key terminology/Film editing

aerial shot	A camera shot filmed from an airplane, helicopter, blimp, balloon, kite or high building (higher than a crane).
arc shot	A shot in which a moving camera circles round the subject being photographed.
bridging shot	A shot that connects one scene to another by showing a change in time or location. A bridging shot can also be used to connect two shots from the same scene by using a close-up, distant pan or different camera angle thus relating the shots via content.
camera angle	The position of the camera on a vertical continuum relative to the object being shot: eye-level, high-angle (looking down from above), low-angle (looking up from below), Dutch-angle (with the normal vertical axis tilted diagonally). The term can include the perspective given by the camera to the depth of focus, height and width of the particular object and action being photographed.
caption	See titles.
close-up	A shot in which a smallish object (e.g. the human head) fits easily within the frame.
composition	The complete arrangement of a scene by the director. The process includes camera angles, lighting, properties, characters, and the movement of the actors.
continuity editing	The conventions through which the impression of an unbroken continuum of space and time is suggested, constructing a consistent storyline out of takes made at different times.
crane shot	A shot in which the camera rises above the ground on a mobile support.
cross-cutting	Swiftly cutting backwards and forwards between more than one scene.
crossing the line	Breaking the 180º rule typical of continuity editing (see 180º rule).
cutaway	A sudden shift to another scene of action or different viewing angle; or a shot inserted between scenes to effect a transition (as a bridging shot).
depth (of field/focus)	The range of a camera lens. Depth of field refers to the distance furthest away from a lens in which the objects being photographed will remain in focus approaching infinity. Depth of focus refers to the closest proximity to the lens in which the objects being photographed will remain in focus approaching the infinitesimal.
dissolve	The slow fading of one shot into another.
dolly	A trolley on which the camera is pulled along the ground.
dynamic cutting	Combining a series of seemingly unrelated shots, objects, people, situations, details and characters in juxtaposition with one another (a form of montage, opposed to continuity cutting).
establishing shot	A long shot, often the first in a sequence, which establishes the positions of elements relative to each other and identifies the setting.
external diegetic sound	Sound which comes from out of frame, but is understood as belonging within the story space (unlike incidental music, which is extra-diegetic).
extreme close-up	A shot in which a small object (e.g. a part of the body) fits easily within the frame.
flashback	Narrative device in which the action is interrupted by scenes representing a character’s memory of events experienced before the time of the action.
flashforward	The opposite of flashback: future events (or events imagined by a character) are shown.
frame	Each individual photographic image making up the film. Also refers to the area of the picture seen on the screen.
framing	The size and position of objects relative to the edges of the screen; the arrangement of objects so that they fit within the actual boundaries of the film.
frontality	The placing of the camera at a 90º angle to the action.
graphic match	A visual rhyme between two successive shots.
jump cut	A rapid, jerky transition from one frame to the next, either disrupting the flow of time or movement within a scene or making an abrupt transition from one scene to another.
long shot	A shot in which a large object (e.g. a complete human figure) fits easily within the frame.
long take	A shot that is allowed to continue for longer than usual without editing.
match on action	A cut between two shots of the same action from different positions, giving an impression of seamless simultaneity.
medium long shot	A shot in which a largish object (e.g. the human figure from lower leg up) fits easily within the frame.
medium shot	A shot in which a medium-size object (e.g. the top half of a human figure) fits easily within the frame.
mise-en-scene	Everything placed within the frame, including set decoration, costume, and styles of performance (implies an emphasis on psychological and visual unity in a film from one frame to the next).
montage	Style of editing involving rapid cutting so that one image is juxtaposed with another or one scene quickly dissolves into the next. Angles, settings and framing are manipulated in a conspicuous way (violating coherent mise-en-scene) so as to convey a swift passage of time, to create some kind of visual or conceptual continuity, or to generate a distinctive rhythm. (See also dynamic cutting.)
narration	The telling of a story and the information supplied to the audience by a voice coming from off screen who may or may not be a character in the story.
off camera	Out of the boundaries of the camera’s field of vision (although a performer’s presence may be indicated by the context of the scene or their presence in dialogue).
180º rule	The convention that the camera can be placed in any position as long as it remains on one side of the action.
overhead shot	A shot looking down vertically on the action from above.
pace	The tempo at which the storyline of a film unfolds, affected by various elements including action, the length of scenes, camera angles, colour levels, editing, lighting, composition and sound.
pan	A movement in which the camera turns to right or left on a horizontal axis.
parallel action	Aspects of a story happening simultaneously with the primary performer’s situation, edited so that the projected image goes back and forth between the primary and secondary scenes (often leading up to a convergence of the two actions).
passing shot	A shot producing a projected image that travels quickly across the screen, either by moving the subject past a stationary camera or by panning the camera past a stationary subject.
plan américain	Same as medium long shot.
POV (point of view shot)	A shot which is understood to be seen from the point of view of a character within the scene.
racking focus	A shift in focus between planes at different distances from the camera within the same shot.
reaction shot	A close-up in which an actor or group is seen to respond to an event, often accomplished with a cutaway from the primary action to someone viewing the occurrence.
reverse angle	Two successive shots from equal and opposite angles, typically of characters during conversation.
sequence	A series of segments of a film narrative edited together and unified by a common setting, time, event or story-line.
sequence shot	A relatively long and complete scene shot in one take without editing (similar to long take).
set	A constructed environment in which to shoot a scene: often consists of flat backdrops or façades, but can be a three-dimensional construction.
shock cut	The immediate juxtaposition of two incongruous shots (e.g. from a sex scene to a religious icon).
shot/countershot	Same as reverse angle.
subjective camera	A camera shot or film style that provides the audience with the specific vision or perspective of a character in the film (i.e. the technique of using POV).
suture	The ‘sewing’ together of imaginary and symbolic in Hollywood cinema carried out by continuity editing. It serves to ensure the sense of a unified narrative and subject position.
tilt	A movement by which the camera moves up or down while its support remains fixed.
titles	Any words that appear on the screen to convey information to the audience, including credit titles (identifying personnel), main title (the name of the film), end titles (closing credits), insert titles (announcing scenes or identifying settings) and subtitles (translation of foreign-language dialogue). Insert titles and subtitles can also be referred to as captions.
tracking shot	A shot in which the camera is pushed horizontally along the ground on a dolly.
two shot	A shot in which two actors appear within the frame.
voice-over	Voice heard while an image is projected but not being spoken in sync with one of the characters appearing on screen. Used to suggest a character’s thoughts or recall of something said earlier, or to provide objective (extra-diegetic) narrative or commentary.
zoom	The effect of rapid movement either towards or away from the subject being photographed, either by using a specialized zoom lens or by moving the camera on a boom, crane or dolly. Zoom effects can also be achieved and enhanced by the use of an optical printer.

MIKES LESSON

MISE - EN - SCENE

Sound Track In Sherlock Homes

Sound

Sherlock Homes  

What can I hear?

As soon as the movie begins you can hear the sound of a Madeline playing then the sound of a horse running starts to build up. The sound of the saddles starts to build up to along side the sound of the carriage.  The horse neighs, the wheels of the carriage rub against the floor tiles.The sound of the horse carriage fades away. The instrumental music starts to build up very slowly and carries on throughout the opening. You can also hear the sound of fire burning;two guns clicking one after the other(coming from inside the carriage).The sound of the horse carriage starts to build up again this times faster. saddle chain rattling louder; fire burning ; someone running behind the carriage  bird hawking and flapping away. A another gun clicks. The horse carriage fades away then a noise of a person jumping and falling and getting back up. sound of a door opening and glass breaking. 

my media journey

My MedIa JouRnEY  

The role that I am looking for in the media industry is the role of a Film Directer. the reason why I am doing media is because I want to be a film director. ever since I was a kid I enjoyed watching movies and acting them out with my siblings and directing them. As a child I enjoyed watching movies and pretending that I directed them. I feel like I am going through the direction and I know that I want to be a director. even know when I watch movies I know what the ending is going to be and what the director has planned to do with the movie. I hope this journey will take me to my goal.

 

A GOOD/ BAD INTERVIEW

What is a good and bad interview?

POLITICS 

Russell Brand Vs Paxman 

I would say this is a example of a  good and a bad interview. The interview is very well structured and has a flow. Its a good interview in the sense that both Russell and Paxman are engaged in the interview. Paxman tries his best to get the information he wants from Russell by asking the same question in different format. However Russell tries to get his point across by answering Paxman question with a twisted answer. Throughout the interview both Paxman and Russell seem do have negative body language it seems as they both are trying to copy each other. For example: at the start at the interview paxman copy's brand by putting his arm on the chair in a uncomfortable position , they both copy each other throughout the interview. On the other hand Russell body make it seem like his sitting at home rather in a professional interview. Also Russell uses big words to make himself seem he is really clever when their is no need to make himself look clever. Another example shows that both individuals hate each other because Paxman calls Russell "ferocious" because Russell doesn't agree with the current government. Paxman needs to be open-minded and listen to Russell's view on the political system Russell is very desperate to get his point across, which is why he gets angry and raises his voice slightly but controls it. Also Paxman talks over Russell when he is giving his opinion about the political system. However I do feel after seeing the interview Paxman was being rude to Russell even though Russell gave Paxman time to interview. Overall I do think it is a good interview in same ways such as the question which are asked are structured and the conversation in flowing. However I do think in some ways its a bad interview, because both individual talk over each other and copy each others body language and Paxman is being rude and vain.

Film Language- sound

Sound

Sound in films and TV

sound is mixed carefully in films, because the wrong sound in a film can ruin the atmosphere.

key terminology

1. Diegetic: Sounds that belong to the film. .i.e.  dialogue and sound effects. sound which is visible on the screen such as: voice of characters, sound made by objects in the story or music coming from the visual scene.  Diegetic sound is is any sound originated from the any object or sources in a film. Diegetic sound can be on screen or off depends on if the source in in the frame or outside the frame. this sound can create different meaning to the audience. 
2. Non diegetic: Sound that are not visible on the screen. sounds that is coming from source outside the story space. Such as narrators commentary, musical sore/soundtrack or sound effects which are added for dramatic effects. Non diegetic sound come from outside the source of the story. 
3. Ambient: Is sound used to create atmosphere or sense of the place. 
4. Sound effects: Sometimes used to make realistic sounds or to create a psychological impact or effect.
5. Mood: Sounds which are used to create an atmosphere.
6. Tone: Is sounds which are harsh or soft.
7. Genre: The music or sound effects which match the theme of the film or the types of music such as horror music or romantic music. 
8. Theme music: Music introduces the movie and develops throughout the movie and end the film. sometimes it tells you what the movie is going to be like. some characters can have their own theme music, this is used to show the emotions of the character.
9. Voiceover: This is the voice of the character, this voice guides the audience or gives extra advice but sometimes can be used to give wring narrative directions. 
10. Musical score: This is used to create the climate of the film to link the shots in the film. it help to create the narrative of the film or gives information about the characters.  
11. Synchronous sound: This is when the sound track is matched which the action which is taking place in a film. 
12. Asynchronous sound: This is when sound comes from outside the diegetics of a film meaning the musical soundtrack. 
13. Contrapuntal: This sound effects or noise which doesn't match the the visual screen. this is sometimes put together to create a different meaning.
14. Silence: Films or TV programmes very rarely have a silent scene. but silence can be very effective. sometimes its used to create a reaction from the audience. 
15. Selective Sound:  Is used to highlight key sounds with in a sequence. 
16. Sound bridges:  Helps the changeover between scenes more fluently.