Diegetic Sound - Sound whose source is visible on the screen or whose source is implied to be present by the action of the film:
voices of characters
sounds made by objects in the story
music represented as coming from instruments in the story space
Diegetic sound is any sound presented as originated from source within the film's worldDigetic sound can be either on screen or off screen depending on whatever its source is within the frame or outside the frame. Another term for diegetic sound is actual sound. Throughout this clip diegetic sound is used, all of what the audience hears is real sound and is present on set.
Visual Effects - These are traditionally divided into the categories of optical effects and mechanical effects. With the emergence of digital film-making tools a greater distinction between special effects and visual effects has been recognized, with "visual effects" referring to digital post-production and "special effects" referring to on-set mechanical effects and in-camera optical effects.
In this clip at 1:15, visual effects are used and they create creatures that aren't real but appear in the shot as if they are present in the scene.
Post-Production - This is part of filmmaking and the video production process. It occurs in the making of motion pictures, television programs,radio programs, advertising, audio recordings, photography, and digital art. It is a term for all stages of production occurring after the actual end of shooting and/or recording the completed work.
Ellipsis - This is both anarrativedevice and the most basic idea in film editing. Ellipsis concerns the omission of a section of the story that is either obvious enough for the public to fill in or concealed for a narrative purpose, such as suspense or mystery.
Slow Motion - This is achieved when each film frame is captured at a rate much faster than it will be played back. When replayed at normal speed, time appears to be moving more slowly. The technical term for slow motion is overcranking which refers to the concept of cranking a handcranked camera at a faster rate than normal.
Throughout this clip there is a use of slow motion shooting. This adds effect and gives the audience more of an interest in the shot.
Superimposition - The superimposition of one thing over another in the same shot. Sometimes tiles are superimposed over scenes. Or a face can be superimposed over a stream-of-consciousness montage shot. In this clip, at 0:11, an superimposed image of the tardis spinning is put in the shot.
Wipe - This is a type of film transition where one shot replaces another by travelling from one side of the frame to another or with a special shape. If the wipe proceeds from two opposite edges of the screen toward the center or vice versa, it is known as a barn door wipe (named for its similarity to a pair of doors opening or closing).
Cut - This is an abrupt, but usually trivial film transition from one sequence to another. It is synonymous with the termedit, though "edit" can imply any number of transitions or effects. The cut, dissolve and wipe serve as the three primary transitions. The term refers to the physical action of cutting film or videotape, but also refers to a similar edit performed in software; it has also become associated with the resulting visual "break".
In this clip at 4:10, a cut is used between the two scenes to spit them up and transition from one to the other.
Dissolve - This is a gradual transition from one image to another. The terms fade-out and fade-in and are used to describe a transition to and from a blank image. This is in contrast to a cut where there is no such transition. A dissolve overlaps two shots for the duration of the effect, usually at the end of one scene and the beginning of the next, but may be used in montage sequences also.
At 0:26 an example of a dissolve transition is shown.
Insert - This is a shot of part of a scene as filmed from a different angle and/or focal length from the master shot. Inserts cover action already covered in the master shot, but emphasize a different aspect of that action due to the different framing. An insert differs from a cutaway as cutaways cover action not covered in the master shot. In this clip at 0:22, the master shot shows the male character put the folders in the drawer but the insert shows him lock the drawer and put the keys in his pocket.
Cutaway - This is the interruption of a continuously filmed action by inserting a view of something else. It is usually, although not always, followed by a cut back to the first shot, when the cutaway avoids a jump cut.The cutaway shot does not necessarily contribute any dramatic content of its own, but is used to help the editor assemble a longer sequence.
Parallel Editing - This is the technique of alternating two or more scenes that often happen simultaneously but in different locations. If the scenes are simultaneous, they occasionally culminate in a single place, where the relevant parties confront each other.
At the start of the clip the shot shows a fisherman, the scene then changes to show a house. The shot then changes back to the fisherman, all this is done with parallel editing.
Crosscutting - This is an editing technique most often used in films to establish action occurring at the same time in two different locations. In a cross-cut, the camera will cut away from one action to another action, which can suggest the simultaneity of these two actions but this is not always the case. At 43:40 in this clip, crosscutting is used when the people talk about where the female and male characters are and the shot cuts to them in a bar drinking.
Jump Cut - This is a cut in film editing in which two sequential shots of the same subject are taken from camera positions that vary only slightly. This type of edit causes the subject of the shots to appear to "jump" position in a discontinuous way. For this reason, jump cuts are considered a violation of classical continuity editing, which aims to give the appearance of continuous time and space in the story-world by de-emphasizing editing. Jump cuts, in contrast, draw attention to the constructed nature of the film.
Action Match - This refers to film editing and video editing techniques where the editor cuts from one shot to another view that matches the first shot's action. Although the two shots may have actually been shot hours apart from each other, cutting on action gives the impression of continuous time when watching the edited film. By having a subject begin an action in one shot and carry it through to completion in the next, the editor creates a visual bridge, which distracts the viewer from noticing the cut or noticing any slight continuity error between the two shots.
Graphic Match - This is a cut in film editing between either two different objects, two different spaces, or two different compositions in which an object in the two shots graphically match, often helping to establish a strong continuity of action and linking the two shots metaphorically.
Eyeline Match - This is a film editing technique associated with the continually editing system. It is based on the premise that the audience will want to see what the character on-screen is seeing. The eyeline match begins with a character looking at something off-screen, followed by a cut to the object or person at which he is looking. For example, a man is looking off-screen to his left, and then the film cuts to a television that he is watching.
In this clip at 1:11, The female character's eyes look towards the phones answer machine and the shot cuts to this phone to show what she is looking towards.
Shot Reverse Shot - This is a film tehnique where one character is shown looking at another character (often off-screen), and then the other character is shown looking back at the first character. Since the characters are shown facing in opposite directions, the viewer assumes that they are looking at each other.
This clip uses shot reverse shot when a conversation starts between the male character and two women at 3:29.
Image - The way in which any two video shots are joined together is called the transition. Transitions are very important, everyone from the camera operator to the editor must have a good understanding of how to make effective transitions.
In this clip, at 1:48, the shot changes from a dream sequence to the reality of the female character waking from her sleep. A cut transition is used here.
Sound - A transition of sound is done when one song fade out and another fades in, or when a song end for the start of dialogue.
In this clip sound tradition is used at 0:38 when the original score fades out and Life on Mars by David Bowie begins to play. This is when the male character realises something from the past.
Rule of Thirds - The rule of thirds is a concept in video and film production in which the frame is divided into into nine imaginary sections, as illustrated on the right. This creates reference points which act as guides for framing the image. Points of interest should occur at 1/3 or 2/3 of the way up (or across) the frame, rather than in the centre.
In this shot at 0:42 the rule of thirds is shown when the male characters face cover a third of the shot and his eyes are on the first third line.
Reverse Zoom - This is used to move the shot from up close to a subject then, make the shot appear further away to show more of the background and setting.
In this clip, at 0:11, the camera reverse zooms from inside the tardis. This shows more of the destruction of the tardis and give the audience a better view of the regeneration.
Zoom - Technically this isn't a camera move, but a change in the lens focal length with gives the illusion of moving the camera closer or further away.
In this clip, a 0:15, the camera zooms in to the face of the doctor slowly. This adds effect as it makes the doctor the main subject in the shot but still shows some of the background and set.
Dolly Shot - A dolly is a cart which travels along tracks. The camera is mounted on the dolly and records the shot as it moves.
In this clip, at 0:12, a dolly shot is used to follow a car chase scene. This is effective for the audience as it gives them the illusion that they are part of this chase.
Tracking Shot - In this shot the camera is mounted on a track, this gives a clean and steady shot and allows the shot to move side to side horizontally or around the set.
At 1:09, a tracking shot is used as the male character sits down. The camera travels around him in a circular motion.
Pan Shot - This is when the shot moves side to side horizontally. This is usually when a character is moving across set and the camera is kept on them.
In this clip, at 0:40, as the doctors walk through the door the camera stays focused on them and a pan shot is used as the shot moves horizontally.
Low Angle - This angle is used most usually when the focus of the shot is on a tall subject, makingbthe audience think they are looking up.
At 0:45, in this clip, the camera is angled upwards at the character who is talking to the receptionist. This shot gives the audience the view as if they are looking up at him.
Wide Shot - In this shot the subject's head is at the top of the screen and their feet are at the bottom, obviously they do not cover the width of the shot. The space at the sides are to show the setting of the character.
In 1:35 a policeman character is the centre of the shot and all of his body is shown and the rest of the shot shows the forest setting in which he is in.
High Angle - This shot is used when the cameraman is above the action to give the audience a different view of the scene. A high angle shot is often used in scenes of war and fight.
In this clip, at 0:07, a high angle shot is used to show the characters in an unknown setting, this gives the audience a better look at where the characters are.
Over the Shoulder Shot - This shot is used in conversation between two characters. The shot is taken from the shoulder of the person who is being talked to. This is effective in that as each person talks, the shot changes to be focused on the person talking. This keeps attention on the speaker.
In this clip, at 5:50, the over the shoulder shot is used as male and female characters exchange dialogue. As the person speaking changes the shot switches positions.
Aerial Shot - This shot is usual shot from a helicopter from a height. This is used to establish the setting or sometimes to bring further effect to the original shot.
An aerial shot is used at 0:08 when a shot is taken from a height high above an explosion the occurs on the ground.
Two Shot - This shot shows two characters as the main subjects on screen. They are shot with just the top half of their bodes showing. This is often used when shooting a interview scene or two characters talking side by side.
In this clip at 0:24, two shot is used when the two main characters are talking, while walking beside one another.
Point of View Shot - This shot is taken from the subjects perspective. This is done to make the audience feel they are seeing what the character is seeing.
In this clip, at 0:24, a point of view shot is used to seem as if we are looking through the characters's eyes. It shows this as the character looks down at his feet and then begins to walk through the woods, using his hands to clear the path.
Mid Shot - A mid shot is used in a conversation. It shows the top half of the person but making the audience think they are looking at the whole subject, because in a casual conversation, one would not pay attention to the lower half of a persons body while conversing. Therefore, this part of the shot is unnecessary.
A mid shot is used in this clip at 1:16 when the two female characters have a conversation, but the shot does not show their whole body, only their upper half which shows each reaction to each other without losing effect but zooming too much and only showing their facial expression.
Long Shot - This shot is to make the scene life-size and to show the setting but not the landscape. It is often used to show characters in a room. While focus is still on characters, a lot of the background is visible.
In this clip at 0:24, a long shot is used to show the room in which the characters are in, and it is to make the audience completely aware of where the characters are.
Medium Shot - This shot is similar to a close up, the difference is that in a medium shot more detail of the background is shown. This shot is most often used for dialogue, a variation of the medium shot is the over the shoulder shot that is always used for conversations and dialogue exchanges.
The medium shot is used at 0:18 of this clip. It is used when the female character begins to talk, the background is till visible it is not the main detail of the shot.
Close Up - This shot, in contrast with a long shot, concentrates on an a face or a certain object in the scene. It shows very little background and focuses on the object in the foreground and shows all of the detail.
In this clip a close up shot is used at 0:49. The shot is close up to the image of a dog barking. This shot is centred by the dog, the background is also out of focus and blurred. This gives added detail to the face of the dog.
Extreme Long Shot - This shot is used to set the scene and to give a general impression of the setting. This shot is taken from a long distance to the landscape. There is not much detail in these shot as it isn't to give any specific information, just to give a visual representation of the setting.
In 0:16, an extreme long shot is used to show the setting of this drama by showing the exterior of the main building and also its natural surroundings.
