MISE-EN-SCENE

MISE-EN-SCENE - FOCAL LENGTH FROM WIDE-ANGLE TO TELEPHOTO...

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MISE-EN-SCENE
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LIT., “PUT ON STAGE.” DIRECTION THE RELATION OF EVERYTHING TO EVERYTHING ELSE WITHIN THE SHOT
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THEATRICAL ELEMENTS SET DESIGN/SETTING COSTUME DESIGN MAKE-UP LIGHTING BLOCKING OF ACTORS/FIGURAL MOVEMENT
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FILMIC ELEMENTS CAMERA ANGLE CAMERA DISTANCE CAMERA MOVEMENT
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LOW ANGLE
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HIGH ANGLE
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EYE-LEVEL
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CAMERA LEVEL CANTED SHOTS
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CAMERA DISTANCE
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CLOSE UP
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MEDIUM SHOT
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LONG SHOT
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CAMERA MOVEMENT PAN—CAMERA ROTATES ON ITS AXIS TRACK—CAMERA MOVES BODILY THROUGH SPACE ZOOM—NOT TECHNICALLY A “MOVEMENT.” LENSE SHIFTS ITS
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Unformatted text preview: FOCAL LENGTH FROM WIDE-ANGLE TO TELEPHOTO OR VICE VERSA PAN TRACKING SHOT LIGHTING THREE-POINT LIGHTING KEY LIGHT FILL LIGHT BACK LIGHT BACKLIGHTING, NO FILL LIGHTING STYLES HIGH-KEY LIGHTING LOW-KEY LIGHTING MID-KEY LIGHTING HIGH KEY LOW KEY MID-KEY DEPTH OF FIELD THE RANGE OF DISTANCE IN FRONT OF THE LENS IN WHICH EVERYTHING IS IN SHARP FOCUS DEEP FOCUS A DEPTH OF FIELD THAT MAINTAINS SHARP FOCUS FROM EXTREME FOREGROUND TO EXTREME BACKGROUND...
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This note was uploaded on 11/20/2011 for the course FILM 354:201 taught by Professor Belton during the Spring '11 term at Rutgers.

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MISE-EN-SCENE - FOCAL LENGTH FROM WIDE-ANGLE TO TELEPHOTO...

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