MEDIA AESTHETICS

PART – A

 

 1.      Deep focus

·        Deep focus is a photographic and cinematographic technique using a large depth of field.

·        It is the front-to-back range of focus in an image that appears sharp and clear.

·        In deep focus, the foreground, middle ground, and background are all in focus.

2.      Aesthetics

·        It means the pleasant, positive and artful appearance of a person or things

·        It is concerned with the beauty or the appreciation of beauty

·        Example : Car is beautiful

3.      Composition

·        It refers to the frame of image and how the elements of the mise-en-scene appear in it

·  Composition guidelines must be observed when telling story visually

 

4.      Key light

·        A key light is the primary source of artificial light that a cinematographer uses when shooting a scene.

·        It can be anything from a camera mounted flash unit to a lamp.

5.      Fill light

·        It is placed at opposite side of key light

·        It controls shadow produced by key light

6.      Back light

·        Backlight is simply illumination from behind.

·        It is used to separate the subject from the background

·        It is often used to give a three-dimensional appearance to actors or set elements

7.      Background light

·        A background light is used to illuminate the background area of a set.

·        It also provides separation between the subject and the background.

·        Filmmakers add a sense of depth to shots.

8.      Mise –en-scene

·        The arrangement of scenery, properties, etc on the stage of a theatre or on the shooting set of film

·        It refers to the arrangement of everything as it appears in the framing of film-actors, props, light, etc.

9.      Figure and ground

·        Figure and ground organization is a type of perceptual grouping that is a vital necessity for recognizing objects through vision.

·        For example, black words on a printed paper are seen as the "figure", and the white sheet as the "background"

10. Hue

·        Hue is the actual color

·        Red, green, blue are examples of hue

11. Brightness

·        It refers to how much white or black mixed with hue

·       When we mix white, the color will become lighter and black produces darkness

 

12. Saturation

·        It refers to the purity of color

·        It indicates the amount of grey present in color

13. Depth of field

·        The distance between the closest and farthest objects in a frame that appears acceptably sharp.

·        If the foreground is in focus and the background out of focus it is called shallow depth of field

14. Frame

·        It is a single still image of video

·        The images or elements are composed within the frame

15. Visual design

·        It is the use of imagery, color, shapes, typography to create design

·        It is created using principles such as balance, rhythm, dominance, unity, etc

16. Aspect ratio

·        It is the ratio between width and height of an image or screen

·        It is expressed as two numbers separated by colon as in 4:3 and 16:9

17. Visual rhythm

·        Rhythm is one of the principles of art

·        Visual rhythm is rhythm we receive through our eyes

·        It is created by repeated positive shapes separated by negative spaces

18. Point of view

·        It is a shot that shows what a character is looking at

·        When the character looking at something, to show the character reaction POV shot is used

19. Rack focus

·        Changing the focus of lens during shooting is called rack focus

·        It makes foreground clear and background out of focus or vice versa during shooting.

20. Selective perception

·        It is the process by which individuals perceive what they want in media messages

·        The viewers watch the required information and ignore other unwanted information

21. Soft box

·        It diffuses the light into pleasing soft and even light

·        It reduces harsh shadows

22. Closure

·        It is the design technique that uses the human eye tendency to see closed shape

·        The object is not fully closed but the viewer perceives a complete shape by filling in the missing information

23. Screen space

·        What is within the frame is on screen space and the world that exist beyond the frame is off screen space

·        In an interview program if an interviewer is in on screen it means the interviewee is in off screen

24. Pan

·        It is a camera movement from left to right or right to left

·        It is a technique where we follow a moving object

25. Long shot

·        A long shot or wide shot is all about characterization and can set a strong tone for a photo or movie.

·        Long shot capture the entire subject from head to toe.

·        Long shot is the best way to define the subject in relation to its background.

26. Secondary motion

·        It is a movement that is dependent upon an active movement

·        The movement of head is primary motion and the movement of hair is secondary motion

27. Slow motion

·        It is an effect in film making whereby time appears to be slowed down

·        It is achieved when each film frame is captured at a rate much faster than it will be played back

28. Line of force

·        It is an imaginary line which represents the strength and direction of a magnetic, gravitational and electric field at any point

·        It is called vector line

29. Low angle shot

·        It is a shot from a camera angle positioned anywhere below the eye line pointing upward

·        It is used to show the subject look strong and powerful

30. Montage

·        The technique of selecting, editing and joining together various sections of film to form a continuous whole

·        It conveys story using short, shots.

·        For example, a montage might show a young couple going through a series of increasingly intimate dates while a romantic song plays in the background.

 

31. 3D

·        The objects in 3D computer graphics are often referred to as 3D models

·        Three-dimensional computer graphics are graphics that use a three-dimensional representation of geometric data. 

32. Acromatic colors

·        An acromatic colors use varying shades of white, gray and black.

·        Being of the achromatic color of maximum darkness; having little or no hue owing to absorption of all most all incident light.    

33. Sound perspective

·        It is the distance and position of the audio creating realism in the sense of space within the film

·        Example – sound level increase from low level to high when a car coming from long distance to near and sound level decrease from high to low level when the car passing away from the character

34. Diegetic sound

·        It is actual sound which has a source on screen

·        Dialogue between characters, footsteps are examples for diegetic sound

35. Non-diegetic sound

·        Non-diegetic sound is any type of sound that does not specifically exist within the world of the film itself.

·        In other words, it's the type of sound that characters in a film are not able to hear, but that we can.

·        Traditional film music and voice-over narration are typical examples of non-diegetic sounds

36. Color juxtaposition

·        A bright color will make the color that lies next to it appear more like its complementary colors

·        The effect of juxtaposing contrasting colors creates movement and energy

37. Lead room

·        It is the space in front and in the direction of moving object or subject

·        It gives the feeling that the subject is pointing or moving to a particular direction

38. Color harmony

·        It is the balanced energy of colors

·        It is achieved with dark color set off against light colors

39. Relative size

· It is guessing of the size of an image

·        Also able to identify where it is located on axis

40. Lighting

·        The deliberate manipulation of light and shadow is called lighting.

·        Three point and four point lighting techniques are used in video production

41. Chromatic color

·        Its basic meaning is with color – Blue, Red, Violet, etc.

·        Chroma is another term for more accurate saturation

42. Color symbolism

·        It refers to the use of colors as a symbol

·        Pink symbolizes love and romance, caring and calm

43. Aesthetic element

·        Visual aesthetic elements are color, shape, pattern, line, texture, etc

·        Sound aesthetic elements are loudness, pitch, beat, melody, noise, etc

44. Primaries

·        The additive primaries are red, green, blue and subtractive primaries are cyan, magenta and yellow

·        The mixing of these primaries produce other colors

45. Mood lighting

·        It is the ability to create an atmosphere within an area using lighting

·        It is similar to stage lighting to change the mood of scene

46. Form

·        If an object has height, width and depth, it is a form.

·        Basic forms are three-dimensional figures, including spheres, cubes, cylinders, pyramids and cones.

· A form can be a man-made, geometric shape that is mathematically precise in all its angles and edges, or it can be a natural.

 

47. Symbol

·        A symbol is a mark, sign, or word that indicates, signifies, or is understood as representing an idea, object, or relationship.

·        Symbols take the form of words, sounds, gestures, ideas, or visual images and are used to convey other ideas and beliefs.

·        For example, a red octagon is a common symbol for "STOP"; on maps, blue lines often represent rivers; and a red rose often symbolizes love and compassion.

48. Unity

·        Unity is the principle of design that allowing each individual element to coexist with one another to form an aesthetically pleasing design

·        Unity refers to the repetition of particular elements throughout the design whether they're colors, shapes or materials to pull the look together

49. Plot

·        The plot is what happens in a story.

·        A strong plot is centered on one moment an interruption of a pattern, a turning point, or an action that raises a dramatic question, which must be answered throughout the course of the story. 

50. Color temperature

·        Color temperature is a way to describe the light appearance provided by a light bulb.

·        It is measured in degrees of Kelvin (K) on a scale from 1,000 to 10,000.

51. Low key lighting

·        Low-key lighting is a lighting effect that uses a hard light source to enhance shadows in scene.

·        Low-key lighting is all about shadows and contrast.

·        A low-key image is one that contains predominantly dark tones and colors

52. RGB

·        RGB means Red Green Blue, ie the primary colors in additive color creation.

·        Red, Green and Blue, each being coded on 256 levels from 0 to 255.

· For example, black corresponds to the levels R=0, G=0, B=0, and white corresponds to the levels R=255, G=255, B=255.

 

53. Storyboard

·        A storyboard is a graphic organizer that consists of illustrations or images displayed in sequence for the purpose of pre-visualising a motion picture, animation, motion graphic or interactive media sequence.

·        A storyboard is a planning document. 

54. Cross shooting

·        Shooting two people at roughly the same angle from opposite but corresponding positions.

·        A technique for filming interactions between two people in which the camera looks alternately at one or the other person, with the focus on the person farthest from the camera.

55. Visualization

·        Visualization is any technique for creating images, diagrams, or animations to communicate a message.

·        Visualization through visual imagery has been an effective way to communicate ideas

56. Field of view

·        Field of view (FOV) is the maximum area of a sample that a camera can image.

·        It is related to two things, the focal length of the lens and the sensor size.

·        The focal length of the lens describes the distance between the lens and the focused image on the sensor.

57. Continuity

·        Continuity is the principle of making sure that all details in a film or TV show are consistent from shot to shot and from scene to scene.

·        Some of the continuity in film making are acting continuity, props Continuity, costume Continuity & 180 degree line.

58. Plot order

·        The plot is the sequence of events in the story from the beginning to the end.

· The order of events is: exposition, rising action, climax, falling action, and resolution.

 

59. Media form

·        Media forms refer to technological means and channels by which the media is created, produced, distributed, consumed and read.

·        Media forms include moving image, for example film, television, video, animation, still image, for example photography.

60. Sound design

·        Sound design is the art and practice of creating sound tracks for a variety of needs.

·        It is employed in filmmaking, television production, video game development, theatre, sound recording and reproduction, live performance, sound art, post-production, radio and musical instrument development.

61. Chiaroscuro lighting

·        Chiaroscuro is the use of contrast between light and dark to emphasize and illuminate important figures in a painting or drawing.

·        It is used to create tension between the light and dark elements in portraits and other still life.

62. Linear perspective

·        Linear perspective, a system of creating an illusion of depth on a flat surface

·        An example of this would be standing on a straight road, looking down the road, and noticing the road narrows as it goes off in the distance.

63. Nose room

·        Nose room refers to the practice of giving space to where someone is looking.

·        If an actor is filmed in profile looking to screen left, their head should be framed further to screen right to give the appropriate space to their gaze.

64. Angles

·        The camera angle marks the specific location at which the movie camera or video camera is placed to take a shot. 

· There are a number of camera angles, such as a high-angle shot, a low-angle shot, a bird's-eye view and a worm's-eye view.

 

65. Three point lighting

·        Three-point lighting is a type of lighting setup where key light, fill light and backlight are used to illuminate a subject in a scene

·        It is used in traditional photography, cinematography, and 3D visualizations to properly illuminate a subject in an effective and pleasing way.

66. Shade

·        Shade is the blocking of light by any object, and also the shadow created by that object.

·        Shade also consists of the colors grey, black, white, etc.

·        It may refer to blocking of sunlight by a roof, a tree, an umbrella, etc.

67. Aspect ratio

·        The aspect ratio of an image is the ratio of its width to its height.

·        It is commonly expressed as two numbers separated by a colon, as in 16:9. For an x:y aspect ratio, the image is x units wide and y units high.

68. Flashback

·        A scene in a film, novel, etc. set in a time earlier than the main story.

·        Flashbacks interrupt the chronological order of the main narrative to take a reader back in time to the past events in a character's life.

69. Narration

·        The action or process of narrating a story.

·        Narration is the use of a written or spoken commentary to convey a story to an audience.

·        Narration is conveyed by a narrator: a specific person or unspecified literary voice, developed by the creator of the story, to deliver information to the audience, particularly about the plot

70. Character

·        A character is a person, animal, being, creature, or thing in a story.

·        Writers use characters to perform the actions and speak dialogue, moving the story along a plot line. 

71. Balance

·        Balance is the distribution of the visual weight of objects, colors, texture, and space

·        Symmetrical design creates balance through equally weighted elements aligned on either side of a center line.

·        Asymmetrical design uses opposite weights to create a composition that is not even, but still has equilibrium.

 

72. Emphasis

·        Emphasis is a strategy that aims to draw the viewer's attention to a specific design element.

·        The aim is to create a focal point in the design: an eye-catching part that stands out, distinct from the rest of the design elements

73. Proportion

·        Proportion is the visual size and weight of elements in a composition and how they relate to each other.

·        It often helps to approach design in sections, instead of as a whole.

74. Rhythm

·        Rhythm in art and design refers to a relationship between elements that creates a sense of harmony.

·        Rhythm can be seen in patterns, in relationships between colours and shapes, and in repetitions of lines and forms.

75. Repetition

·        The principle of repetition simply means the reusing of the same or similar elements throughout the design.

·        Repetition of certain design elements in a design will bring a clear sense of unity, consistency, and cohesiveness.

76. Proximity

·        In graphic design, proximity is a principle of design that refers to the spatial relationship between the elements of the design.

·        The rules of proximity are pretty simple: things that are related should be nearer to each other, and things that are unrelated should be placed farther from each other.

77. Texture

·        Texture is the physical feel of something smooth, rough, fuzzy, slimy, etc.

· Sandpaper is very rough it has a gritty, rough texture.

78. Typography

·        Typography design is the art of arranging a message in a readable and aesthetically pleasing composition.

·        Typography doesn't ask the designer to draw their own letterforms, but to instead work with typefaces that already exist.

79. Contrast

·        Contrast creates space and difference between elements in design.

·        Background needs to be significantly different from the color of elements so they work harmoniously together and are readable.

·        Example – black text on white background

80. Space

·        Space refers to the area that a shape or form occupies.

·        The positive space of a design is the filled space in the design often it is the shapes that make up the design. Negative space is the background.

81. Movement

·        Movement is controlling the elements in a composition so that the eye is led to move from one to the next and the information is properly communicated to the audience.

·        Such movement can be directed along lines, edges, shape, and color within the work of art.

82. Color energy

·        Each color found in the visible light spectrum has its own wavelength and its own frequency, which produces a specific energy

·        We know some rays can be dangerous if we are exposed to them. But the visible light, the rainbow, has a peaceful effect on us.

83. Flat lighting

·        Flat lighting takes its name from how the resulting image can look, flat and lifeless.

· Flat lights are caused by even lighting in an environment.

·        Overcast skies and direct flash situations can all produce flat lighting.

84. Headroom

·        Headroom refers specifically to the distance between the top of the subject's head and the top of the frame.

·        Leaving subject headroom gives balance to the shot composition.

85. Design elements

·        The elements of design are the fundamental aspects of any visual design which include shape, color, space, form, line, value, and texture.

·        Graphic designers use the elements of design to create an image that can convey a certain mood, draw the eye in a certain direction, or evoke a number of feelings. 

86. Line

·        A line is a design element which has length, thickness, and direction.

·        It is used to create shapes such as square, rectangle, triangle, etc.

87. Warm colors

·        Any color that is vivid or bold in nature. Ex.- Red, Yellow, Orange.

·        Warm colors are those that tend to advance in space.

88. Cool colors

·        Cool colors such as blue, green, and purple (violet)

·        It evokes a cool feeling because they remind us of things like water or grass.

89. Color wheel

·        The color wheel, sometimes called a color circle, is a circular arrangement of colors organized by their chromatic relationship to one another.

·        The primary colors are equidistant from each other on the wheel and secondary and tertiary colors sit between them.

90. Depth cues

·        The relative size of an object serves as an important monocular cue for depth perception.

·        If two objects are roughly the same size, the object that looks the largest will be judged as being the closest to the observer.

·        In cinema, depth cues are provided by lighting, setting, costumes, staging, etc. all the aspects of the mise-en-scene.

91. Aesthetics 

·        It means the pleasant, positive or artful appearance of a person or a thing.

·        Aesthetic is being interested in how something looks and feels.

·        An example of someone who is aesthetic might be an artist.

PART B & C

 

 1.      Warm color

 ·      Warm colors are generally bold in nature

·        Warm colors consist of red yellow, orange and combination of these colors

·        It tend to make think of warm things such as sun light and heat

·        Visually warm colors look come closer

 

2.      Cool color 

·        Any color that is calm in nature is cool color

·        Blue, green, light purple are example for cool colors

·        Cool color remind us of water and sky, even eyes and snow

·        Cool colors make a space seem larger

 

3.      Color Psychology

·        Color psychology is the study of how colors determine human emotions and behaviors.

·        We react to colors based on a complex series of interactions between our personal tastes, our family upbringing, and our cultural background.

·        Blue is used for calming or sleep-inducing pills whereas red or yellow are usually used for stimulants.

·        Every brand and business uses colors deliberately in their product designs, packaging, advertisements, and websites.

            ·        Color can be used to influence consumers emotions and perceptions of goods

            ·        Companies also use color when deciding on brand logos

            ·        Colors are also important for indoor displays in store

            ·        The logo seem to attract more customers when the color of the brand logo matches the             personality of goods

            ·        Warm colors tended to attract spontaneous purchases cool colors being more favorable

  4.      Importance or functions or need of editing 

Combine 

·        It is joining various shots into proper sequence.

·        During TV serial shooting, various shots are shooting in different places.

·        Finally all the shots are combined together in sequences. 

Shorten 

·        Cutting the available material to make the final video tape fit in a given time slot.

·        3 hours of cricket match will be shorten to 2 minutes to show it in news 

Correction 

·        Mistakes are corrected during editing.

·        It means deleting unacceptable shot, doing color correction, etc. 

Build 

·        It is the final output of programme.

·        Editing, special effects give final shape to programme. 

 

5.      Importance of lighting / functions of lighting 

·        Lighting is the deliberate control of light and shadows.

·        Lighting helps us, or makes us, see and feel in a specific way.

·        Lighting is used to illuminate the object and show the character on screen

·        Lighting creates a visual mood, atmosphere, and sense of meaning for the audience.

·        Whether it's dressing a film set or blocking actors, every step of the cinematic process affects the lighting setup, and vice-versa. 

·        Lighting tells the audience where to look.

·        The most crucial role of lighting in film is to communicate with the audience.

·        Lightings are used in different timings such as early morning, afternoon, evening and night

·        It is used to establish time, season and environment

·        Audience get thrilling mood if there is no light or less light in a scene

·        Artificial lights and available lights are used to make film

·        Different lightings used in different situations such as office environment, discotheque, festivals, horror, etc.

·        Light determines the quality of video

·        It also adds color and texture to a scene

·        Proper use of light can change the way of people and objects appear in the scene

 

6.      Continuity editing 

Subject identification 

·        The shot must be gradually changed to avoid confusion.

·        If we show extreme long shot the next shot should be long shot, then mid shot, and close up shot.

·        Don’t show close up shot immediately after extreme long shot. 

Mental map 

·        It defines on screen and off screen space.

·        Our mind automatically fill up the character which is out of screen.

·        In an interview, if we show interviewer is on screen, our mind visualize that interviewee is out of the screen. 

Vectors 

·        Graphic vector – The eye angle towards taller building

·        Index vector – It shows the direction

·        Motion vector – It shows the movement of object in a particular direction 

Movement 

·        It is like following 180 degree rule.

·        The camera must be moved on the same axis particularly in the over the shoulder shot. 

Color 

·        The dress and background color from one shot to another shot must be same.

·        If color continuity missing the audience get confusion 

Sound 

·        The music must be appropriately cut to avoid confusion.

·        If sound continuity is not good, it disturbs the mood of the scene.  

 

7.      Process of perception 

Perception is a process by which people regard, analyze, retrieve and react to any kind of information from the environment 

Stimulation (sudden sound of musical instrument Thavil) 

·        In order to perceive that something is happening, it must come to persons attention

·        Stimulation can occur through smelling, hearing, touching and tasting

Organization (Brian understand that this is Thavil sound) 

·        Human brain organizes the events by familiar components

·        Connecting familiar components with past experiences helps the person understand what is transpiring 

Interpretation (Whether the Thavil is for marriage or religious festival) 

·        Individuals apply their own biases to it through interpretation referred to as evaluation

·        Relating cost experiences, beliefs, values and more a person can desire what the meaning of the event is and how to react it 

Memory (Thavil sound stored into our memory) 

·        To remember a perceived event it must be stored into memory

·        Individuals use doors previously formed associations with personal beliefs and experiences to remember events 

Recall (We recollect Thavil sound wherever we receive the sound from somewhere) 

·        Remembering the perceived event later on will retrieve the most important details of it 

 

8.      Color attribute 

·        Every color can be described in terms of having 3 main attributes hue, saturation and brightness. 

Hue 

·        It is the actual color

·        Red, green, blue, etc are examples of hue

 

Saturation

 

·        It refers to the purity of color

·        This indicates the amount of grey in color

·        Original color + grey color = saturation

 

Brightness

 

·        Brightness is the relative lightness or darkness of a particular color, from black (no brightness) to white (full brightness).

 

9.      Functions or importance of color 

Use color to speed visual search 

·        Color coding is a way to convey information quickly, which facilitate visual search

·        Colored line in map used to locate the place easily 

Use color to improve object recognition 

·        We recognize objects more quickly when their color reflects

·        We can identify dairy milk chocolate with purple wrapper

Use color to enhance meaning 

·        Each and every color has meaning

·        When we see green color package it symbolizes vegetarian if it is red it symbolizes non-vegetarian 

Use color to convey structure 

·        Color is used in technical documentation and textbooks to convey structure

·        In a book chapter names are printed in one color and other texts are printed in some other color 

Use color to establish identity 

·        In marketing and advertising color identity is important

·        Red wrapper represents kitkat chocolate and yellow wrapper represents milkybar 

Use color for symbolism 

·        Orange color is associated with excitement, white for purity, red for danger, etc 

Use color to improve usability 

·        The wise use of color can improve usability for everything

·        Green color dustbin used to collect biodegradable waste, black for e-waste, and blue for plastic and metal waste 

Use color to communicate mood 

·        Colors used to evoke emotions

·        Lighter colors are associated with more positive affect and darken color with more negative 

10.      Types of montage 

Montage is a technique in film editing in which a series of short shots are edited into a sequence to condense space, time, and information. It was introduced to cinema primarily by Sergei Eisenstein and early Soviet directors used it as a synonym for creative editing. 

Types of Montages

·     Metric montage - Metric montage refers to the length of the shots relative to one another. Regardless of their content, shortening the shots abbreviates the time the audience has to absorb the information in each shot. This increases the tension resulting from the scene. The use of close-ups with shorter shots creates a more intense sequence.

·       Rhythmic montage - Rhythmic montage refers to continuity arising from the visual pattern within the shots. Continuity based on matching action and screen directions are examples of rhythmic montage. This type of montage has considerable potential for portraying conflict because opposing forces can be presented in terms of opposing screen directions as well as parts of the frame.

 

·        Tonal montage - Tonal montage refers to editing decisions made to establish the emotional character of a scene, which may change in the course of the scene. Tone or mood is used as a guideline for interpreting tonal montage.

 

·     Overtonal montage - Overtonal montage is the interplay of metric, rhythmic, and tonal montages. That interplay mixes pace, ideas, and emotions to induce the desired effect from the audience.

 

·      Intellectual montage - Intellectual montage refers to the introduction of ideas into a highly charged and emotionalized sequence. The practice of cutting according to the shot’s relationship to an intellectual concept. 

 

11.      Types of lighting used in film 

Key light – This illuminates the objects / subjects. It is the light that gives shape to form an object.

Fill light – It is placed at opposite of key light. This controls the shadow produced by key light.

Back light – This is at back of object. It separates the object from background.

Kicker light – It is a light that grazes along an actors cheek on the fill side from behind.

Topper (Top light) – Light coming directly over head. The light spread over the head, face and nose.

Hard light – It creates sharp well defined shadows. Sun is example for hard light.

Soft light – The light that creates soft, ill-defined shadows. Moon is example for soft light.

Ambient light – The light which already exist at the location. It can be sun, moon, street lights, etc.

Bounce light – Light that is reflected off from wall, ceiling or any white surface. It makes the light soften. 

Side light – It is to illuminate to the scene from the side, parallel to the subject. It brings out the textures or edges in a scene.

 

12.      Elements of aesthetics 

·        Aesthetic is the study of beauty and taste.

·        It is related to the study of sensory values 

Vision 

·        It is the most dominant sense of people

·        It is natural of a person to look at beautiful things

·        Color, shape, line, pattern, texture, balance are the key elements of visual aesthetics 

Hearing 

·        It is the sense of hearing sound

·        Our ears are capable of bearing sounds

·        Loudness, pitch, beat, repetition, melody, noise are the key elements of hearing 

Touch 

·        Skin is the largest sensory organ in human body

·        It helps us to experience the aesthetics

·        Texture, shape, temperature, vibration, etc are the key elements of touch 

Taste 

·        It is the sense that helps us to experience aesthetics more deeply

·        It is mainly used in food industry

·        Sweetness, sourness, strength, texture are the key elements of taste 

Smell 

·        It is also the sense that helps us to experience aesthetics more deeply

·        It is done by nose

·        Strength, sweetness, pleasantness are the key elements of smell 

 

13.      Outer orientation functions of light 

·        The use of lighting to articulate the outer environment is known as outer orientation

·        It shows us what an object looks like; whether it is round or flat and has rough or smooth surfaces and round or sharp edges

·        It lets us know whether it is day or night, morning or noon, summer or winter 

Spatial orientation 

·        Lighting reveals the basic shape of an object and where it is located

·        The key light and the attached shadows are used to create the basic shape of the object

·        The cast shadow indicates where the object is; whether it sits on a table or floats above it, whether it is close to the wall or away from it 

Tactile orientation 

·        Lighting for texture is supposed to appeal to our haptic (touch) sense

·        Example – wrinkles and the folds in a curtain represent an enlarged surface texture. If you point a spotlight at the wrinkled side, the curtain will be greatly emphasized

Time orientation 

·        Control of light and shadows also helps viewers determine the time and even the seasons

·        Lighting can show whether it is day or night

·        It can indicate the approximate hour of the day or at least whether it is early morning, high noon or evening

·        It can also suggest whether it is winter or summer 

 

14.      Inner orientation functions of light 

·        Use light to articulate the inner environmental - that of our feelings and emotions - a lighting function we call inner orientation.

·        The specific inner orientation functions of lighting are: establishing mood and atmosphere, above –eye-level and below-eye-level key light position, predictive lighting and the use of light and lighting instruments as dramatic agents

·        Establishing mood and atmosphere: some lighting makes us feel happy, some sad, and some uncomfortable or even frightened. 

High key lighting 

·        The key light shines down on the scene from above

·        It is bright and a light background

·        Television news sets and interview areas, game shows and many situation comedies have high-key illumination. 

Low key lighting 

·        The key light shines up on the scene from down

·        This is used to create horror effects

·        Above and below-eye-level key-light position : lighting is achieved by having the key light illuminate a person from above eye level and the light source strikes the face from below eye level 

Predictive lighting 

·        This technique helps to indicate a coming event

·        Light that changes from high-key to low-key, from general to specific, from above eye level to below eye level can signal how the event will go

·        Such drastic lighting changes give the viewer a strong clue to some unpleasant future event  

 

15.      Importance of shadow 

·        Shadows define space – when objects are lighted with diffused light, tells how much space the object occupies

·        As soon as we attach a shadow, we perceive the object as rounded and 3 dimensional

·        Shadow tells the time to viewer

·        It is used in cinema to create horror and thriller effect

·        If no shadow the object looks fly on the sky

·        It gives feel that the object is placed on the surface

·        It tells the lighting direction and falls opposite to it

·        Need more lighting instruments for controlling the shadows. (Fill light) 

 

16.      Media enhanced and media generated lighting 

·        Media controlled lighting effects are achieved through digital special-effects equipment

·        In computer-generated images all lighting effects are looking like painting

·        Computer graphics programs simulate light sources and their resulting attached and cast shadows

·        All photographic arts (still photography, film and video) can enhance, change, lighting effects through manipulation by the medium

·        In photography the brightness and contrast is adjusted through filters

·        In digital photography and video can be manipulated with the camera controls, electronic enhancement equipment and computer software

·        Video allows further electronic manipulation by viewers, who may adjust, the brightness, contrast, and color controls of their television sets

 

 17.      Relativity of color or relative characters of color 

The same red may look lighter or darker, bright or dull, strong or weak, depending on what kind of light or how much light falls on it, on what colors surround it. 

(i) Light environment 

·        Colors change depending on how much and what kind of light falls on the object

·        Because color is basically filtered and reflected light.

·        With adequate light a colored object can reflect enough of the rejected light so that we can see its actual color. 

(ii) Surface reflectance 

·        Whether an object reflects too much or too little depends on how much light the surface of the object reflects.

·        Less light is needed to bring out the colors of a polished object than light-absorbing surface.

·        A mirror reflects almost all the light that falls on it, whereas a velvet cloth absorbs most of it. 

(iii) Color temperature 

·        White color at midday sunlight has an extremely bluish tinge; during sunrise or sunset, it is much more reddish.

·        This relative reddishness or bluishness of white light is measured by color temperature in Kelvin degrees.

·        The more bluish the light, the higher the color temperature; the more reddish the light, the lower the color temperature. 

(iv) Surrounding colors 

·        The way we perceive a color is greatly influenced by the surrounding colors.

·        If a color is set off against a dark background, it looks lighter than its real brightness value. The same color may practically disappear in front of a similarly colored background. 

(v) Color juxtaposition 

·        When juxtaposing red and green, in a single graphic static camera shot, it causes “color vibrations.”

·        The two colors seem to compete for attention, pushing the opposite hue to a point of becoming an artifact. 

(vi) Brightness and color constancy 

·        We perceive white as white and the black as black in a book page regardless of the actual amount of light reflected.

·        This stabilization by the brain is called brightness 

 

18.      Selective perception 

·        Most of us tend to notice events that we want to see.

·        We generally select information that agrees with how we want to see the world.

·        This type of selective seeing is called selective perception

·        We seem to expose ourselves mostly to messages that are in agreement with our existing views and attitudes.

·        Selective perception is automatic. Example - if you are talking to a friend in a street, you are probably not aware of most of the other sounds surrounding you.

·        When you see somebody wearing a white shirt you will perceive the same white, regardless of whether the person is standing in bright sunlight or in the shade.

 

19.      Applied media aesthetics Vs Traditional media aesthetics  

·        Applied media aesthetics differs from the traditional concept of aesthetics in three major ways.

·        First, it deals primarily with the understanding and the appreciation of beauty

·        Applied media aesthetics considers art and life as mutually dependent and essentially interconnected.

·        The major functions of media aesthetics are based on the original meaning “I perceive” and “sense perception”.

·        Applied media aesthetics is a process in which we examine a number of media elements, such as lighting and sound, how they interact, and our perceptual reactions to them.

·        Second, the media—in our case primarily video, film and, Web images are essential elements in the aesthetic communication system.

·        Third, traditional aesthetics is the analysis of existing works of art, applied media aesthetics is the analyses of their synthesis (combination)—their creation—as well.

 

20.      Magnetism 

·        The borders of a picture field act like magnets: they attract objects near them.

·        This magnetism of the frame can be so strong to pull the attention of the viewer.

·        The sides of the screen also exert a strong pull.

·        Because the screen corners combine the magnetism of two sides.

·        The edges of the screen exert a strong pull on objects near them.

·        The pull of the side edges is so strong that it easily overrides gravitational pull.

·        The framing of the objects includes the magnetism of the object to the sides of the screen 

 

21.      Diegetic and non-diegetic sound 

Diegetic sound  

·        Diegetic sound is any sound presented as originated from source

·        Also called as original sound

·        Sound whose source is visible on the screen  

·        Example - voices of characters, sounds made by objects in the story, music represented as coming from instruments in the story

·        Digetic sound can be either on screen or off screen. 

Non-diegetic sound 

·        Sound whose source is not visible on the screen

·        Example - narrator's commentary, sound effects which is added for the dramatic effect, mood music

·        Non-diegetic sound is represented as coming from the outside story.  

 

22.      Dialectical montage 

·        Dialectical montage is an editing technique that emphasizes the discontinuity between one shot and another.

·        Montage is a technique which uses rapid editing, special effects and music to present compressed narrative information.

·        It is a series of short shots are edited into a sequence to condense space, time, and information.

·        The discontinuity may be stylistic: one shot might be a close-up, the next a long shot; one shot might be low angle, the next high angle; one shot might be wide-angle, the next telephoto.

·        The ability of the editing process itself to create meaning has been called the "Kuleshov effect"

·        Kuleshov's experiment suggested that any two shots are placed side by side, the audience immediately concludes that they are related in some way to explain the relationship

 

23.      Types/forms/categories of sound 

Dialogue

·        Dialogue is oral speech between fictional characters.

·        The characters on the screen speak from a script; to inform the audience.

·        Dialogue works in movies to create a realistic flavor, to represent the everyday exchanges people have.

·        The identification of the fictional location and characters.

·        The communication of narrative causality. The ulterior motive of much of film dialogue is to communicate "why?" and "how?" and "what next?" to the viewer.

·        Dialogue helps audiences understand the characters' personalities and motivations.

·        Guiding the viewer. Filmmakers accomplish this by using dialogue to control pacing or atmosphere.

·        Their main function is to frighten the viewer, to increase the scene's tension. In this case, dialogue is accomplishing the task often taken by evocative background music—it is working straight on the viewer's emotions.

·        The insertion of thematic messages. Putting thematic or moral messages in the mouths of their characters allows filmmakers to talk to the audience.

·        With the addition of verbal language, cinema was offered infinite possibilities in terms of puns, jokes, misunderstandings, witticisms, metaphors, curses, whispers, screams, songs, poetry, or storytelling.

·        It moves the story forward.

·        It makes the audience understand the story.

 

Music

·        It is recorded with the help of musical instrument.

·        It is used as background music to convey feelings

·        This is used to compose songs

·        Pitch, tone, tempo are the important elements of music

·        Music establishes clearly the feeling of what the story is about.

·        It helps establish character, it provides insight into a particular character or event, and it intensifies the overall impact of the film.

·        When music is combined with moving pictures, it tells us how to feel about what we are seeing.

·        Music can make us feel sad, hopeful, scared, anxious, or elated

·        It helps shape emotional responses, creates a rhythm to scenes and segments, and comments on the action

 

Sound effects

·        These are added sounds that complement the action of film

·        With sound effects, the viewer gets more involved with the movie

·        When filming a scene with multiple actions going on at the same time, such as dialogue, sword fighting and other background action, sound effects are added post production to make the effect louder.

·        Sound effects can tell the story of a location or character

·        Distant voices and car sounds can create the illusion of a busy street

·        A heartbeat or rush of wind can add tension

·        It carriers symbolic meanings - knocking on door

·        This adds reality to the scene. 

 

24.      Importance of sound 

·        Background music, dialogue and special effects are the forms of sound

·        It communicates information happening in various situations to the audience.

·        It creates feelings such as sadness, happiness, anger etc

·        It is used to communicate the mood of scene.

·        Dialogue is used to reveal the character, communicating information etc

·        BGM is used to communicate the feelings, create tension and thrilling moment

·        Sound establishes time and moves the film forward

·        It establishes the environment where the action is taken place. Train sound indicates that the action is taken place in railway station.

·        Doubtful contents of a movie can be pushed into the “right” direction by music

·        Music can also work very well to establish a certain time or period. Music that sounds very baroque will put us back into the 18th century

·        Anything that gives the feeling of not being real can be greatly enhanced by music.

·        Music that sounds like something that is not expected in a certain scene will create a feeling of “something is not right”.

·        Music can help the audience to understand or develop character.

·        Sound used to unite the “nation”. (National Anthem)   

 

25.      Significance of sound 

Objective time 

·        Objective time is what an accurate clock reports.

·        It is measured by observable change such as the movement of stars or the revolution of the earth around the sun or of the moon around the earth.

·        Day and night cycles as well as the seasons of the year are also manifestations of objective time.

·        Humans invented more manageable devices to measure objective time, such as the hourglass, sand or the clock. 

Subjective time 

·        Subjective time is “felt time.”

·        We may experience an activity or event as being short or long.

·        Examples - when we felt that an event moved quite fast or dragged on for a long period of time.

·        A chess game appears very slow; but to those playing the game time flies 

Biological time 

·        The biological clock is set by habit.

·        All living things seem to have a built-in biological clock.

·        Migrant birds return when their biological clock says it is time to go back home.

·        Some plants open and close according to their biological-clock time

·        If we gradually change sleeping and waking hours, our biological clock resets itself to the new schedule 

 

26.      How cinema controls time and space 

Time

There are three possible ways to present time in film sequence: 

Expanding Time 

·        When you expand time in a video, you are making the duration of the video sequence longer than real-time.

·        For example, you might have a fight sequence that is shown in slow motion and/or from several different angles. An action sequence that only took a few seconds in real time might take half a minute on video.

·        This type of time-stretching is used to add impact, additional information, or to help the viewer process information that would be too fast in real-time.

 

There are several common tools for expanding time.

Slow Motion : Simply slowing down the speed of a video clip increases the duration.

Time Remapping : A scene can start off in real time and gradually (or quickly) increase in speed. The speed can go up and down. 

Repetition, Different Angles : The same shot can be shown from multiple angles and repeated. This is common in sports and is also used in genres such as action films 

Real-Time Video 

·        The time in the video is exactly the same as the time it was recorded in.

·        Examples: Live music video; sports event; a walk-through of a scene without interrupting the recording.

·        Real-time video can be a challenge, especially if you are shooting with one camera.

·        If you are trying to capture a moving object make sure the footage is 100% usable.

·        Sporting events often have a dozen or more cameras from different angles, meaning the director can always use the best shot 

Time Compression 

·        When you compress time in a video, you are making the duration shorter than real-time.

·        All feature films use time compression — stories can be set over weeks, months or years but still fit within a few hours of film time.

There are many techniques to compress time

Time Lapse (Fast Motion) : It is simply to speed up the video clip. This is great for scenes where the action takes place in a single location over a long period of time, for example, a building construction. 

Time Remapping : It allows the editor to smoothly vary the speed of a video clip. When used for time expansion, the video is slowed down. When used for time compression, the video is speed up. 

Editing: Cuts : Place shots of different subjects in sequence to help pass time.

 

SPACE

·        Space is the primary organizing or structuring principles of a film

·        Positive space refers to the main focus of a picture. It is the space occupied by the actor and actresses in film

·        Negative space is simply the space around and between the subject of a composition. For example, in a wide shot of a man standing in an empty field, the sky, ground, and everything in between would be considered negative space

·        When used creatively and intelligently, positive and negative space together can tell a story using visual composition alone.

·        Positive and negative space can be used to create a sense of balance and rhythm. Balance refers to how well all the elements are balanced with each other

·        Off screen space is space that is not physically present in the frame. The viewer becomes aware of something outside of the frame through either a character's response to a person, thing, or event off screen, or off screen sound.

·        A film utilizes deep space, when significant elements of an image are positioned both near to and distant from the camera.

·        Flat space emphasizes the two-dimensional quality of the screen surface. Actors are staged on the same horizontal plane, they are the same size.

·        Limited space is the depth cues in the shot include size change, up/down position and tonal separation.

·        Ambiguous space is the lights are off in the hall, light illuminates the stairs, and the two actors are somewhere in the dark. The picture is ambiguous because it is impossible to tell the actual size and spatial relationship in the shot. 

 

27.      Image size 

·        Image size influences how we feel about certain screen events.

·        The large images on the panoramic movie screen feelmore overpowering than a small video image.

·        They are visually “louder” than the pictures on the video screen.

·        When an image is large, it has more aesthetic energy than the small image.

·        When you watch a documentary on a 4 : 3 video screen and then see it on 16 × 9 screen, receiver probably notice little energy change.

·        We call the total screen area first-order space and second-order space.

·        The anchor occupies first-order space; the person or event in the box is in second-order space.

·        First-order space seems to be more “real.” 

 

28.      Deductive and inductive visual approaches 

Deductive approach 

·        The deductive visual approach means moving from the general to the specific

·        In this visual approach, we start with a wide establishing shot to close up shot.

·        We can do it with zoom or a shot series from LS, MS and to close-up.

·        It is the classic narrative movie approach to telling a story.

·        The establishing shot, sets up visually who is where in what situation and the close-ups to provide a more detailed view of the scene 

Inductive approach 

·        Inductive visual approach means moving from details of the event to general

·        In this visual approach, we start with a close up to wide establishing shot.

·        We can do it with the shots start from close up, MS, LS to establishing shot

·        Shot sequence should not begin with a wide establishing shot

·        The series of close-ups express the concept of the event 

 

29.      Structural factors of screen space 

·        One of the many digital video effects is a Topological change, a manipulation of the outer shape of the video image.

·        The video image is made to look like a photo that flips through first-order space.

·        Such special effects can carry negative Meta messages.

·        We can also graphicate an image through a structural change. Mosaic effect, scaling, rotating are used for structural change.

·        Freeze, flip, peel off & snapshots also used to change outer shape of the image.

·        The effects should not disturb the viewers’ attention 

 

30.      Visual space

 

Real space

·        It is the two-dimensional space on paper

·        Here different elements of design can be added. 

 

Illusory space

·        It is the perception of depth wecreate in design.

·        We can do this by making objects smaller and smaller in a line of perspective

·        It can be achieved by blurring the background object.

 

Positive space

·        In a page of text, every letter is positive space

·        It is any part of a composition

·        The positive space is balanced by negative space

Negative Space

·        It means the empty space around the objects.

·        Negative space can be active or passive, depending on how it is applied.

·        In a symmetrical design passive and negative spaces are composed properly

·        Banner designs use more negative space to highlight the important element

 

In active negative space, however, the emptiness created by large expanses of negative space or using negative space in asymmetrical balance conveys a feeling or message of its own

Negative space actually performs vital functions in a composition and can be just as important as the positive spaces.

• It can serve as a background.
• It can frame and contain the positive elements of your design.
• It can highlight connections between objects when they are placed close together with more negative space around them.
• It can separate objects and disconnect them when they are placed far apart.
• It can reduce clutter and give a tidy, orderly look to a composition.
• It can allow your eye to rest when looking from one object to another in an image.
• It can also enhance the readability of text. 

 

31.      Digital special effects in designing 

Matte paintings 

·        Digital paintings or photographs which serve as background for 3D characters.

·        Photoshop is used to do matte painting 

Motion capture 

·        The process of recording the movements of objects and or people.

·        The subject motion is being captured is recorded

·        Facial movements, expressions camera movements can also be recorded 

Modeling 

·        Creating 3D models of props or characters using specialized software.

·        These models are used in cinema, advertisements, games, etc. 

Animation 

·        Assign movements for any objects and characters in 2D or 3D is animation.

·        It is used in various fields such as cinema, advertisement, storytelling, etc. 

Compositing 

·        Combining two or more videointo a single video is compositing.

·        Real background video is combined with another video having blue matte or green matte background 

 

    32.      Elements of visual structure

 

·        Focus is the main subject of the visual.

·        Figures are the people, objects, or things included in the visual.

·        Value, being light or dark, offers the contrast that creates perspective.

·        Color creates a mood. Contrasts in color convey energy and emotion.

·        Space, the area occupied by the figures, creates depth and perspective.

·        Proportion describes a figure’s size relative to its surroundings.

·        Perspective is the way the work appears to the viewer. Point of view and angle affect the viewer’s understanding.

·        Emphasis is the area that first attracts the viewer’s attention. 

 

33.      Depth and volume in visual 

Depth

·        Depthis the visual ability to perceive the world in three dimensions and the distance of an object. 

·        Depth perception arises from a variety of depth cues.

·        These are classified into binocular cues and monocular cues

·        Perspective in photograph illustrates the illusion of depth.

·        Photography utilizes size, environmental context, lighting, textural gradience, and other effects to capture the illusion of depth.  

Volume

·        Itcan be created in a 2D work with the use of light and shadows, perspective, etc.

·        Volume is the representation of mass in an art

·        The 3D form of an object is said to have volume.

·        Artists create volume in their paintings using color and shading.

·        The portrait of a person is the example of volume 

 

34.      Importance of visual images

 

·        It is easy to understand than to read a paragraph

·        An image will pass a lot of information within a short a time

·        Visual improves the clarity of information.

·        The images used in advertisements convey information clearly

·        The use of logos and consistent colors boost the brand image of the business.

·        A person will be able to retain visual information for long.

·        The illiterate can also understand visual information

·        Images are more flexible than words.

·        It is the effective way of sending information

·        It communicates exact meaning what the sender wants to communicate

·        People like to watch images, videos, animations, etc than text

 

35.      Stages of film production

 

Pre-production 

·        This stage is finalizing the preparations for film production.

·        The budget of the film is prepared

·        Important cast members, director and cinematographer are selected.

·        The screenplay is finalized

·        The script is broken down into individual scenes.

·        Storyboard creations, location search, props, costumes, special effects and visual effects are identified.

·        Detailed schedule is prepared and distributed to the team members.

·        Sets are constructed

 

Production 

·        It is the stage of film shooting

·        More crew will be recruited such as property master, script supervisor, assistant directors and still photographers.

·        The crew and the actors are present in the location on time.

·        The actors are well dressed and go to the hair and make-up departments.

·        The actors rehearse script

·        Finally the action is shot

·        Assistant and associate directors are helping directors during shooting.

 

Post – production 

·        It is done after the shooting

·        The film editor edits the footage in a sequential order

·        The sound is recorded edited and music tracks are scored

·        Sound effects are designed and recorded

·        Computer graphic, visual effects, titling are digitally added

·        Finally all sound elements are mixed which are added to picture and the film is fully ready for distribution. 

 

36.      Cameras and their characteristics 

Arri Alexa 

·        The Arri Alexa is a digital motion picture system made by Arri

·        Alexa cameras are designed for use in high budget feature films, television shows, and commercials.

 

Blackmagic Design

·        It is an Australian digital camera company designs and manufactures broadcast and cinema hardware, for digital cameras

·        It also develops video editing software

·        Blackmagic Design software and hardware has also been used on many Academy Award-winning films and Best Picture films such as Green Book and Moonlight 

Canon Cinema EOS

·        The canon Cinema EOS autofocus digital photographic and cinematographic SLR and  mirrorless interchangeable lens camera system 

Panavision

·        Panavision is an American motion picture equipment company specializing in cameras and lenses

·        It is the provider of cinemascope

Red Digital Cinema 

·        It is an American company that manufactures professional digital cinematography cameras and accessories.

·        The company's headquarters are in Irvine, California, with studios in Hollywood, California.

Sony Corporation

·        It is commonly known as Sony camera manufacturer from Japan

·        Its diversified business includes consumer and professional electronics, gaming, entertainment, and financial services

 

37.      Mise en scene

 

It is a French word which means placing on stage. It is an expression used to describe the design aspects of film production.

 

Set design – The setting of a scene and properties visible in a scene. Set design is used to amplify character emotion which has physical social cultural significance in film

 

Lighting – It can influence the audiences understanding of characters, actions and mood. Light and shade emphasize texture, shape, time (day or night), season, etc.

 

Space – It affects the reading of film. It is the distance between characters, camera, lighting, properties, etc.

 

Composition – The organization of object, actors and space within the frame. Equal distribution of light, color and objects in a shot is important in composition.

 

Costume – It refers to the clothes, that characters wear. Using certain colors or designs, costumes are used to signify the character.

 

Make-up and hair style – It gives beautiful appearance to the character. It establishes the characters attitude.

 

Acting – The performance on the stage is called acting. Different characters perform on stage. Through acting, actors convey story, emotions, feeling, etc.

 

Aspect ratio – The relationship between the width and height of the image. It gives different way of looking at the world.

 

38.      Perspectives in visual elements

 

It refers to the relationship of imaged objects in a photograph. This includes their relative positions, sizes and the space between the object

 

(a)  Linear perspective

 

·        Our eyes judge the nearest object is big and  the farthest object is small in a photograph.

·        This is because of the focal length of the lens and the distance between the lens and object

 

(b)  Rectilinear perspective

 

·        Lines that are straight in the subject are reproduced straight in picture

·        Panomaric lens produces panoramic perspective

 

(c)  Vanishing point perspective

 

·        In vision lines that are parallel to each other give the sensation of meeting at vanishing points

·        When parallel lines are perpendicular to the lens axis.

 

(d)  Height perspective

 

·        Seeing the taller building from the ground is high perspective

·        When they look at any temple from bottom to top, it is perspective shows

 

(e)  Dwindling size perspective

 

·        When two people are shown in a picture and one appears taller than other, we assume that one is in reality taller than other

·        But actually the taller person is closer and shorter person is farther away from camera

 

(f)   Volume perspective

 

·        When front or side lighting is used the length, depth and shape of shadow provide a perspective of each object 

 

39.      Flat lighting and its functions 

·        Flat light is defined as lighting that produces minimal contrast in the scene, which means there is no, or very little, contrast between the highlights and shadows.

·        In fact, it's not the light that is flat at all but the resulting image captured when the light source is creating very little contrast in the photo.  

·        It is the image that indeed looks ‘flat' which means there is a very two-dimensional look to the image due to the lack of contrast.  

·        Photos with flat light can often lack depth and interest that can take the edge away from a good photo with technical good compositional elements to it.  

·        It can take away any intrigue or character in the photo which can detract from the story telling and the impact of the image.  

·        Photos with high contrast between the highlights and the shadows create an illusion of height and depth in a photo and, generally speaking give the photo an ‘edge'. 

Merits of flat light 

·        As mentioned already in this article, flat lighting can be used to great effect and produce professional results and quality in photography.  

·        In fashion or beauty photography for example, flat lighting styles are often use.

·        Flat lighting often helps to hide imperfections in the skin, because the skin will exhibit very low contrast between highlight and shadow which will smooth the surface of the skin, warts and all.  

·        It is accepted that flat lighting is also advantageous when shooting models against a white, or light colored, backdrop as this results in greater contrast between the background and the persons face. 

Detriments of Flat Light 

·        It can be considered boring, dull and lifeless when compared to some of the dramatic effects

·        Flat light does not bring out the depth in a photo and doesn't add any level of intrigue to the image.  

·        Flat and creates a two-dimensional image that does little to draw the eye into the photo

·        It is not considered the lighting to bring out the best in landscape photography 

 

40.      Hard light and soft light 

Hard light

 

·        Hard light comes from a single, usually bright, source, which is relatively small compared to the subject.

·        Photographs taken in such lighting have high contrast and sharply defined shadows.

·        The appearance of the shadow depends on the lighting instrument. For example, Fresnel lights can be focused such that their shadows can be "cut" with crisp shadows.

·        That is, the shadows produced will have 'harder' edges with less transition between illumination and shadow.

·        The focused light will produce harder-edged shadows.

·        Focusing a fresnel makes the rays of emitted light more parallel. The parallelism of these rays determines the quality of the shadows.

·        Hard light casts strong, well defined shadows.

·        When hitting a textured surface at an angle, hard light will accentuate the textures and details in an object. This will also increase the 3D-appearance of the object.

 

Soft light

 

·        Soft light tends to “wrap” around subjects, producing shadows with soft, fuzzy edges.

·        Softness of light increases with the size of the light source, as the emitted light rays will travel in many directions as they move toward the subject.

·        Light sources can also produce softer light by using diffusion material or by bouncing the light of a surface

·        Soft light use is popular in photography and cinematography.

·        By diffusing hard shadows, softening dark areas, and removing sharp edges, soft light produces more flattering images of the human form.

·        Colours may also appear richer and more realistic. 

 

 

41.      Depth cues in visual elements 

Humans have eight depth cues that are used by the brain to estimate the relative distance of the objects in every scene we look at. These are 

1. Focus - When we look at a scene in front of us, we scan over the various objects in the scene and continually refocus on each object. Our brains remember how we focus and build up a memory of the relative distance of each object compared to all the others in the scene. 

2. Perspective - Our brains are constantly searching for the vanishing point in every scene we see. This is the point, often on the horizon, where objects become so small they disappear altogether. Straight lines and the relative size of objects help to build a map in our minds of the relative distance of the objects in the scene. 

3. Occlusion - Objects at the front of a scene hide objects further back. This is occlusion. We make assumptions about the shape of the objects we see. When the shape appears broken by another object we assume the broken object is further away and behind the object causing the breakage. 

4. Lighting and shading - Light changes the brightness of objects depending of their angle relative to the light source. Objects will appear brighter on the side facing the light source and darker on the side facing away from the light source. Objects also produce shadows which darken other objects. Our brains can build a map of the shape, and relative position of objects in a scene from the way light falls on them and the pattern of the shadows caused. 

5. Colour intensity and contrast - Even on the clearest day objects appear to lose their colour intensity the further away that they are in a scene. Contrast (the difference between light and dark) is also reduced in distant objects. We can build a map in our minds of the relative distance of objects from their colour intensity and the level of contrast. 

6. Relative movement - As we walk through a scene, c object compared to others provides a very powerful cue to their relative distance. Cartoonists have used this to give an impression of 3D space in animations. Film and television producers often use relative movement to enhance a sense of depth in movies and television programs. 

7. Vergence - Vergence is a general term for both divergence and convergence. If we look an object in the far distant both our eyes are pointing forwards, parallel to each other. If we focus on an object close up, our eyes converge together. The closer the object, the more the convergence. Our brains can calculate how far away an object is from the amount of convergence our eyes need to apply to focus on the object. Film and video producers can use divergence as a trick to give the illusion that objects are further away, but this should be used sparingly because divergence is not a natural eye movement and may cause eye strain. 

8. Stereopsis - Stereopsis results from binoccular vision. It is the small differences in everything we look at between the left and right eyes. Our brains calculate which objects are close and which objects are further away from these differences.

 

42.      Characteristics of color 

Red 

·        It is a powerful color

·        It appears nearer than it is and therefore it grabs our attention first

·        Positive aspects of red is courage, strength, warmth, energy, etc

·        The negative aspect of red is aggression, and strain

Blue 

·        It is the color of mind

·        Strong blue stimulate clear thought and soft blue will calm the mind

·        Intelligence, communication, trust, efficiency are positive aspects and coldness, lack of emotions are negative aspects of blue color

Yellow 

·        It is the color of confidence, friendliness and creativity is positive and fear, depression are negative aspects of color 

Green 

·        Being in the centre of spectrum, it is the color of balance

·        Harmony, balance, refreshment are positive, boredom, stagnation are negative aspects 

Violet 

·        It has association with royalty and usually communicates the finest possible quality

·        It has association with time and space, spiritual, luxury, truth are positive, suppression, inferiority are negative aspects 

Orange 

·        It focuses our minds on issues of physical comfort – food, shelter, etc

·        This is a fun color

·        Food, security, passion, fun are positive and frustration, immaturity are negative aspects 

Pink 

·        It is a powerful color and it represents femine principle

·        Nature, feminity, love are positive, emotional, physical weakness are negative aspects 

Grey 

·        Grey usually indicates a lack of confidence and dear of exposure

·        Neutrality is positive and lack of energy, depression are negative aspects 

Black 

·        Black is all colors, totally absorbed

·        Glamour, security, efficiency are positive and coldness, heaviness are negative aspects

White 

·        It is total reflection and gives a heightened perception of space

·        Clarity, purity, simplicity, are positive and barriers, unfriendliness are negative aspects

Brown 

·        It has elements of red and yellow properties

·        It consists of red, yellow and large percentage of black

·        Reliability, support are positive and heaviness, lack of sophistication are negative aspects

 

43.      Depth characteristics of lenses     

Zoom lens 

·        Zoom lenses have variable focal lengths.

·        Some can range between a wide-angle and a telephoto

·        The trade-off with zoom lenses is the aperture. 

Fisheye lens

·        A fisheye lens is a specialized, wide-angle lens

·        It provides extremely wide images.

·        It can sometimes produce circular, convex, or oval images

·        It creates 180° image. 

Macro lens

·        It is used for close-up or “macro” photography.

·        These lenses obtain razor-sharp focus

·        It is used to take larger images butterflies, flowers, etc. 

 

44.      Composition factors

 

Screen size – Since the TV screen is small in size, we should take close up or mid shot than long shot.

 

Field of view – It refers to how wide or close the object appears relative to the camera that is how close it will appear to the viewer. It allows for coverage of an area rather than a single focused point

 

Aspect ratio – It is width and height of screen. The aspect ratio of standard TV is 4:3 and for HDTV is 16:9.

 

Headroom – The space between the upper screen edge and top head of character is headroom. If the headroom is too much it gives the feeling that the subject if sinking and if it is insufficient i.e. the head is cut off and is hitting the top of the screen frame.

 

Nose room –The space left in front of a person looking toward the edge of screen is called nose room. The space in front of person or objet gives the feeling of moving toward the edge of screen.

 

Closure – Mentally filling in spaces often incomplete picture. Our mind fills in information that we cannot actually see on the screen.

 

Depth – It is the creation of third dimension (Z axis). Wide angle lens produce greater depth of field.  

 

Screen motion – If two characters are moving in a shot, show only one character which creates more impact.

45.      Design principles

The principles of design are the rules a designer must follow to create an effective composition that cleanly delivers a message to the audience. The following are the principles of design

Balance

Every element of a design – typography, colors, images, shapes, patterns, etc. carriers a visual weight. Some elements are heavy and draw the eye, while other elements are lighter. The way these elements are laid out on a page should create a filing of balance. Balance is either symmetrical or asymmetrical. Symmetrical balance is when the weight of elements is evenly divided on either side of the design, whereas asymmetrical balance uses scale, contrast, and colour to achieve the flow in design.

Proximity

Proximity helps in creating a relationship between similar or related elements. These elements need not be grouped; instead, they should be visually connected by way of font, colour, size, etc.

        This image is an example of ‘Proximity.’ Here, a consistent shape (circle) and colours create an organized design.

Alignment

Alignment plays a pivotal role in creating a seamless visual connection with the design elements. It gives an ordered appearance to images, shapes, and blocks of texts by eliminating elements placed in an inappropriate manner. The text, shape and image have been lined up in the middle, creating an ‘Alignment.’

Repetition

The principle of repetition simply means the reusing of the same or similar elements throughout the design. Repetition of certain design elements in a design will bring a clear sense of unity, consistency, and cohesiveness. Repetition can be regular or irregular and even or uneven. Repetition creates a particular style, creates cohesiveness, creates emphasis, hierarchy structure and strengthens a design.

Contrast

Contrast happens when there is a difference between the two opposing design elements. The most common types of contrast are dark vs. light, contemporary vs. old-fashioned, large vs. small, etc. Contrast guides a viewer’s attention to the key elements, ensuring each side is legible. This image has been darkened to allow the text to create a sharp contrast against the background.

Emphasis

Emphasis deals with the parts of a design that are meant to stand out. In most cases, this means the most important information the design is meant to convey. It can also be used to reduce the impact of certain information.

Proportion

Proportion is the visual size and weight of elements in a composition and how they relate to each other. It often helps to approach the design in section, instead of as a whole. It is the size of the elements in relation to one another. Larger elements are more important than smaller elements.

Movement

 Movement is controlling the elements in a composition so that the eye is led to move from one to the next and the information is properly communicated to the audience.

Rhythm 

The space between repeating elements can cause a sense of rhythm to form, similar to the way the space between notes in a musical composition create a rhythm. Rhythms can be used to create a number of feelings. They can create excitement and consistency.  

Unity

Unity is achieved when each individual element within a design comes together to reveal a singular cohesive vision. Unity allows each individual element to coexist with one another to form an aesthetically pleasing design despite its internal components differing in scale, contrast, or style.

46.      Silhouette 

·        A silhouette is the image of a person, animal, object or scene represented as a solid shape of a single colour, usually black, with its edges matching the outline of the subject.

·        The interior of a silhouette is featureless, and the silhouette is usually presented on a light background.

·        Silhouette photography shows the dark outlines of subjects in front of contrasting, bright scenes such as sunsets or studio backdrops.

·        It is the process of separating or masking a portion of image

·        The masked subject will appear in black color

·        The subject is placed in between the camera and lighting

·        When the light exposed on the background the subject turn into black color

·        It is a wonderful way to convey drama, emotion and mood

47.      Three point lighting (Standard lighting technique)

Lighting means controlling the light and shadow 

(a)  Key light 

·        It is the main source of light used to illuminate the object

·        It shines directly upon the object

·        The placement of key light determines the shot

·        In indoor the key light is lamp and in outdoor the sun and moon is key light

(b)  Fill light 

·        It is also shines upon the object

·        It is placed at the opposite side of key light

·        It is placed lower position than key light

·        It controls the shadow produced by key light 

(c)  Back light 

·        It shines from the back side of object

·        It separates the object from background

·        It is placed either one side or both side of object

48. Types of camera shots 

Shot in filmmaking is a series of frames that runs for an uninterrupted period of time. 

Extreme Long Shot

·        The extreme wide shot or extreme long shot is all about showing the world in which the story takes place.

·        In an extreme wide we will see large landscapes in the frame.

·        Whether it is the desert or outer space, the audience should get a feel for the time and the place they are about to spend the next two hours.

·        Though characters can be introduced in an extreme wide, they would be very tiny in context to the backdrop

·        An extreme wide shot is often an establishing shot.

 

Long Shot

·        A wide shot, often referred to as a long shot

·        The characters can be seen from head to toe

·    This shot is used to show how the character is small in relation to the vast surroundings.

·        When the term long shot is emphasized, it can mean that the camera is farther away from the subject, making them even smaller.

·        A wide shot can also be a master shot, which is used to introduce a new location like a dining room or restaurant.

·        It gives the audience a sense of geography so when the camera goes in tighter, they can understand who is where.

 

Medium Shot

·        The medium shot shows the character from the waist up.

·        Medium shots are often used in dialog scenes. 

·        It is also known as a cowboy shot.

·        This shot is about revealing information.

·        You can see more detail than you can in a wide shot.

 

 Close-Up Shot

·        A close-up frames the character’s face.

·        It gives more detail that tells us how a character feels.

·        A close-up highlights emotional clues in the eyes.

·        It is more intimate so the audience can feel what the character is feeling.

           

Medium Close-Up Shot

·        Halfway between the close-up and the medium shot is the medium close-up

·        It frames the subject from the shoulders up.

·        This shot might be used to show more body language, some emotion and facial expressions.

·        Medium close-up can reveal more information, but it is not as intimate as a close-up.

 

Extreme Close-Up Shot

·    An extreme close-up frames even tighter on a face (or subject), highlighting facial features more.

·        It usually frames a particular part of the face like the eyes or the mouth.

·        It is even more intimate than the close-up

·        It is used to show more intense emotion.

 

Two Shot

    ·        A shot in which two subjects appear in the frame.

    ·        It is to show conversation between two persons

Over-the-Shoulder Shot  

·        Subject is shot from behind the shoulder of another, framing the subject anywhere from a Medium to Close-Up.

·        The shoulder, neck, and/or back of the head of the subject facing away from the camera remains viewable

·        Making the shot useful for showing reactions during conversations.

·        It tends to place more of an emphasis on the connection between two speakers.

49. Types of camera angles

    In addition to subject size within a frame, shot types can also indicate where a camera is placed in relation to the subject. Here are some commonly used terms:

    Eye Level Angle  

        ·        Shot taken with the camera approximately at human eye level

        ·        In this the subject is at eye-level position.

        ·        An eye level shot can result in a neutral perspective (not superior or inferior).

        ·        This imitates how we see people in real life

        ·        Our eye line connecting with theirs, and it can break down boundaries. 

    High Angle  

        ·        Subject is photographed from above eye level.

        ·        The camera lens is facing down (from above the eye level) to capture the video

        ·        This can have the effect of making the subject seem vulnerable, weak, or frightened.

        ·        Commonly known as the ‘bird’s-eye view’

     ·   Shots like these may be used to signal that a subject is in danger or has lost dominance in their environment.

 Low Angle  

    ·        Subject is photographed from below the eye level.

    ·        The camera lens is facing up (from below the eye level) to capture the video

    ·        This can have the effect of making the subject look powerful, heroic, or dangerous.

    ·        Taking a photograph from a low angle, also know as a ‘worm’s-eye view’, makes subjects appear larger than normal.

Dutch Angle  

    ·        In this shot the horizon line is not level.

    ·        It is often used to show a disoriented or uneasy psychological state.

    ·        That is the subject is not entirely right.

    ·        Dutch angles can be artfully utilized to tell us that something is wrong.

    ·        Maybe the subject is in danger, or their state of mind isn’t properly grounded.

Bird eye angle

        ·        The Bird's Eye photos are angled at 40 degrees rather than being straight down.

        ·  Satellite imaging programs and photos have been described as offering a viewer the opportunity to "fly over" and observe the world from this specific angle.

50. Types of camera movements

The way a camera moves can give meaning to what's happening on screen. 

1. Pan

        ·        Turning the camera lens horizontally from left to right or right to left.

        ·        Moving the camera from left to right is called pan right.

        ·        Moving the camera from right to left is called pan left.

        ·        It is used to follow the objects.

2. Tilt

        ·        Moving the camera lens up or down is called tilt.

        ·        Tilt up means that the camera is made to point up and tilt down means made to point down.

        ·        Tilt down is used to show the character weak and tilt up is to show the character strong.

3. Zoom

        ·        Here the camera is static, only the lens moves.

        ·        Zoom in means showing the object in big size, zoom out means showing it in small size.  

        ·        Zoom in used to show emotions of the character 

        ·        A zoom shot gives the viewer feeling that the  subject or object is coming toward or away to the viewer.

4. Dolly

        ·        Moving the camera toward or away from the subject is dolly.

        ·        Move the camera closer to the object is dolly in and away from object is dolly out.

        ·        A dolly shot gives the viewer feeling that they are moving toward or away from the subject.

 

 5.      Trucking

           ·        Moving the camera laterally.

·        The camera moves left to right (or right to left)

·        It maintains the same distance from the subject.

·        We would need to have the camera in the street, moving parallel with our subject.

 

6.      Pedestal

        ·        Moving the camera up or down, while keeping the lens at a constant angle.

        ·        Pedestal up means raise the camera, pedestal down means lowering the cameras.

        ·        The whole time keeping the camera’s lens at a 90° angle to the ground.

7.      Jimmy jib

 

        ·        It is a triangular crane system which uses an arm supporting a camera at one end and a counterweight at the other.

        ·        The crane can swing from the ground to the cranes maximum reach of 40ft and can swing  360 degrees.

51.      Types of lenses

Normal lens

·        It makes objects appear more like our normal vision.

·        The dolly speed and the speed of objects moving toward or away from camera also appear normal.

·        It has shallow depth of field.

·        Focal length of standard lens is 35 mm – 85mm

 

Wide angle lens

·        It has wide field of view used to cover wider area within short distance.

·        It makes object relatively close to the camera look large.

·        This lens can be moved to left or right to capture video.

·        This lens has a greater depth of field.

·        Focal length of wide angle lens is 14mm – 35 mm

 

Telephoto lens

·        It covers long distance object.

·        It compresses space between the object.

·        Gives the illusion of reduced speed of an object moving toward or away from camera.

·        It produces shallow depth of field.

·        Focal length of telephoto lens is 85mm – 135 mm

Zoom lens

·        It is used to make the object bigger or smaller.

·        When we zooming in the object comes closer to the viewer and zoom out the object goes away from the viewer. 

52.      Types of vector 

·        It is one of the important screen forces

·        It tells us where to focus attention and where the important action is happening

·        It helps filmmakers plan shots, placement of camera, lights and people

Graphic vectors 

·        It is created by stationary element

·        A person looking at the top of building from ground is graphic vector 

Index vector 

·        It works like pointers and include actual pointing, arrows or directional

·        A man pointing a direction to tell the way to other person 

Motion vectors 

·        It is created by objects moving in the field

·        Man walking, car driving and anything moves on the screen is motion vector

 

53.      Attached shadow

 

·        The shadow which is attached with the object or subject

·        The shadow opposite the light source on the object

·        Wherever we move the object, the attached shadow also moves

·        It gives depth and texture to an object

·        Without attached shadow the object would appear one dimension

·        It is very important when filming a face 

 

54.      Cast shadow 

·        Cast shadow can be seen independently of the object

·        Shadows of street lights, people, cars and trees are examples of cast shadow

·        Shadow puppet is best example for cast shadow

·        It helps us to see where the object is located

·        It is also used to relate to time – the longer the shadow the earlier or later in the day it will be.

55.   Colour wheel 

COLOR THEORY 

Color can be combined to produce another color. Color depends on the wave length of light. A ray of light consists of a band of color or the spectrum. The normal eye has a sensation of color from red to a long wavelength through orange, yellow, green and blue to violet at the short wavelength end. 

When light of one color is added to light of another such as by projection on to a white screen, the combination of color is called additive colors. When one or more color is removed from white light such as happens when light passes through filter or reflected from a colored surface. The color that are not absorbed or the color that are reflected produce what is known as subtractive colors. 

Additive theory 

The additive primary colors of light are red, green, and blue. These colors cannot be produced by mixture of any other colors. The three projectors are set up so that they will project on the same screen overlapping each other, the fundamental of adding colors can be absorbed. 

Place a blue light in one projector and project it on a screen, a second projector place a green light and project it on a screen overlapping part if the blue. It will be noticed that where there colors overlapping on the screen neither blue or green results, but a now color bluish green called cyan is projected. 

A red slide placed in the third projector and projects it on a screen so that it overlaps the other two. If red overlaps green, a new color yellow is produced, where the red overlaps blue, purplish red called Magenta is produced. Where all these three colors overlap the result is white. 

The spectral primary colors are red, green and blue. The spectral or additive secondary colors are cyan, magenta, and yellow. These three colors which were produced by overlapping pairs of the additive primaries are called also the subtractive primary colors; since they complement the additive primary colors they are called the complementary colors of the additive primary.

      Red + Green = Yellow

Red + Blue = Magenta

Blue + Green = Cyan

Red + Green + Blue = White

Subtractive color theory

This theory is based on manmade pigments and dyes used in printing ink. The subtractive theory deals about color combination in printing on white paper. The image subtracts certain colors and transmits other colors. The primary colors of subtractive theory are cyan, magenta and yellow. 

        ·        If cyan is placed between the eye and light it will subtract red. The magenta will subtract     green and yellow will subtract blue. 

        ·        If cyan and magenta filters are super-imposed between the white light the cyan subtract         red and magenta subtract green leading only blue to come through.

 ·        If magenta and yellow filter are used the magenta subtracts green and yellow subtracts blue     leaving only red to come through.

 ·        If cyan and yellow filters are super-imposed between the white light the cyan subtracts red,     yellow subtracts blue leaving the green to come through.

 ·        If all the three filters are super-imposed and placed between the eye and white light, all     lightsare absorbed and the result is black.

 ·        By mixing these primary colors such as cyan, magenta, and yellow secondary colors are     obtained. 

 Cyan + Magenta = Blue

Cyan + Yellow = Green

Yellow + Magenta = Red

Cyan + Yellow + Magenta = Black

56. ‘Z’ axis movement in shot 

·        X-value indicates screen width, Y-value indicates height and Z axis is describes the depth.

·        The z-axis value describes how far an object seems to be from the camera.

·        The depth proves to be the most flexible screen dimension in film and video.

·        Screen width (x-axis) and height (y-axis) have definite spatial limits, but screen depth (z-axis) is infinite.

·        The closest object seems to lie on the screen surface.

·        In Z-axis the objects appear to extend out from the screen toward the viewer.

·        The z-axis becomes an important element in structuring screen space and motion.

 

57.      How we perceive color?

 

·        The object reflects parts of the light spectrum and absorbs the rest.

·        The reflected light is focused by the lens of the eye onto the retina—the cones and the rods.

·        The cones need more light to fire than the rods do and are not equally receptive to all colors.

·        One group of cones is more sensitive to the short waves that make up blue. A second group responds to the medium length waves of green, and a third to the long waves of the red.

·        All three groups are in action in bright light.

·        The cones are for bright daylight vision. This is why we don’t see much color in dim moonlight

·        The rods help us see when the light is dim. Rods gang up under very low illumination to deliver a strong enough signal for the brain to process.

·        The combined signals are sent to the brain, which interprets it as a particular color.

58.      Figure and ground 

·        If you perceive the vase as the figure, the gray area becomes the ground. If you consider the two profiles as the figure, the white area becomes the ground.

·        The figure is thing like. We can perceive it as an object. The ground is part of the “uncovered” screen area.

·        The figure lies in front of the ground.

·        The figure is less stable than the ground; the figure is more likely to move.

·        The ground seems to continue behind the figure.

·        If a book is on the table the book is figure and the table is ground

 

59.      Aerial perspective 

·        We see objects that are close to us somewhat more sharply than those farther away, a phenomenon known as aerial perspective.

·        In fog this difference in sharpness and image density between foreground and background is especially pronounced.

·        Colors also lose their density and become less saturated the farther away they are from the observer (camera).

·        Outdoors, distant colors take on a slightly blue tint.

·        Paint the background objects slightly bluer and less sharp than the foreground objects which enhances the illusion of depth.

·        Generally, warm hues seem to advance and cold hues seem to recede. 

·        Fairly dark background, the brighter colors seem closer, and the less bright colors seem farther away. 

 

60.      Aspect ratio

·        Aspect ratio is the relationship of screen width to screen height.

·        The standard video, film, and computer screens are horizontally oriented. Because our peripheral vision is greater horizontally than vertically.

·        The two aspect ratios are the traditional 4 × 3 and the HDTV 16 × 9.

·        Standard television and computer screens took over the traditional 4 × 3 aspect ratio

·        Regardless of their size, they are all 4 units wide by 3 units high.

·        This aspect ratio is also expressed as 1.33:1 unit in height, 1.33 units in width.

·        The aspect ratios of mobile video devices differ widely to serve a variety of multimedia functions, such as texting, video, or displaying graphics.

  

61.      Deep focus and shallow focus 

Deep focus (Large depth of field)

·        Deep focus is a photographic and cinematographic technique using a large depth of field.

·        Depth of field is the nearest and farthest object in a frame is in focus and appears clear

·        In deep focus, the foreground, middle-ground, and background are all in focus.

·        Deep focus is normally achieved by choosing a small aperture.

·        Wide angle lens is used to achieve deep focus.

·        The opposite of deep focus is shallow focus, in which the image focus is shallow.

·        The focus object is sharp and the other objects are blur in shallow focus.

 

Shallow focus (Shallow depth of field)

·        An image with a shallow depth of field will look partially out of focus

·        A shallow depth of field is good for focusing on an option that closer to the camera.

·        Depending on the subject and area of focus point, we can blur the foreground or background of the image.

·        With a smaller f-stop number — a wider aperture — more light enters into the camera.

·        This means the shutter speed should be fast enough to avoid overexposure or blowing out the whites in your photograph.

·        The longer the focal length, the shallower the depth of field.

·        Another method of getting a shallow depth of field is to increase the distance between the camera, the subject and the background.

 

62.      Cameo lighting (Chiaroscuro lighting) 

·        Cameo lighting is chiaroscuro lighting in which a white figure is sharply set off against a dark Background.

·        Cameo lighting illuminates the foreground figures while leaving the background totally dark.

·        Cameo lighting is highly directional, producing fast falloff with dense attached and sharply defined cast shadows.

·        The cast shadows are usually visible only on the lighted floor areas or occasionally on the performers themselves.

·        The highly directional nature of the lighting makes it difficult for performers to move without stepping out of the precisely defined light pools.

·        Also, if the audio pickup is by boom microphone, you may find it hard to prevent boom shadows from falling across the actors’ faces.

·        Such high contrast lighting is also difficult to handle even for high-quality video cameras.

  

63.      Rembrandt lighting (Chiaroscuro lighting)

·        Rembrandt lighting is a standard lighting technique that is used in studio portrait photography and cinematography.

·        It is named for the Dutch painter Rembrandt, who occasionally used this type of lighting.

·        It can be achieved using one light and a reflector, or two lights

·        Rembrandt lighting is characterized by an illuminated triangle under the eye of the subject on the less illuminated side of the face.

·        Normally, the key light is placed high and to one side at the front, and the fill light or a reflector is placed half-height and on the other side at the front, set to about half the power of the key light, with the subject, if facing at an angle to the camera, with the key light illuminating the far side of the face.

·        The key in Rembrandt lighting is creating the triangle or diamond shape of light underneath the eye.

·        One side of the face is lit well from the main light source while the other side of the face uses the interaction of shadows and light, also known as chiaroscuro, to create this geometric form on the face.

·        The triangle should be no longer than the nose and no wider than the eye.

·        This technique may be achieved subtly or very dramatically by altering the distance between subject and lights and relative strengths of main and fill lights.

 

64.      Symmetrical and asymmetrical frame 

Symmetrical balance of frame 

·        It is equal visual weights on equal sides of composition

·        Symmetrical balance creates feelings of formality

·        A wedding invitation is a good example of symmetrical composition.

·        The downside of symmetrical balance is that it’s boring.

·        Because half of the composition mirrors the other half.

 

Asymmetrical balance of frame

·        It is unequal visual weight on each side of the composition.

·        One side of the composition contain a dominant element, where the other side less important element.

·        Asymmetrical balance is more dynamic and interesting.

·        It evokes feelings of modernism, movement, energy and vitality.

·        Asymmetrical balance offers more visual variety

·        The relationships between elements are more complex

65.      Elements of graphic design

 

Design elements are the basic units of any visual design which form its structure and convey visual messages. The elements of design as line, shape, size, texture, value and colour are the materials from which all designs are built.

 

Dot

Point or dot is the smallest element of graphic design. Designing with dots or points can create a wide variety of visual effects. There are various associations that can be made with positioning a single dot in different areas of a page. Single point in a center of an area can convey calm. Dots form together and create shapes. 

Line

Line is an element of art defined by a point moving in space. Lines can be vertical, horizontal, diagonal or curved. They can be any width or texture. And can be continuous, implied, or broken. Different lines create different moods; it all depends on what mood you are using a line to create.

 

Shape 

 

A shape is defined as a two dimensional area that stands out from the space next to or around it due to a defined or implied boundary, or because of differences of value, color, or texture. Shapes are recognizable objects and forms and are usually composed of other elements of design. Geometric shapes are shapes that can be drawn using a ruler or compass, such as square, circle, triangle, ellipse, parallelogram, star and so on.

 

Circle has no end-point and thus a symbol of infinity. It conveys less tension than any other areas and is not pulling in any direction. It’s static, balanced and harmonious. The eye is always drawn to the center.

Ellipse – more dynamic than circle. If placed upright it suggests movement upwards, but also instability. Placed horizontally it becomes more static and relaxes.

Square – a rectangle whose sides are parallel, the same length. When the square is on one of its sides – the perception is of calm, stability, functionality. When turned on its point, it becomes more dynamic and playful and unstable.

Rectangle – is a four-sided figure with right angles; the lengths of rectangles must differ clearly to not be confused with square. It can be placed vertically or horizontally. Almost all paper formats are rectangular. It is more active than a square. When set horizontally it is more stable, secure, heavy, supporting, etc. When placed vertically – suggests more lightness, movement, activity and narrowness. When set on one of its points it tends to break composition apart and bring in a feeling of instability and tension.

Triangle – has the strongest directional component of all. When used in design or composition, it is always dynamic, with most acute angle as focal point and lesser angled base as a ground of composition/information. A triangle is used most widely in portraiture paintings.

Color

 

Color is often deemed to be an important element of design as it is a universal language which presents the countless possibilities of visual communication. Hue, saturation and brightness are the three characteristics that describe colour. Hue can simply be referred to as “colour” as in red, yellow, or green. Saturation gives a colour brightness or dullness. Brightness refers to how much white (or black) is mixed in the color

 

Type 

Type is an important element of design because it literally conveys the message we want to communicate. It provides structure between the content and the visuals. Type can also be a striking visual element or shape. Type when used well does not need a photograph or illustration to back it up. The font you choose can convey a lot of emotion. 

 

Texture

Texture refers to the physical and visual qualities of a surface. Texture can be used to attract or repel interest to an element, depending on how pleasant the texture is perceived to be. Texture can also be used to add complex detail into the composition of a design. 

Pattern

When a design is repeated over and over again in a surface, it results in a pattern. Patterns are frequently used in fashion design or textile design. Patterns are also used in architectural design, where decorative structural elements such as windows, columns are incorporated into building design.  

Space

Space can be used to both separate and connect elements in a design. Wider spaces separate elements from each other and narrower spaces connect elements to reveal relationships between them. We create design flow through the use of space. 

 

Form

In visual design, form is described as the way an artist arranges elements in the entirety of a composition. It may also be described as any three dimensional object. Form can be measured, from top to bottom (height), side to side (width), and from back to front (depth). Form is also defined by light and dark.

 

    66.      Importance of storyboard

·        Storyboard pictorially represent the shot in a sequential order.

·        It is a hand drawn version of movie or advertisement.

·        It helps the entire team assess the visual flow of video.

·        This helps in understanding the directors vision.

·        Helps crew members like the lighting director, camera person, VFX director to understand the scope of work.

·        This gives information about camera shot, angle and movement.

·        It gives information about dialogue.