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Fast Forward to ESB Test 2
Quiz by Maria T
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Fast Forward to ESB Test 1Fast Forward to ESB Test 3Fast Forward to ESB Test 4A Visit to the Desert Tim was looking forward to this vacation. Then his parents told him the family would be visiting Grandma in Nevada. Tim was unhappy. He wanted to be with his friends this summer. "Grandma is eager to see you," Mom said. "She can't wait to take you on a desert hike." The next morning Grandma met them at the airport. Then they drove to the desert. As they hiked, Grandma explained that animals enjoy the open desert space. It gives them the freedom to move from place to place. Tim learned that the animals find ways to adapt to the hot desert weather. He wondered if he could get used to the desert climate. "Wow," Tim said, "Look at that! The turtle carries its home on its back!" Grandma smiled at Tim's excitement. "Actually," she said. "That is a desert tortoise. It looks for the shade made by the shadows of rocks. That's how it cools off. He burrows underground to get away from the heat." The tortoise disappeared into its burrow. Tim leaned over the hole. He could not hear a sound. "I'll bet it likes the silence of its burrow," Tim whispered. "I think it likes its sense of safety too," Grandma added. "That's the same feeling I get at home," Tim sighed. Just then a large rabbit hopped by. Grandma explained that the jack rabbit's large ears help it stay cool. "These animals are so unlike the animals at home!" Tim said. He had forgotten about the desert heat. "Some animals stay cool by sleeping during the day. Then they hunt at night," said Grandma. A Great Horned Owl hooted above them. Grandma said, "It will soon be time for the owl to hunt." "Which means it's time for us to head back," Dad added. "Aw, this vacation is going by too fast," Tim said. They asked Tim about the heat. "What heat?" Tim asked. "I feel as fresh and cool as a new flower. I've adapted!" Everyone laughed.Filmic Techniques Based on the work of Brad Smilanich Mis-en-Scene: originally a French theatrical term arrangements of all the visual elements of the stage area in film â âthe contents of the frame and the way those contents are organizedâ include: lighting, costume, dĂ©cor, props, camera movement or distance . . . all photographic decisions etc. Proxemics: Spatial relationship among characters within the mis-en-scene Rule of Thirds: a compositional rule of thumb in painting, design, photography etc. suggests image divided into 9 equal parts with two vertical and two horizontal lines important elements of the mis-en-scene should be placed along these lines and their intersections some suggest aligning with intersections makes for more interesting pictures than just centreing the subject Proxemics Camera Distance: Quite literally, how far the camera is from the subject being filmed The Hand Camera Camera Distance: Quite literally, how far the camera is from the subject being filmed Extreme Close Up: Singles out one small portion of the body or object Used to intensify emotion, or show reaction Camera Distance: Close up Shot: Shows head of character or small significant object Used to show emotions Camera Distance: Medium Shot: shows figures from the waist up allows character to be seen within background Camera Distance: Long Shot: shows figures from feet up similar to the âstageâ in live theatre orients audience to figures within a location or surrounding Camera Distance: Extreme Long Shot: Sometimes called an âestablishing shotâ Panoramic view of an exterior location orients audience to a location Camera Distance: Camera Angle: Cameraâs angle of view relative to the subject being photographed High Angle Shot: looks down on the subject often used to make the subject look small and insignificant (in combination with camera distance) puts the camera (audience) in âpowerâ position Camera Angle: Low Angle Shot: looks up at the subject often used to make the subject look large and powerful puts the camera (audience) in a âsubmissiveâ position Camera Angle: Flat Angle Shot: camera on same plane as the subject feels most ânormalâ to an audience Camera Angle: Canted Shot: frame is unbalanced in relation to the subject may indicate a symbolic unbalance in the character Camera Angle: Camera Movement literally the camera moving with or around or to follow the subjects in the mis-en-scene or frame Camera Movement: Tilting Movement camera moves up or down on a horizontal axis similar to head nodding movement may be used to show subjects relation to surroundings Camera Movement: Panning Movement camera moves side to side on a vertical axis similar to head shaking movement may be used to establish setting Camera Movement: Dolly Movement camera mounted on a vehicle that moves along with the subject (camera moves, not pivots) follows the subject to signify something important Camera Movement: Crane Shot camera mounted on a crane or boom permits camera to move in & out, up & down, backward & forward often used for high aerial establishing shots Misc. Shots: Hand Held: camera carried to seem jerky, giving ârealistic feelâ Push In: camera moves up to a characterâs face to indicate an epiphany (realization) Spiral: camera circles subject for effect End for ELA 20-2 and 10-1 Shot Transitions/Editing: artificial editing done to string together multiple shots to create a narrative scene or sequence a cut is the change from one shot to another usually separated in to âsoftâ and âhardâ cuts Jump Cut: an instantaneous change from one shot to another this can be very natural or may disorient the audience, depending on how it is used Transitions/Editing Swish Pan: A pan where the speed of the camera is so fast that images are blurry used often to connect events in different settings that are connected by time Transitions/Editing Dissolve: transition where one shot gradually dissapears while another shot gradually appears often used to suggest change of setting or long time passage i.e. flashbacks Transitions/Editing Fade In/Out: transition where the shot gradually overexposes to white or underexposes to black often used to suggest a lengthy passage of time or change in location Transitions/Editing Wipe: transition where one shot is gradually eliminated as another shot moves onto the screen can be vertically or horizontally often suggests movement of the camera to another location Transitions/Editing Iris In/Out: transition where one shot gradually appears as an expanding circle in the middle of an old image suggests . . .??? Transitions/Editing Shot-Reverse Shot: one character is shown looking (often off-screen) at another character, and then the other character is shown looking "back" at the first character. Since the characters are shown facing in opposite directions, the viewer unconciously assumes that they are looking at each other. Transitions/Editing Two-Shot: Face-up shot of two people. Often used in interviews, or when two presenters are hosting a show. A "One-Shot" could be a mid-shot of either of these subjects. A "Three-Shot", unsurprisingly, contains three people. Transitions/Editing Shot Transitions/Editing: Sound: used to reflect or enhance what is shown visually on the screen can include dialogue, music, sound effects, voiceover etc. Diegetic Sound: sound that has a source in the world of the story dialogue spoken by characters, sound made by objects, or music coming from a source grounded in the story of the film Non-diegetic Sound: sound that has a source outside the world of the story usually part of the score or the soundtrack Parallel Sound: sound that complements the image shown i.e. romantic music during a love scene Counterpoint Sound: sound that contradicts the âfeelingâ of the image a happy song played while images of graphic violence are portrayed Voiceover: voice of a non-visible narrator laid over the scene often provides some comment about the narrative of the film Sound Bridge: used to âsoftenâ the transition between one scene and another takes sound from the next shot and overlays it on the current shot 2-3 seconds earlier than we see the image Examples of Diegetic/Non-Diegetic: In the first clip, the non-diegetic music changes to diegetic music when the main character moves inside of the convenience store. In the second clip, the âduhn duhn duuuuhâ which often is non-diegetic becomes diegetic because it is the band in the passing bus playing that music! End for ELA 20-1 Lighting: Can be used by a director to: Control the mood of a scene guide a viewerâs eye to a specific place in mis-en-scene Emphasize and de-emphasize elements in frame Add texture and color Make people look beautiful, ugly, sinister, or angelic Standard 3-Point Lighting: uses three lights called the key light, fill light and back light forms the basis of most lighting. once you understand three point lighting you are well on the way to understanding all lighting. Key Light: main light usually the strongest and has the most influence on the look of the scene. it is placed to one side of the camera/subject so that side is well lit and other side has shadow. Fill Light: secondary light is placed on the opposite side of the key light used to fill the shadows created by key softer and less bright than key Back Light: placed behind the subject ; lights it from the rear. provides definition and subtle highlights around the subject's outlines. Separates subject from background provides a three-dimensional look. Standard 3-Point Lighting: http://www.zvork.fr/vls/ Try using this simulator to play with lighting with those 3 points.Magnets Work! Did you know magnets are all around you? Magnets help you do amazing things! Keep reading! See if you think magnets have surprising uses. Magnets Pull. Look closely and you will see. Magnets can be found on a can opener. The magnet attracts, or pulls, the lid off of a soup can. A push or pull is called a force. There is also a magnet in a refrigerator. It pulls the metal in the door to make a tight seal. Do you know how? A magnet's force pulls objects made of metals called iron and steel. It will not pull other things. It will not pull a wooden pencil or a plastic toy. A magnet does not attract all items. Magnets Have Poles. You have proved, or shown, that magnets can pull some things to it. Why is this true? The two ends of a magnet are its poles. Every magnet has a north pole and a south pole. Have you ever played with trains that have magnets? Sometimes, you try to put two train cars together, but they repel. This means they push away from each other. Then you turn one of the cars around. The two cars snap together as quick as a wink. That's right! If you have played with these trains, you know it is true. When the train cars push away, two of the same poles are facing each other. However, if you put the north and south poles together, they will snap together like the train. Magnets Can Be Powerful. We know that magnets can move objects. But does the heaviness of an object matter? Can magnets move objects that have different weights? Yes, they can. Scientists are using magnets in new ways. People often wish they could travel at a faster speed than a train. There is a new train that uses powerful magnets to travel more quickly. Magnets lift the train above the track and push the train forward. The train appears to be moving as fast as lightning! Scientists have measured these train speeds. They are much faster than the trains we know. Can you imagine what magnets will help us do in the future? 10Fast ! Fast & Curious