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Adaptation : the presentation of
one art form through another medium; a film based upon, derived from (or
adapted from) a stageplay (or from another medium such as a short story,
book, article, history, novel, video game, comic strip/book, etc.) which
basically preserves both the setting and dialogue of the original; can be in
the form of a script (screenplay) or a proposal treatment
Ad lib : a line of dialogue improvised
by an actor during a performance; can be either unscripted or deliberate;improvisation consists of
ad-libbed dialogue (and action) that is invented or created by the performer.
Ambiance : the feeling or mood of a particular scene or
setting.
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AERIAL
SHOT: An exterior shot taken from a plane, crane, helicopter or any
other very high position. Also referred to as a BIRD’S-EYE VIEW.
See SHOT.
ANIMATION: A form of filmmaking which consists of
photographing individual drawings (cels) or inanimate objects (such as puppets
or clay figures) FRAME by frame, with each frame differing
slightly from the one before. When the images are projected at 24 frames per
second, they appear to move (or are animated)
ASPECT
RATIO: The ratio of the projected image's width to its height. The
standard for Hollywood theatrical releases is 1.65:1. Shapes may vary, from the
television standard, a nearly square ratio of 1.33:1 to a very long rectangle.
In the l95Os, Hollywood attempted to attract new audiences by developing
various kinds of widescreen systems, such as CinemaScope and Cinerama, which
average 2.35:1. The European ratio is 1.66:1.
ASYNCHRONISM: A disparity between what is seen and what is
heard. At its extreme, asynchronous sound is contrapuntal; that is, the sound
contrasts with the image. For example, you see a train arriving while you hear
a bird chirping. Contrapuntal or asynchronous sound was supported by Sergei
Eisenstein as part of his larger theory of dialectical montage.
AXIS
OF ACTION: In CONTINUITY EDITING,
the imaginary line that passes from side to side through the main actors,
defining the spatial relations of the scene. The camera is not supposed to
cross the axis at a cut and reverse the spatial relations. Ensures constant
screen space and constant screen direction. A term used in film production more
than as a term in film analysis.
CRANE
SHOT: A HIGH ANGLE, moving
shot photographed from a crane (a mechanical arm which carries both camera and
camera operators).
PAN:
A shot taken when the camera stays in one place (on a tripod, for example) but
rotates or swivels horizontally. compare DOLLY SHOT, in
which the camera moves bodily from one place to another.
TILT:
A shot taken when the camera stays in one place (on a tripod, for example) but
rotates or swivels vertically.
CGI (computer-generated-imagery): This can include photographed
images that have been manipulated digitally or images designed on a computer
from scratch. Often just part of the frame has been created via CCI, snob as
the background setting for astronauts floating in space. See SPECIAL EFFECTS.
CINEMA VERITE: An approach to documentary filmmaking which
originated in France and was made possible through the development of
light-weight cameras and portable recording equipment that allow& for
smaller, more portable crews. In cinema verite filmmaking, the director, rather
than imposing his or her views, allows the subject to speak. Cinema verite is a
highly self-conscious or REFLEXIVE, form of
filmmaking which often acknowledges the presence of director (either aurally or
visually). Cinema verite films are often characterized by AVAILABLE (natural)
LIGHTING, DIRECT SOUND, HAND-HELD CAMERA (HAND
HELD SHOTS), and LONG TAKES. Today, cin6ma verite can be achieved in video
or digital video as well as 16mm film.
CLASSICAL
EDITING: Most Hollywood films make use of classical or invisible editing.
These films preserve a sense of narrative continuity but also make use of cuts
for emotional and dramatic purposes (for example, INSERT and REACTION SHOTS) which do not literally advance the action. The
cuts are not literally invisible but are designed to be unobtrusive, so that
the viewer rarely notices them. See CONTINUITY EDITING.
COMPOSITION: The arrangement of all the elements of a shot
in relation to the frame.
CONTINUITY
EDITING: A style of editing marked by its emphasis on maintaining the
continuous and seemingly uninterrupted flow of action in a story. See
also CLASSICAL EDITING.
Also called Invisible Editing.
CROSS-CUTTING: Switching back and
forth between two or more scenes in different locations that are occurring
simultaneously in order to create the feeling of PARALLEL ACTION.
For example, alternating between a character nearing a waterfall and another
character galloping to the rescue. In cases like the above last-minute rescue,
tension is often increased by shorting the shots and accelerating the rhythm of
the cross-cutting. Such an editing pattern also gives the spectators access to
more information than any one character in the narrative. Also called PARALLEL EDITING.
CUT: The point at which one shot ends and the next
begins. Usually made by splicing two pieces of film together. General
approaches to cutting include: CONTINUITY EDITING, CLASSICAL EDITING, CROSS-CUTTING, INTELLECTUAL MONTAGE, and MONTAGE. Specific types of cuts include: CUT-AWAY, CUTTING ON ACTION or MATCH (or CUTTING) ON
ACTION, PLASTIC CUT, and JUMP CUT. The terms cutting and editing are synonymous.
CUT-AWAY: A shot of short
duration that supposedly takes place at the same time as the main action but is
not directly involved in the main action. See also REACTION SHOT.
CUTTING
ON ACTION: Cutting from one shot to another view that
carries or matches a movement and gives the impression of a continuous time
span. Example: a character begins to sit down in a MEDIUM SHOT and
finishes the movement in a CLOSE-UP in the next shot. Because the action
begins in one shot and is carried over into the next shot, a visual bridge is
created which distracts spectators from noticing the cut. Also called MATCH
ON ACTION.
DEPTH
OF FIELD: The range of distances from the camera within
which the subject is in Focus when a given lens is used. wide angle lenses
produce DEEP FOCUS or
great depth of field, while telephoto lenses produce a shallow depth of field.
DIEGESIS: In a narrative fun,
the world of the film's story. It refers to all the events that characters are
aware of, or that are presumed to have taken place and actions in the story,
including spaces not shown onscreen. See also DIEGETIC and NONDIEGETIC SOUND.
DIEGETIC
SOUND: Any speech, music, or sound effect that originates from a source
within the film's story. See also DIEGESIS, NONDIEGETIC SOUND.
DIRECT CINEMA: An approach to documentary filmmaking
associated with American filmmakers from the early 1960s. In direct cinema, the
filmmaker observes the action or subjects and meaning evolves out of the
footage. Direct cinema is often characterized by AVAILABLE (natural)
LIGHTING, shoulder-mounted
camera, and DIRECT SOUND. An example of direct cinema is Frederick
Wiseman's High School.
DIRECT
SOUND: Sound which is captured and recorded during filming. As a style
it refers to films that do not add components such as sound effects or dialogue
in the postproduction stage.
DOCUMENTARY: Nonfiction film that explores and/or documents
the lived world and that uses representations of actual events and people as
its raw footage.
DVD: Digital versatile disc
or digital video disc. A CD-sited optical disc designed to function as a data
storage medium. Most recently released films are available in this format which
replaced the LASERDISC for
home viewing.
ESTABLISHING
SHOT: A shot, usually involving distant framing that introduces the
spatial relations among important characters, objects, and settings in an
entire film or in a scene. Often an EXTREME LONG SHOT
EXPOSURE: The process of subjecting photographic film
stock to any light intensity for a given time, resulting in an image once the
film has been processed.
FAST
MOTION: Action that appears faster on screen that it could occur in
reality. This special effect is shot by undercranking, or running the camera
more slowly than usual (at less than 24fps in sound and 16-2ofps in silent
film).
FILM GAUGE: The width of a piece
of film stock, measured in millimeters. Before home video cameras, home movies
were generally shot in 8mm or super-6mm. Low-budget films, unless shot in
digital format, are usually shot in 16mm, and feature films are usually shot in
35nmt; however some big budget spectacles are released in 70mm.
FOCUS: An object in focus has
a sharp and well-defined image. Focus is mainly affected by the lens of the
camera, the projector, and our eye. See DEPTH OF FIELD.
SHALLOW
FOCUS: objects on only one plane are in focus, while objects in the
background or close to the camera are out of focus.
SOFT
FOCUS: often need for romantic effect, all objects appear blurred because
none are perfectly in focus. This diffused effect is also often used to
photograph aging actors and actresses. soft focus can be obtained with filters
as well as lenses.
FOLLOW FOCUS: If the camera or the subject moves during the
shot, the camera may have to be refocused during the take in order to keep the
subject in focus. If it is done smoothly, the moving subject will always stay
in focus. Often accomplished with a zoom lens.
RACK or SEARCH FOCUS: The switching
of focus during a shot from one person or thing to another. For instance, in
filming a conversation between two people, the director can place them in the
same frame, one in the foreground and one in the background, and alternately
keep one in focus, the other out of focus. often accomplished with a zoom lens.
This is a popular TV effect that can be seen in shows such as NYPD Blue, Third
watch, and soap operas.
FREEZE
FRAME: A SPECIAL EFFECT in
a shot, giving the effect of a halt in action or a STILL PHOTO.
This is accomplished by printing one frame many times, usually with an optical
printer.
GENRE: A type or category of film, such as the
musical, the Western, the thriller, or the science fiction film.
HAND-HELD
SHOT: A shot made with the camera held in the hands or mounted on the
shoulder rather than mounted on a tripod or other stabilizing fixture. often
used for CINEMA VERITE or
for a cin4ma verite effect.
INSERT
SHOT: A shot, containing visual detail that is inserted into a scene
for informational purposes or to provide dramatic emphasis. It is almost always
a CLOSE UP.
INTELLECTUAL or THEMATIC
MONTAGE: A type of editing which, through the juxtaposition or collision of
contrasting shots or sequences, generates ideas in the viewer's mind which are
more than the meaning of the shots themselves. Example: shot of a man + shot of
a peacock = idea of a vain person. Intellectual montage is most often
associated with the work of Soviet filmmaker Sergei Elsenstein.
JUMP
CUT: cutting together two discontinuous points of a continuous action
without changing the set up. The result is that one often sees the same subject
in two successive shots but in a different position. Jump cuts can be found in
the films of Sergei Ejeenstein, but it was Jean-Luc Godard's Breathless that
created a vogue for jump cuts in the 1960s. Jump cuts are now a common feature
of music videos and TV advertising.
LASERDISC
(LD):An analog video optical disc format. The format was replaced as a
consumer product shortly after the introduction of DVD in 1997. By the middle
of 2000 most studios and distributors stopped distributing titles in the
format.
LETTERBOXING: A method of formatting
wide-screen films for some video and DYD releases. Black bars mask the top and
bottom of the frame, producing an image with a wider ASPECT RATIO in
the center of the frame. The result is that the letterboxed image closely
matches the aspect ratio of the original theatrical release.
LIGHTING: Light can be natural
(daylight) or artificial. It can be flat (not highly contrasted in brights and
darks) or full of contrast. Strong contrasts can create dramatic effects.
Lighting is often dependent on what type of film stock is being used; for
example slower speed stocks are less sensitive to light and may require
artificial lighting. Many color and slower speed stocks are not
"fast" enough to shoot an ordinary outdoor night scene. When a scene
is shot with no additional lights, only AVAILABLE LIGHTING is
used. In some cases a scene is shot in the daylight and filters are added to
darken the scene to look like night. This is called shooting DAY-FOR-NIGHT.
LIP SYNC: synchronization between the sound and its
source in the film. If they don't match, they are "out of sync."
See SYNC.
LOCATION: Any place, other than the studio or studio
lot, where a film is shot. Shooting in actual settings is called shooting
"on location".
LONG
TAKE: A shot of unusually long duration. In 1984, the average length
of a shot was 8.4 seconds; a long take is a shot of significantly longer
duration than the average. see, for example, the opening scene of Orson
Welles' Touch of Evil or of Robert Altman's The Player.
MATTE: A mask which obstructs some of the light
passing through the camera lens. It can be of a specific shape (e.g., a
keyhole), which is then imposed on the film as a blank area while the
photographic images are being exposed. Mattes are now most often produced with
laboratory techniques rather than with a camera-mounted mask.
MISE-EN-SCENE: The arrangement of all of the elements placed
in front of the camera to be photographed. Mise-en-scene refers to the settings
and props, costumes and make up, the arrangements of actors in relation to the
setting, lighting, etc. Writers often speak of two key approaches to
filmmakers' styles: mise-en-scene to describe what goes on within the frame and
editing to describe the order and length of shots.
MONTAGE: The French word for
editing. In the Soviet Union daring the 1920s and 1930s, montage meant INTELLECTUAL MONTAGE.
2) In Europe, the term is equivalent to editing. 3) In Hollywood, the phrase
"montage sequence~ is used specifically to describe a sequence using rapid
cuts, often SUPERIMPOSITIONS and DISSOLVES, to create a kind of kaleidoscopic effect and
to telescope or shorten the passage of an extensive period of time.
MULTIMEDIA: An ambiguous term describing the combination
of audio, video, and other information with graphics, control, storage, and
other features of computer-based Systems. Applications include presentation,
editing, interactive learning, and games.
NARRATION: The process by which the plot conveys or
withholds story information. The narration can be restricted to one
character's POINT OF VIEW or it can be omniscient,
encompassing more information than any one character possesses.
NARRATIVE STRUCTURE: The organization of a film's narrative
building blocks, as determined by the order of scenes and sequences. For
instance, Citizen Kane is structured as a series of flashbacks
alternated with the reporter's search in the present. Screenwriters often speak
of a three-part structure to story construction: the setup, the complications,
and the resolution.
NEW MEDIA: Media technology or a form of media
communication that surpasses, enhances, and/or alters an already-existing
technology; for example, DVD (digital) technology compared to LASERDISC and VHS (both analog) technologies.
NONDIEGETIC
SOUND: sound, such as underscored music on the soundtrack that is not
part of the world of the film's narrative. In other words, the characters do
not hear it.
NONLINEAR EDITING: Random-access editing
of video and audio on a computer rather than physically cutting the film.
Example of non1inear editing systems (NLEs) include AVID and Media 100;
nonlinear software packages include Final Cut Pro and Adobe Premiere.
OFF-SCREEN
(o.s.) OR OFF-CAMERA (o.c.) DIALOGUE: Dialogue spoken
by a diegetic character whom is not seen in a particular shot4, Compare
with VOICE-OVER.
180 DEGREE SYSTEM: Maintaining left-right spatial relations on
screen by not letting cameras cross the AXIS OF ACTION. If the camera were to cross the axis, the
spatial relations would be reversed.
PARALLEL
ACTION: An effect created when two or more actions in two or more
different locations are presented by CROSS-CUTTING between
them. This alternation between actions proposes to the viewer that they are
taking place at the same time. Also called PARALLEL EDITING.
PARALLEL
EDITING: see PARALLEL ACTION.
PLASTIC
CUT/DISSOLVE or MATCH CUT/DISSOLVE: Framing
in a successive shot an object which begins with a shape or contour similar to
an image in the preceding shot. In Alfred Hitchcock's Psycho, for example, the
camera cuts from Marion Crane's eye to the shower drain. The circumference and
location in the frame of the two circles are identical. The shots may be placed
back-to-back (plastic cut) or one may dissolve into the next (plastic
dissolve). Also called a GRAPHIC MATCH.
POINT-OF-VIEW
(POV) SHOT: A shot which represents what a character is
looking at. It is seen more or less from his/her perspective and thus often
increases the viewer's emotional identification with that character. A POV shot
usually follows a shot of the person (whose view it represents) looking
off-screen. This set up is often referred to as "motivated Pov."
PRIME LENS: A single focal-length
lens.
REACTION
SHOT: 1) A CUT-AWAY shot of a person reacting to the main
action as a listener or spectator. 2) A shot giving a characters reaction to
what he/she has seen in the preceding POINT-OF-VIEW SHOT.
REAL
TIME: The actual time an action would need to occur as opposed to
SCREEN TIME. Real time is rarely preserved in film scenes and exists only
within the individual shots of a film; actions that are unnecessary to the film
narrative are often edited out.
REAR PROJECTION; A technique whereby
the actors, sets, and props in front of the camera are combined with a
background which consists of a translucent or blue screen on which a picture
(moving or still) is projected from behind. In classical Hollywood films, this
technique was often used when a scene took place inside a moving vehicle (see
any Hitchcock film, but especially Vertigo). Sometimes called
"back projection" or a "process shot."
REFLEXIVITY: Self-consciousness in
a film that draws attention to its own construction (editing, camera movement,
performance, etc.). Reflexive films often seek to remind the audience that it
is watching a film. They can focus on the formal elements of film (such as the
limits of the frame) or they can examine the social or political implications
of cinema, such as the ways in which films often either objectify or
marginalize groups based on race, ethnicity, gender, or sexuality.
REVERSE
MOTION: Screen action that runs backwards.
SCREEN DIRECTION: Whichever direction, left or right, the actor
or object is looking at or moving toward, described from the audience's point
of view. Most often CONTINUITY EDITING will maintain the integrity of screen
direction.
SCREEN TIME; Duration of an action as manipulated through
editing, as opposed to REAL TIME. An editor can use CROSS CUTS or CUT-AWAYS, for example, to expand or condense real time
to give the film a different duration. For example, if we cut away for part of
a movement, when we cut back we may have cut out a large chunk of the action.
For other ways of manipulating time see: FAST MOTION and SLOW MOTION, JUMP-CUTS, REVERSE MOTION, and FREEZE FRAME.
SHOT: A piece of film that has been exposed, without
cuts or interruptions, in a single running of the camera. The shot is often
regarded as the elemental division of a film. Shots may be categorized: 1)
according to the apparent distance of the main subject from the camera (camera
distance); 2) according to the angle of the camera in relation to the subject;
3) according to the content, nature or subject matter of (e.g., a reaction shot
or a two-shot); 4) according the means accomplished physically (camera
movement). what is being filmed by which the shot is
1. DISTANCES:
EXTREME LONG SHOT (XLS): A shot in which the scale of the
object shown is very small; a landscaper a cityscape, or a crowd. Such an image
is often used as an ESTABLISHING SHOT.
MEDIUM LONG SHOT (MLS): A shot in which an
object that is 4-5 feet tall fills the screen vertically. A shot that shows a
character from the shins up (also referred as a PLAN AMERICAIN).
PLAN AMfRICAIN: A shot that shows a character from
the shins up. Sometimes referred to as a MEDIUM LONG SHOT, especially when a character is not shown.
MEDIUM
CLOSE-UP (MCU): A shot somewhere between a MEDIUM SHOT and
a CLOSE UP; generally one that shows a character from the
chest up and with some background remaining.
EXTREME CLOSE UP (XCU): A shot that shows only
a small portion or detail of a character’s body (eyes, ears, mouth) or a tiny
bject.
2. ANGLES (described
from the camera's point-of-view):
EYE-LEVEL SHOT: A shot taken at the director's or the
subject's eye level. This is normally between 5 and 6 feet but it can change
according to director and cultural context. For example, Yasujiro Ozu's films
were often shot at a level of three feet to replicated the eye level of someone
seated on a tatami mat and Susan Seidelman's films are often shot at a level
below five feet because she is shorter than the conventions allow.
REVERSE-ANGLE SHOT: A shot taken by a camera
positioned more or less opposite from where the previous shot was taken. when
reverse angles are alternated for dialogue sequences, the sequence is called
SHOT/COUNTER-SHOT or SHOT-REVERSE-SHOT. It often looks like this:
DUTCH,
CANTED, or OBLIQUE ANGLE: A shot in which the frame is not level; either
the right or the left side is lower than the other, causing objects in the
scene to appear slanted out of an upright position.
3.
CONTENT,
ESTABLISHING SHOT,
Often the opening shot of a film or a sequence, showing the location of a scene
or the arrangement of its characters. Usually an EXTREME LONG SHOT or a LONG SHOT. For example, classical westerns normally open
with an LONG SHOT of a conventional setting, such as
Monument valley.
MASTER
SHOT: In classical Hollywood, a master shot referred to an entire piece of
dramatic action which was first filmed in a single shot before being
re-photographed in closer shots. An edited sequence was then constructed using
the variety of shots. Today, a master shot can refer to a SEQUENCE SHOT, a complex take incorporating many distances
and a lot of movement.
TWO-SHOT:
Close-up or medium shot of two persons.
4. MEANS:
MOVING
SHOTS: see CAMERA MOVEMENTS.
SLOW
MOTION: The action appears slower on the screen than it could in
reality. Achieved by shooting at more than 24fps (over-cranking) or in the
processing stage (with an optical printer).
SPECIAL
EFFECTS: Artistic effects (such as wipes, split screens, matte shots, and
rear projection) that are unobtainable from straight-forward motion-picture
photography and have been manipulated or combined. Special effects are added to
a film or video in order to enhance the production by creating drama, enhancing
mood, or developing story. See Car.
STOCK FOOTAGE: Footage borrowed from previous films or a
stock library. It is often newsreel footage of famous people and events and
other hard-to-shoot footage.
STOP
MOTION: The method by which trick photography is created; i) film is
exposed one frame at a time, allowing time for the slight rearrangement of
models, etc. between frames, and thus giving the illusion in the completed film
of motion by something normally inanimate. This is how King Kong was
made and Claymation is filmed. 2) The method used for TIME
LAPSE.PHOTOGRAPHY, which is extreme FAST MOTION (for
example, one frame every thirty seconds). This is how flowers can appear on the
screen growing, blooming and dying within a few seconds. 3) The camera is run
continuously then stopped; objects or people are removed; the camera is run
normally again. Thus objects and people can be made to appear or disappear..
This last effect was first used by Georges Melies in A Trip to the Moon and
other early films.
STYLE: The manner in which a film conveys its ideas,
how the film conveys an attitude towards the material in cinematic terms. A
film's style is influenced by mode of production, country, period, and
conventions, and the particular director's artistic choices. There are broad
styles, such as realism, expressionism, surrealism, but each filmmaker
interprets the script in an individual style, making directorial choices
related to camera work, sound, acting, editing, mise-en-sc~ne, and the like.
SUPERIMPOSITION: A multiple exposure in
which two or more images are simultaneously visible over each other.
SYNC or SYNCHRONISM:
sound that is matched temporally with the movements occurring in the images, as
when dialogue corresponds to lip movements.
TELEPHOTO
LENS: A lens of long focal length with a narrow angle of view. It
condenses space, flattens depth, and brings distant things close. Compare WIDE ANGLE LENS.
THEME: An overarching idea conveyed by a film (as
opposed to the plot, which is what happens). Themes found in Citizen
Kane inc1ude the crushing weight of materialism, the contrast between
Kane's public successes and his private failures, and the corruption of power.
THEORY: When applied to the cinema, a philosophical or
aesthetic model which seeks to explain the basic characteristics of film. Film
theory examines questions regarding the nature of cinema (what is cinema?) and
how it expresses meaning (How does it communicate?).
TRANSITIONS: Besides cutting directly frorn the last frame
of one shot to the first frame of another shot, the following transitions can
be used to connect shots. They are created either in the camera or during
editing.
DISSOLVE: The merging of the end of one shot with the
beginning of the next; as the second shot becomes distinct, the first slowly
fades away. Thus, for a while, two images are SUPERIMPOSED. Also
called “lap dissolves” and, in England, "mixes." A dissolve is a
fade-out which overlaps a fade-in.
IRIS: A round, moving mask that can close down to
end a scene (iris-out) or emphasize a detail, or it can open to begin a scene
(iris-in) or to reveal more space around a detail.
WIPE: A transition in which the second shot appears and “pushes"
off the first one; usually the images are separated by a visible vertical line,
but there are many variations of wipes. Three kinds of wipes:
TWO-SHOT: see SHOT
UNITS OF FILM LENGTH:
FRAME:
The individual picture on a strip of film. FRAME also refers
to the borders
of the projected image.
REEL: 1) Physical object on which film is wound; 2) Length {in time)
of film on a given reel. Reels vary according to the FILM GAUGE and the
projector: reel changeovers in lGmm occur about once every 40 minutes, in
35rnra every 20 minutes. Because raw-stock came on 10 minute reels in the
silent era, directors often structured films in 10 minute sequences. In
commercial theaters films are usually projected on platters. The whole film is
spliced together after being shipped as separate reels.
SHOT: A piece of
film that has been exposed without cuts or interruptions. (Defined in detail
under its own alphabetical listing.)
SEQUENCE: A dramatic unit coraprised of shots or scenes
linked together by a common idea or image. The SEQUENCE can
span different times or location as long as its dramatic elements and structure
are unified. In non-narrative film, a SEQUENCE designates a unit held together by rhythm,
coraposition, theme, or concept.
VIDEO: The picture portion of a broadcast TV signal;
an electronic signal making a TV picture. Formats include: VUS, Beta, HIS,
Digital Video, and Mini-DV.
VIDEO CAMERA: A camera which contains an electronic image
sensor and records on tape rather than photographic film.
VOICE
OVER (V.O.): Narration, usually added in post-production,
that occurs outside the immediate on-screen world of the film. Compare
with OFF-SCREEN or OFF-CAMERA
DIALOGUE.
WIDE ANGLE LENS: A lens of short focal-length with a broad
angle of view. It exaggerates apparent depth of space and is often used
for DEEP FOCUS shots.
Compare to TELEPHOTO LENS.
ZOOM SHOT: A shot taken with a zoom lens (i.e., a
variable focal lenqth lens which makes it possible to move visually toward or
away from a subject without moving the camera). with a DOLLY SHOT, objects pass
by the camera, giving a feeling of depth. With a ZOOM, the sensation is two-dimensional,
much like coming close to a still photograph.
Courtesy : Psu.edu.
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