer objects partly in front of more distant ones.panmovement of camera from left to right or vice versa on a stationary tripod. On the screen, it produces a mobile framing which scans the space horizontally. Not to be confused with tracking shot

15. pixillationa form of single-frame animation in which three-dimentional objects, often people, are made to move in staccato bursts through the use of stop-action cinematography thereby breaking the illlusion of the continuous movement.

16. plan americana framing in which the scale of the object shown is moderately small; the human figure seen from the shins to the head would fill the most of screen; so named by the French critics who found this the most frequent framing in American movies. This is also referred to as a medium long shot, especially when human figures are not shown.

17. plan-sequenceFrench term for a scene handled in a single shot, usually a long take; often referring to complex shot including complicated camera movements and actions. Also called sequence shot.

18. point-of-view(POV) shota shot taken with the camera placed approximately where the character's eyes would be, representing what the character sees; usually cut in before or after a shot of the character looking.

19. process shotany shot involving re-photography to combine two or more images into one, or to create a special effects; also called composite shot.

20. pull-back shota tracking shot or zoom that moves back from the subject to reveal the context of the scene

21. rack focusshifts the area of sharp focus from one plane to another during a shot thereby directing the attention of the viewer forcibly from one subject to another.

22. ratein shooting, the number of frames exposed per second; in projection, the number of frames thrown on the screen per second. If the two are same, the speed of action appears normal while a disparity will create slow or fast motion. The standard rate in sound cinema is 24 frames per second for both shooting and projection (for silent film, it used to be between 16 and 18 frames per second

23. reaction shota shot that cuts away from the main scene or speaker in order to show a character's reaction

24. reestablishing shota return to a view of an entire space after a series of closer shots following the establishing shot.reframingshort panning or tilting movements to adjust for the figures' movements, keeping them onscreen or centered.

25. rollthe rotation of camera around the the axis that runs from the lens to the subject. This is not common because its effect usually disorients the viwer.

26. rotoscopea machine that projects live-action motion picture film frames one by one onto a drawing pad so that an animator can trace the figures in each frame. The aim is to achieve more realistic movement in an animated cartoon.rushes

27. screen directionthe right-left relationship in a scene, set up in an establishing shot and determined by the position of characters and objects in the frame, by the directions of movement, and by the character's eyelines. Continuity editiong will attempt to keep screen direction consistent between shots. See axis of action, eyeline match, 180-degree system.

28. shallow focusa restricted depth of field, whic keeps only those planes close to the camera in sharp focus; the opposite of deep focus.shallow spacestaging the action in relatively few planes of depth; the opposite of deep space.

29. size diminutiona cue for suggesting represented depth in the image by showing objects that are further away as smaller than foreground objects.

30. soft lightinglighting that avoids harsh bright and dark areas, creating a gradual transition from highlights to shadows.space

31. spaceAt minimum, any film displays a two-dimensional graphic space, the flat composition of the image. In films which depict recognizable objects, a three-dimensional space is represented as well, which may be directly depicted as onscreen space, or suggested as offscreen space. In narrative film, one can also distinguish between story space, the locale of the totality of the action (whether shown or not) and plot space, the locales visibly and audibly represented in the scenes.

32. telephoto lensa lens of long focal length that affects a scene's perspective by enlarging distant places and making them seem closer to the foreground planes. In 35mm filming, a lens of 75mm length or more. Normal lens for 35mm filming would be a lens of 35mm to 50mm.

33. three-point lightinga common arrangement using three directions of light on a scene: from behind the subject(backlighting), from one bright source(key light), and from a less bright source balancing the key light (fill light).

34. tilta camera movement by swiveling upward or downward on a stationary support. It produces a mobile framing that scans the space vertically.

35. top lightinglighting coming from above a person or object, usually in order to outline the upper areas of the figure or to separate it more clearly from the background.

36. tracking shota mobile framing that travels through space forward, backward, or laterally. It could move on tracks or dolly, or hand-held. Also called "traveling shot."

37. underlightinglighting from a point below the figures in the scene.

38. whip panan extremely fast movement of camera from side to side, which causes the image to blur into a set of indistinct horizontal lines briefly. Often imperceptible cut joins two whip pans to creat a trick transition between scenes.

39. wide-angle lensa lens of short focal length that affects the scene's perspective by distorting straight lines near the edges of the frame and by exaggerating the distance between foreground and background planes. In 35mm filming, a wide-angle lens is 30mm or less. Produces the opposite effect of telephoto lens

40. zoom lensa lens with a focal length that can be changed during a shot. A shift toward the telephoto range enlarges the images and flattens its planes together, giving an impression of moving into the scene's space, while a shift toward wide-angle range does the opposite.