| A | B |
|---|
| byte | used to measure amount of data, it takes 8 bits to make one byte. |
| kilobyte | 1,000 bytes |
| megabytes | 1,000,000 bytes |
| gigabytes | 1,000,000,000 bytes |
| compression | making files smaller so that they take up less space |
| lossy | losing info |
| lossless | not losing info |
| CGI | abrreviation for computer generated imagery |
| computer graphics | anything that is not text on a computer: pictures, business charts, diagrams, and art |
| font | text; a collection of characters with defined sizes and style |
| font size | 8 points (small) to 72 points (large) |
| imaging | graphic images are typically created with pixels or lines |
| Raster (bitmap) graphics | composed of pixels - bmp, tif, gif, and jpg(photographers) |
| bitmap | pixel image |
| vector graphics | drwan using lines e.g. ai, eps, svg, and drw(engineer/architecture) |
| vector | is line image |
| RGB | abbreviation for Red-Green-Blue, three basic colors of light on the computer that can mix together to form any color. |
| RGB (max) | white |
| RGB(hue at 0 intensity) | black |
| CYMK | cyan, yellow, magenta, and black; printer colors to create all diff colors on paper |
| Resolution | a way of measuring the clarity of an image - # of pixels on your screen or dots your printer can produce |
| monitor resolution | 480 X 640, 800 X 600, 1,024 X 768, and 1,280 X 1,024. first # represents pixels horizontally and second # rep pixels vertically |
| montitor resolution | higher the resolution, better the quality of picture |
| Printer resolution | stdard is 300 dots per inch (dpi), higher one are 600 dpi to 2400 dpi |
| video resolution | graphic resolution are measured horzontally and vertically; A reolution of 320 X 800 indicates large dots to create image and 1240 X 800 means smaller dots and finer image meaning higher resolution |
| scanner resolution | dpi with 300 used as a minimum |
| animation | process of photographing drawing, puppets, silhouettes, or inanimate objects frame by frame through stop-motion photography. 24 frams per second |
| animation composition storyboards | series of hand sketches, or sometimes photographs, that represent the individual shots to be taken for a film production |
| animation compostition layout | plan for each scene that indicates the correct size of static figures, their proper spatial relationaships, specific colors for the scene, and camera placement and movement |
| animation compositon animation | construction of figures/elements to create smooth and natural motion (24 frames per second) |
| animation composition lighting | shading and texuturing of figures and elements. Shading in computer graphics or animation is the process of imposing qualities of color, shades, and reflectance on surfaces. In CGI (computer graphic imaging), the programmer is referred to as the "shader." |
| animation composition final | assemblage of the various scenes and sequences. |
| aspect ratio | the ratio of width to height of the image both on film and on screen. general aspect ratio for silent film was 1.33:1. |
| blue screen | blue screen compositing is accomplished digitally. characters are shot agaist a blue backing and a separate background is shot that will placed onto the background. both are scanned into the computer. an electronic matting process titled "Chroma key" assembles the pictures elements: character and background |
| camera speed | the rate per second of frames exposed in the camera. rate of silent films was supposed to be 16 frames per second. Later it was necessary to speed up the camera to 24 fps so that the optical sound track could produce clear sound. |
| aspect ratio academy/tv | 1.33:1 |
| aspect ratio 70mm film | 2.2:1 |
| transitional effects | visual effects achieved between shots on film such as dissolves, fades, or wipess |
| special effets/mechanical | produced before camera, such as exploding bullets and shells during a battle or the mad scientist's electronically pulsating laboratory in a horror film; usually uses machines |
| special effects/photographic | achieved thru camera processes, such as bouncing image thru camera movemnt or in-focus to out of focus process |
| special effects/digital | generated by the computer, such as in animation; also know as "computer generated imaging" (CGI). done on computer. king kong, ship in water |
| film composition/take | a single uninterrupted recording on the set or site |
| film composition/shot | the continous action on the screen |
| film composition/scene | a unified action within the film plot that normally takes places in a single location and in a single period of time |
| film composition/sequence | a series of related shots and scenes that form a single, coherent unit of dramatic action. this is equivalent of a "chapter." |
| greenscreen | a newer technique similar to bluescreen, however utilizing a key (designated) green background. better result on green insted of blue, as the composition process was more sensitive to separating key green from other foreground colors |
| motion capture | feeding the moving data from an object, animal, or person into a computer. This procedure is accomplished by capturing light (not visible to eye) emitted from small electronic dots on the subject; these dots are known as LEDs (light emitting diodes). The computer recorede data are later used to give motion (animation) to digital objects or forms - Green Hulk, Gollum |
| pickup | shot for a film taken after the principal photography is completed. Such a shot may be an insert shot that shows some location or object or a retake of some poorly photographed shot |
| script | screenplay for the motion picture |
| set | artifically constructed place for the action of a film. |
| stop motion | a form of animation in which objects are filmed frame by frame and altered slightly in between each frame |
| storyboard | a series of hand sketches, or sometimes photographs, that represent the individual shots to be taken for a film production. |
| microphone boom | anything on pole; fishpole or boompole |
| microphone boom | a long mobile, telescopic arm with a microphone attached at one end that is held over the speaker's head, outside the camera's frame. |
| camera boom | the sturdy, mobile (projection arm) camera mount, attached to a vehicle that is capable of moving vertically and horizontally in space, allowing the camera operator to shoot the scene from various heights, distances and angles |
| light boom | a long extended pole that is attached to a stand and from which a light is suspended to illuminate a particular area of the set from above |
| crane | a large camera trolley with a long projected arm or boom at the end of which is a platform. |
| dolly | a mobile platform on wheels that supports the camera, camera operator, and often the assistant cameraman, and allows the camera to make noiseless, moving shots in a relatively small area. on tracks. Normal dolly allow forward and backward movment but crab dolly allow sideways movement as well |
| dolly grip or dolly pusher | individual sho pushes the dolly during the shot. on tracks |
| steadicam | the trade name of a much employed device that allows for the operator to keep the camera steady during handheld shots. Used where dolly can't go due to rough terrains |
| cinema | meaning motion; refers to movie picture and theatres |
| film | motion picture |
| flick | slang, means film; a term used to describe a movie film. |
| motion picture | a sequence of images, photographed one at a time in rapid succession by a motion-picture camera |
| director | the principal creative artist on a movie set. A director is usually (but not always) the main artistic source behind the filming process, and communicates to actors the way that he/she would like a particular scene played. |
| editor | the person responsible for putting the film together into its final form. The editor sometimes called cutter, is often of great significance in the success or failure of the film. It is the editor who, by shaping and arranging shots , scenes, and seq, while also modulating and imtegrating sound, has considerable influence in the development, rhythm, emphasis and final impact of the film. |
| foley | specialist in creating and recording sound effects |
| gaffer | chief electrician in film production |
| grip | a staghand responsible for an assortment of jobs on the set |
| location manager | the individual who acts as a location scout, finding particular settings for a film, as well as being responsible for contracts that address the details of occupancy. |
| producer | the person in chargeof all the financial and administrative asects of a film production, from the very inception of the film project and its initial planning thru all stages of production, distribution and advertising. |
| producer | a chief of staff of a movie production in all matters except the creative efforts of the director. |
| excecutive producer | the individual who, working for a large studio or film company, supervises the work of individual producers on their specific films and oversees the finances for motion picture production |
| property handler | the individual in a film production responsible for placing the correct props in th apropriate scene at the correct time |
| screenwriter | the individual responsible, in total or in part, for writing the various stages of a film script. SOmetimes one person may write all the stages but often several people have a part in developing the script |
| script supervisor | the individual, responsible for maintaing perfect continuity from shot by keeping a record that specifies individual takes and their details |
| set decorator | the individual in charge of the set dressing department |
| stand-in | an individual with the same physical characteristics as a major performer who replaces the actor or actress while the lights are set, camera positioned, and movements are established. |
| screen actors guild | the trade union for screen performers and stunt personnel with offices in both NY city and LA. The SAG negotiates salaries and working conditions for those professionals who appear on screen |
| writer guild of America | the professional union for screenwriter, which negotiates iwth production companies the minimum wage for screenplay and for various stages of writing, credits for writing and working condition. |
| guild | union |
