Shot composition:
Framing: Professional shot composition requires perfect framing of each shot. This requires the inclusion of elements that give perspective to the main focus of the photograph. By being aware of the various components when composing a shot, the photographer can produce high-quality shots that include all the important elements while excluding extraneous material. Photography is the art of including some things while omitting others; this is the main object of framing. By choosing the elements to include, photographers engage in editing before the shot; by cropping the photograph after processing, the editing process continues afterward as well. Not only can you frame with your lense, you can also use objects in nature to frame.
Rule of thirds: Professional photographers know that each shot is composed of three different spatial elements. The foreground, middle-ground and background are all present in most landscape shots; by noting and incorporating this into shot composition, photographers can create visual appeal by naturally drawing the eye to the middle ground and focusing attention exactly where the photographer intends.
Depth of field: You can manipulate depth of field to help isolate your subject. Softening the focus of elements in the photo allows you to keep background or foreground details in the shot while avoiding a busy look. This can apply to a deep focus where the foreground is blurred and the background clear, and vice versa.
Focus pulls: A camera technique employed by a 'focus puller' in which the focus of a shot is changed from one subject to another, such as from background to foreground.
Editing:
Continuity & Non continuity systems: Continuity editing refers to arranging the sequence of shots to suggest a progression of events. Non continuity is usually down to poor editing but can also be intended to keep the audience alert.
Shot reverse shot: is a film technique 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.
Eyeline match: is a film editing technique associated with the continuity 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, there will then be 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.
Graphic match: It is a cut in film editing from one scene to another in which the two camera shots' compositional elements match, helping to establish a strong continuity of action - and linking two ideas with a metaphor.
Match on action: occurs when an action that begins in one shot is continued or completed in the next.
Jump cut: 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. Although the term is sometimes used in a loose way, a cut between two different subjects is not a true jump cut, no matter how jarring.
Cross-cutting/ parallel editing: 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.
Insert: 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.
Dissolve: is a gradual transition from one image to another.
Fade-in: gradual appearance or becoming distinct of a scene or sound.
Fade-out: gradual dis-appearance or becoming distinct of a scene or sound.
Wipe: is a gradual spatial transition from one image to another. One image is replaced by another with a distinct edge that forms a shape. A simple edge, an expanding circle, or the turning of a page are all examples.
Superimposition: is the placement of an image or video on top of an already-existing image or video, usually to add to the overall image effect, but also sometimes to conceal something.
Long take: is an uninterrupted shot in a film which lasts much longer than the conventional editing pace either of the film itself or of films in general, usually lasting several minutes.
Slow motion: is editing that takes place on a shot, and slows it down to emphasise something.
Ellipsis: is a mark or series of marks that usually indicate an intentional omission of a word or a phrase from the original text.
Post-production: is part of the filmmaking process. It occurs in the making of motion pictures, television programs, radio programs, advertising, videos, audio recordings, photography and digital art. It is term for all stages of production occurring after the actual end of shooting and/or recording the completed work.
Sound:
Diegetic sound: is any sound presented as originated from source within the film's world.
Non-diegetic sound: The distinction between diegetic or non-diegetic sound depends on our understanding of the conventions of film viewing and listening. We know of that certain sounds are represented as coming from the story world, while others are represented as coming from outside the space of the story events. A play with diegetic and non-diegetic conventions can be used to create ambiguity (horror), or to surprise the audience (comedy).
Asynchronous sound: Sound which is indigenous to the action but not precisely synchronized with the action.
Synchronous Sound: are those sounds which are synchronized or matched with what is viewed. For example: if the film portrays a character playing the piano, the sounds of the piano are projected.
Sound effects: are artificially created or enhanced sounds.
Sound bridge: is a remote hardware device from Roku designed to play internet radio or digital audio streamed to it across a home network.
Dialogue: is basically characters talking.
Voice-over: is a production technique where a voice which is not part of the narrative is used.
Modes of address: can be defined as the ways in which relations between addresser and addressee are constructed in a text.
Sound mixing: is a process during the post-production stage of a film or a television program by which a multitude of recorded sounds are combined into one or more channels. In the process, the source signals' level, frequency content, dynamics and panoramic position are commonly being manipulated and effects such as reverb might be added.
Sound perspective: refers to the apparent distance of a sound.
Soundtrack, Incidental music: is music in a play, television program, radio program, video game, film or some other form not primarily musical.
Soundtrack, Ambient sound : means the background noise present in a scene.
Enjoy, took longer than i expected!
