Screen space is the concept that a film shot

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Screen space is the concept that a film shot resembles a painting, filled with colors and images
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for the audience to digest. Most commonly, near perfect symmetry is a loose balancing of the shot's left and right regions. The easiest way to do this is to center on the human body. Contrasting is a big concept in screen space, and even the smallest change in color can differentiate emotions or moods. Monochromatic color design is when the filmmaker emphasizes a single color, varying it only in purity or lightness. Depth cues are provided by lighting, setting, costumes, and staging – that is, by all the aspects of mise-en-scene. Depth cues also pick out planes within the image, planes being layers of space occupied by persons or objects. Aerial perspective is the hazing of more distant planes. The mise-en-sene provides several depth cues: overlap of edges, cast shadows, and size diminution, which are figures and objects farther away from us are are seen to get proportionally smaller. Shallow space composition is when the mise-en-sene suggests little depth, and the closest and most distant planes seem only slightly separated. Deep space composition is where there is significant distance between planes. Frontality can change over time to guide our attention to various parts of the shot. Cinematography (writing in movement) depends to a large extent on photography (writing in light). A filmmaker can manipulate an image by altering film stock, exposure, and developing procedures. Types of film stocks are differentiated by the chemical qualities of the emulsion. A very fast film stock, one that is sensitive to reflected light, will produce a “low contrast” look, while a slower, less light-sensitive one will be high in contrast. Technicolor became famous for its sharply distinct, heavily saturated hues. The person in control of the color timer or grader has a wide choice about the color range of a print. Tinting is accomplished by dipping the already developed film into a bath of dye. Toning is where the dye is added during the developing of the positive print, resulting in darker areas being colored, while the lighter portions of the frame remain white or only faintly colored. The filmmaker controls exposure by regulating how much light passes through the camera lens, through images shot with correct exposure can be overexposed or underexposed in developing and printing. Filters are slices of glass or gelatin put in front of the lens of the camera or printer to reduce certain frequencies of light reaching the film. Motion is when the director determines the pace of the action in the shot. The speed of the motion we see on the screen depends on the relation between the rate at which the film was shot and the rate of projection.
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