Transitions

 Different types of Transitions

Fade-in: A fade is a subtype of dissolve transition that gradually moves to or from an image to or from black. Fades are often used at the beginning/end of movies. 

Wipe: A wipe transition is a transition technique used in post-production editing in which one shot replaces another by moving or “wiping” from one side of the frame to another. The wipe transition can be done from any direction and in various shapes.

Slow Motion: this effect is referred to as speed ramping and is a process whereby the capture frame rate of the camera changes over time. Slow motion is used widely in action films for dramatic effect

Long Take: A long take, also known as a "oner," is a shot that's intended to appear as a single, uninterrupted take in the final edit of a project. 

Superimposition: Superimposition is an editing technique and special effect that blends two or more shots (of separately photographed action). It does so on the same film strip in such a way that the images are seen simultaneously.

Ellipsis and Expansion of Time: Ellipsis is the narrative device of omitting a portion of the sequence of events, allowing the reader to fill in the narrative gaps. When expanding time, film events are usually shortened, but sometimes an event that happens quickly deserves to be on the screen longer to emphasize how shocking, interesting, or beautiful it is.

Post Production: the phases of post-production include: editing, video editing, color correction, assembly, sound editing, re-recording, animation and visual effects insertions.

Visual Effects: Visual effects (sometimes abbreviated VFX) is the process by which imagery is created or manipulated outside the context of a live-action shot in filmmaking and video production. The integration of live-action footage and other live-action footage or CGI elements to create realistic imagery is called VFX.

Composition

       Different Aspects of Camera Composition

Framing: framing refers to the way elements are arranged in the frame

. Essentially what the camera sees. The way actors are blocked, and move through the scene, and set design, all these things play a role in framing.

Rule of Thirds: The rule of thirds involves mentally creating equally spaced vertical and horizontal lines on a potential shot or image, then placing points of interest on this grid's lines and intersection points. The theory is that the filming style will create more pleasing visuals to the viewer's eye.

Depth of Field(DOF): Depth of field is the range of distance within which all objects will be in acceptable sharp focus. It is an area in front of and behind the principle point of focus that will also be in acceptable focus.

Deep: 

Deep focus cinematography is when a large section of what is on screen is in perfect focus. Often, video has a more shallow focus. For instance, a shot that is focusing on one person talking will usually only have that person in focus. The rest of the detail in the shot, including the background, will be out of focus. The detail is not necessarily required and only having the subject in focus can be a way for the director to show people who or what they should focus on. Deep focus keeps the whole shot in focus. 

Shallow: Shallow focus is a photographic and cinematographic technique incorporating a small depth of field. In shallow focus, one plane of the scene is in focus while the rest is out of focus. Shallow focus is typically used to emphasize one part of the image over another.

Focus Pulls: The focus pull (AKA rack focus) is a creative camera technique in which you change focus during a shot. Usually this means adjusting the focus from one subject to another.

Camera Movement

Different Types Of Camera Movement

Pan: The pan shot is a traditional movement in which the filmmaker moves the camera horizontally from left or right while its base remains locked. 

Tilt: A tilt shot is shot that uses a cinematographic technique called tilting in which the camera stays fixed but rotates up and down on a vertical plane. Tilting is similar to the motion of an individual raising or lowering their heads. This is different than the panning of a camera which also sits on a fixed but moves left to right.

Track:  a tracking shot is when the camera physically moves through the scene rather than simply panning around from one static spot.

Dolly: A dolly shot is a specific kind of tracking shot where it follows a subject on an apparatus called a dolly. A dolly is a cart that the camera is mounted on, which rolls along dolly track or on its own wheels. Dolly shots are designed to be smooth and controlled camera movements.

Crane: A crane shot is taken by a camera mounted on a jib or crane that moves up and down. The terms 'jib' and 'cranes' are used interchangeably. The main function of a jib is to extend your camera out over a tripod, moving the camera up, down, left, right, or in any of those combinations.

Steadcam: A Steadicam is a camera stabilizing system used to capture tracking shots with motion picture cameras. It isolates the camera operator's movement and makes the shot look smooth and controlled, capturing the action without any wobbles.

Hand Held: With handheld shots the camera is carried by the operator, often creating an uneven movement. These shots allows the operator to follow action very closely, creating a greater sense of immediacy for the audience, and may mimic the movement of a character in point of view shots.

Zoom: A zoom shot is when the focal length of a camera lens is adjusted to give the illusion of moving closer or further away from the subject.

Dolly Zoom: A dolly zoom is an in-camera effect where you dolly towards or away from a subject while zooming in the opposite direction. Also known as a zolly, this shot creates a sense of unease in the viewer, simulates a spatial warp, and can either shrink or extend distances based on the choice of direction.

Camera Angles

                   3 Different Camera Angles

High Angle: a high angle shot is a filming technique where the camera looks down at the subject from above. When you see someone or something from a higher perspective, it makes the subject seem smaller — both literally and metaphorically — which can result in different outcomes for the audience.

Low angle: A low angle shot is a film shot taken from a camera angle positioned below the average eye line and pointing up. Low angle views can be used in conjunction with wide shots, medium shots, close-ups, and most other standard cinematic shots.

Canted (Dutch) Angle: In filmmaking and photography, the Dutch angle, also known as Dutch tilt, canted angle, or oblique angle, is a type of camera shot which involves setting the camera at an angle so that the shot is composed with vertical lines at an angle to the side of the frame, or so that the horizon line of the shot is not parallel.

Camera Shots

                     Different Camera Shots

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  Estabishling: An establishing shot is a shot in filmmaking or television that sets up the context for the scene ahead, designed to inform the audience where the action will be taking place. It shows the relationship between people and objects, and establishes the scene’s geography.

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  Master: These shots that capture all of the action happening in a scene are usually set up as wide shots. Because they record everything, these are crucial shots for basic coverage. Editors can let a scene breathe by cutting to the master shot during pauses in action or dialogue.
  

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  Close Up: A close-up shot  is a photograph or movie shot taken of a subject or object at close range intended to show greater detail to the viewer. If the subject is a person, the close-up starts at the shoulders and ends at the top of the head. Close-up shots signal to the audience that something is important, and this can be a prop or reaction, but often it is best when the subject or object has a significant influence on the story and the viewers understanding of your story.  

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  Mid Shot: A medium shot (also referred to as MS), or waist shot is captured at a medium distance from the subject. It is used for dialogue scenes, but also depict body language and more of the setting. Oftentimes it will frame multiple subjects as well as a portion of the background and space in general. 
  

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  Wide Shot: A wide shot (WS), also referred to as a long shot, is a camera angle that shows the entire object or person and their relation to what surrounds them.

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  Two Shot: A two shot is a shot in which the frames a view of the subjects. The subjects do not have to be next to each other. There are many which have one subject in the foreground and the other subject in the background. The shot is used to show the emotional reactions between the subjects.
  

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  Aerial Shot: An aerial shot is a shot that's taken from an elevated vantage point than what is framed in the shot. Aerial shots gives viewers a deeper understanding of what is happening below, both literally and metaphorically.

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  Point of View Shot (POV): A point of view shot is a film angle that shows what a character is looking at in the first person. In other words, the camera acts as the eyes of a character and the audience sees what they see. It is usually established by being positioned between a shot of a character looking at something, and a shot showing the character's reaction. 
  

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  Over The Shoulder(OTS): An over-the-shoulder shot (OTS) is a shot in which the camera is placed just behind an "off-screen" actor so that their shoulder is in the frame while you capture the "on-screen" actor's coverage. You can do this to orient your viewer, but an over-the-shoulder shot will also suggest a connection or understanding between the characters in your scene.

Editing

Different Aspects of Editing

    Editing and post-production are essential aspects of videography that should not be overlooked. They play a crucial role in enhancing visual appeal, creating a compelling narrative, engaging the audience, ensuring brand consistency, and correcting errors.

Reverse Angle Shot:

• A reverse angle shot is a shot taken roughly 180 degrees opposite of the shot prior. Reverse angle shots are most commonly seen in dialogue scenes and are essential for shot-reverse shot sequences. Reverse angle shots give audiences different perspectives of the same scene. 
  

Eyeline Match:

• Eyeline Matching is a technique where two shots are edited together to make it appear that one character is looking at another character, even though two takes may have been recorded at different times. Matching eyelines create continuity of space and time for the audience.
  

Graphic Match:

• Also known as visual match cuts, these transitions connect two different scenes with similar visual styles, through colors, shapes, or patterns.
  

Action Match:

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  A match on action cut (also referred to as cutting on action) is a type of film transition that cuts from one shot to a closer shot in order to emphasize an action. Match on action cuts are used by filmmakers to generate seamless flow in editing. Match on action cuts are also an important part of continuity editing.
  

Jump Cut:

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  A jump cut in filmmaking is an edit to a single, sequential shot that makes the action appear to leap forward in time, it must break a continuous shot into two parts. This causes the subject in the video to abruptly “jump” to a different position.

Crosscutting:

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  Cross cutting in film is an editing technique that cuts separate actions together to illustrate moments that take place simultaneously within the narrative structure. The “rules” of cross cutting as far as their relation to scale and time are not overly strict, but the majority of cross cuts are used to show large scale events that occur across multiple locations.

Parallel Editing:

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  Parallel editing is a specific cross cutting technique that creates a narrative parallel that the viewer may compare and contrast. For example, if one character is scrubbing toilets while the other is riding a jet ski across a scenic lake, the visuals will create an undeniably powerful narrative point of view through the use of editing both scenes next to and in between each other.

Cutaway:

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  The cutaway shot is a backbone in filmmaking and editing techniques that you'll see in nearly every film and TV show. A cutaway shot is a supplementary shot that “cuts away” from the main action to indicate something else in the space, such as an object or location.

Insert:

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  Insert editing is a way to add clips to a video project without overwriting any other files. It pushes one clip further into the timeline to make room for the new clip.
  

Mise-en-Scene (Setting)

                           MISE-EN-SCENE

Mise-en-scène is the stage design and arrangement of actors in scenes for a theatre or film production, both in the visual arts through storyboarding, visual themes, and cinematography and in narrative-storytelling through directions.

Production Design:

• Production design is the intersection of art, architecture and narrative, using space, lines, shapes, colors and patterns to form
  a distinct visual language to elevate on-screen stories. Often overlooked, production design has an incredible impact on how audiences feel when they watch a film or television show.
  

Location:

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  The right film location serves as a dynamic backdrop that enhances the storytelling process. It sets the tone, atmosphere, and visual appeal of a film, playing a pivotal role in creating a compelling and immersive viewing experience for the audience.

Studio:

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  A benefit of shooting in a studio space is that the environment can be completely controlled, which is a key difference between studio and location filming. The environment of the studio can be set for the type of production that is being filmed.
• Studios give the ability to control and adjust the lighting in a film. Lighting is one of the most important parts of any film, as it can make all the difference between a good movie and a bad one.

Set Design:

• Set design is integral to the overall look and feel of a film. It helps to establish the time period, geographical location, socio-economic status of characters, and even their personalities and emotions.

Costume and Makeup:

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  Costume designers and makeup artists are essential for creating a visually stunning film. They can enhance the mood, the character, and the story of the film through their choices of colors, fabrics, accessories, and effects.
  
  

Lighting, Color Design:

• Lighting and colour can be used as visual tools to create meaning, and to create a sense of depth and three-dimensionality.
  
  Both help to establish mood and atmosphere and can highlight and define certain objects and characters to code a story.
  

Soundtrack

           Different Aspects of Soundtrack

Scoring:

• Scoring refers to the original music that accompanies a film, whereas a soundtrack is generally used to refer to the selection of recorded songs that accompanies a film.
• The score is music that is tailor made for a film, and is usually written by a composer who is specifically contracted for the production. The purpose of this original composition is to underscore and accentuate the delivery of a scene’s mood and the film’s emotion.

Incidental Music:

• Incidental music is often background music, and is intended to add atmosphere to the action. It may take the form of something as simple as a low, ominous tone suggesting an impending startling event or to enhance the depiction of a story-advancing sequence.

Themes and stings:

• “Stings” are musical cues that come in sharply and dramatically, often played just after an actor deliveres a line indicating a new turn in the story line.
• A theme is music that is always played when a program or film or character in a series comes on.

Ambient Sound:

• Ambient sound is basically just background noise. The buzz of traffic, the sound of rain.
• Its main purpose is to provide consistent and natural background noise for dialogue and sound effects, resulting in a realistic sound mix. Without ambient sound, a scene can often feel 'dead' or uncanny, and the dialogue can sound unrealistic or out of place, as if the air has been sucked out of a room.

Sound

                Different Aspects Of Sound

    Sound is a very important aspect in media. If there was no sound, viewers would have no idea what exactly they are watching, and if the audio quality is poor it can alter the viewers watching experience. Sound cues reach out of the flat screen and envelope the listener to create realism, depth, texture, and emotional resonance to the scenes. Not only that, but sound design in film can also inform the listener of offscreen information, build anticipation, or create surprise.

1. Diegetic and Nondiegetic:

• Diegetic sound is heard by both the audience and the characters, unlike non-diegetic sound which is used purely for the audience’s benefit – and both types of sound combined can create a more atmospheric film.
• Diegetic sound is sometimes known as ‘actual sound’ and the term comes from the Greek word diegesis, which translates as ‘to narrate’.
• In contrast to diegetic sound, which is heard by both the audience and the film’s characters, non-diegetic sound is only heard by the viewers. This type of sound and music is added in post-production.

2. Synchronous/Asynchronous:

• Asynchronous sound is a situation when audio tracks are out of unison with the visuals in the frame.
• Synchronous sound, or sync sound, is audio that lines up precisely with what's happening on screen. Character dialog, a shot of a river with rushing water sounds, and punching sounds during a fight scene are all examples of synchronous sound.
• An Example of Asynchronous sound would be a character as they walk alone down a dark hallway, and you can hear their footsteps as dogs bark — but you can't see any dogs, so the sound is asynchronous.

3. Sound Effects (SFX):

• SFX, or sound effects, is a vital element that film and videos use to stand out. They provide a sense of realism, add and evoke emotions and feelings, and help set the scene without using words or dialogue.
• SFX most commonly stands for sound effects in film and video, but it can also be used to describe special effects as a whole. Sound effects and special effects are used in film and video to influence the mood and reactions of the audience.

4. Motif:

• A sound effect or combination of sound effects that are associated with a particular character, setting, situation or idea through the film.
• What is the purpose of a motif? The main purpose of a motif is to draw attention to a theme. Motifs can engage viewers on an intuitive level and drag the viewer in.

5. Sound Bridge:

• A sound bridge is an editing technique used to transition from one scene to another through sound. Sound bridges, also called an audio bridges, allow filmmakers to transition in or out of a scene by "bridging the gap" with audio. Sound bridges connect two scenes allowing audio from a succeeding scene to play over the preceding scene before the next shot is shown

6. Dialogue:

• Dialogue is a conversation between two or more people, or speech that is written down as part of a piece of narrative text. 
• For example: "I'm not buying that umbrella," Sophie said indignantly, "It's too expensive!"

7. Voiceover (VO):

• Voiceover, or VO, is when an off-camera voice narrates a scene or adds context. Voiceover has been around for ages—TV, radio, film, and theater have all used narration, commentary, or dialogue in some form to move a story forward.

8. Mode of Address/Direct Address:

• Mode of Address simply means how the text speaks to the audience, and involves them. It also refers to how a text influences the audience.
• A direct mode of address speaks straight to the audience maybe as an appeal or as a command. This is a common approach in advertising thanks to the strong preferred readings this anchors. It connotes the personal touch, a real relationship between the text and its audience. 

9. Sound Mixing:

• Sound mixing is the process of adjusting audio levels of all of the sound in a film
• Mixing works with individual instrument tracks to create a complete song and achieve balance within itself.

10. Sound Perspective:

• In sound recording, the apparent distance from the listener of a sound in a mix, based on aural cues such as volume, frequency, echo, timbre, and reverberation.
• uditory perspective is constructed by a variety of techniques that create or reinforce the physical sense of space for the listener through the use of spatialized sound.