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Film editing is both a creative and a technical part of the post-production process of filmmaking. The term is derived from the traditional process of working with film which increasingly involves the use of digital technology.
High fidelity is the high-quality reproduction of sound. It is popular with audiophiles and home audio enthusiasts. Ideally, high-fidelity equipment has inaudible noise and distortion, and a flat frequency response within the human hearing range.
Post-production is part of the process of filmmaking, video production, audio production, and photography. Post-production includes all stages of production occurring after principal photography or recording individual program segments.
A sound editor is a creative professional responsible for selecting and assembling sound recordings in preparation for the final sound mixing or mastering of a television program, motion picture, video game, or any production involving recorded or synthetic sound. The sound editor works with the supervising sound editor. The supervising sound editor often assigns scenes and reels the sound editor based on the editor's strengths and area of expertise. Sound editing developed out of the need to fix the incomplete, undramatic, or technically inferior sound recordings of early talkies, and over the decades has become a respected filmmaking craft, with sound editors implementing the aesthetic goals of motion picture sound design.
A film transition is a technique used in the post-production process of film editing and video editing by which scenes or shots are combined. Most commonly this is through a normal cut to the next shot. Most films will also include selective use of other transitions, usually to convey a tone or mood, suggest the passage of time, or separate parts of the story. These other transitions may include dissolves, L cuts, fades, match cuts, and wipes.
Sound design is the art and practice of creating soundtracks for a variety of needs. It involves specifying, acquiring or creating auditory elements using audio production techniques and tools. It is employed in a variety of disciplines including filmmaking, television production, video game development, theatre, sound recording and reproduction, live performance, sound art, post-production, radio, new media and musical instrument development. Sound design commonly involves performing and editing of previously composed or recorded audio, such as sound effects and dialogue for the purposes of the medium, but it can also involve creating sounds from scratch through synthesizers. A sound designer is one who practices sound design.
In filmmaking and video production, a shot is a series of frames that runs for an uninterrupted period of time. Film shots are an essential aspect of a movie where angles, transitions and cuts are used to further express emotion, ideas and movement. The term "shot" can refer to two different parts of the filmmaking process:
- In production, a shot is the moment that the camera starts rolling until the moment it stops.
- In film editing, a shot is the continuous footage or sequence between two edits or cuts.
Principal photography is the phase of producing a film or television show in which the bulk of shooting takes place, as distinct from the phases of pre-production and post-production.
Stereophonic sound, or more commonly stereo, is a method of sound reproduction that recreates a multi-directional, 3-dimensional audible perspective. This is usually achieved by using two independent audio channels through a configuration of two loudspeakers in such a way as to create the impression of sound heard from various directions, as in natural hearing.
Tone mapping is a technique used in image processing and computer graphics to map one set of colors to another to approximate the appearance of high-dynamic-range images in a medium that has a more limited dynamic range. Print-outs, CRT or LCD monitors, and projectors all have a limited dynamic range that is inadequate to reproduce the full range of light intensities present in natural scenes. Tone mapping addresses the problem of strong contrast reduction from the scene radiance to the displayable range while preserving the image details and color appearance important to appreciate the original scene content.
This article contains a list of cinematic techniques that are divided into categories and briefly described.
Sound studies is an interdisciplinary field that to date has focused largely on the emergence of the concept of "sound" in Western modernity, with an emphasis on the development of sound reproduction technologies. The field first emerged in venues like the journal Social Studies of Science by scholars working in science and technology studies and communication studies; it has however greatly expanded and now includes a broad array of scholars working in music, anthropology, sound art, deaf studies, architecture, and many other fields besides. Important studies have focused on the idea of a "soundscape", architectural acoustics, nature sounds, the history of aurality in Western philosophy and nineteenth-century Colombia, Islamic approaches to listening, the voice, studies of deafness, loudness, and related topics. A foundational text is Jonathan Sterne's 2003 book "The Audible Past", though the field has retroactively taken as foundational two texts, Jacques Attali's Noise: The Political Economy of Music (1985) and R. Murray Schafer's The Tuning of the World (1977).
The history of sound recording - which has progressed in waves, driven by the invention and commercial introduction of new technologies — can be roughly divided into four main periods:
Soviet montage theory is an approach to understanding and creating cinema that relies heavily upon editing. It is the principal contribution of Soviet film theorists to global cinema, and brought formalism to bear on filmmaking.
The Bunker is a 1981 American made-for-television historical war film produced by Time-Life Productions based on the 1975 book The Bunker by James P. O'Donnell.
A film – also called a movie, motion picture, moving picture, picture, photoplay or (slang) flick – is a work of visual art that simulates experiences and otherwise communicates ideas, stories, perceptions, feelings, beauty, or atmosphere through the use of moving images. These images are generally accompanied by sound and, more rarely, other sensory stimulations. The word "cinema", short for cinematography, is often used to refer to filmmaking and the film industry, and to the art form that is the result of it.
The psychology of film is a sub-field of the psychology of art that studies the characteristics of film and its production in relation to perception, cognition, narrative understanding, and emotion. A growing number of psychological scientists and brain scientists have begun conducting empirical studies that describe the cognitive and biological underpinnings of motion pictures or what has been called "psychocinematics". Early theoretical approaches included works by psychologists Hugo Münsterberg and Rudolf Arnheim. Cognitive film theorists David Bordwell and Noël Carroll fostered its philosophical underpinnings.
Execution of Czolgosz with Panorama of Auburn Prison is a 1901 silent film produced by the Edison Studios arms of Edison Manufacturing Company. The film is a dramatic reenactment of the execution of Leon Czolgosz by electric chair at Auburn Correctional Facility following his 1901 conviction for the assassination of William McKinley. It is considered an important film in the history of cinema.
This glossary of motion picture terms is a list of definitions of terms and concepts related to motion pictures, filmmaking, cinematography, and the film industry in general.
Volumetric capture or volumetric video is a technique that captures a three-dimensional space, such as a location or performance. This type of volumography acquires data that can be viewed on flat screens as well as using 3D displays and VR goggles. Consumer-facing formats are numerous and the required motion capture techniques lean on computer graphics, photogrammetry, and other computation-based methods. The viewer generally experiences the result in a real-time engine and has direct input in exploring the generated volume.
References
- 1 2 3 James Lastra, “Fidelity Versus Intelligibility,” in: Sound Technology and the American Cinema (Columbia UP, 2000), 138-14
- ↑ Dow, Robert J. (2010) "Sound Diffusion and the Sonic Image". Retrieved from: http://www.robertdow.org/papers/rdow-sounddiffusion.pdf%5B%5D