production

diegetic. if it is part of the narrative sphere of the film. “cannot be heard by the film’s characters”.

A soundtrack. is a recorded music accompanying and synchronized to the images of a motion picture, TV program or video game. Not so frequent in video and adverts, but sometimes essential.

Functions of music in film and media: 1.- To create an atmosphere or context 2.- To create/portray emotions 3.- To tell a story (Narrative function). 1.- just To create an atmosphere 2.- To create/portray emotions 3.- To tell a joke (Narrative function).

-Time/Period/Place references -Genre references -Topic context. To create/portray emotions:. To create an atmosphere or context:.

leitmotif or leitmotiv. is usually a melody. This composition technique was initially never developed in the field of opera and classical music.

Leitmotifs are also important in film music. Among the most characteristic examples are the film trilogy. The Lord of the Rings, the Star Wars. BATMAN, Super man.

Music in sound films: Scoring techniques. Music in sound films: Scoring techniques. Walker, E. (2015.

“Classical symphonism”. Film music is conceived as a symphony like in classical postromanticism, with a structure and different leitmotifs for characters and/or topics. Composers from Europe are successful in Hollywood. Golden age of Hollywood soundtracks. is a film technique used to sync the actions on screen with the accompanying music. The term comes from the early and mid-production.

Film Theories: Formalist Theories. Realist Theories. Auteur Theory. Formalism and Realism in the mise-en-scène. Formalist Theories. Expression Theories. Director Theory. Formalism and Realism in the mise-en-scène.

the cinema as an art that absorbs the others (architecture, sculpture, painting, poetry, music, and dance). Riccioto Canudo (1911);. Rachel Canudo (1915);.

In the 1920s, the Soviet montage theorists emphasised montage. One experiment, called “Kuleshov effect”, juxtaposed the same shot with diverse material. One experiment, called “Butterfly effect”, juxtaposed the same shot with diverse material.

mark the correct one. The most influential of the Soviet montage theorists was Eisenstein. His cinema is based on the powers of pictorial composition, stylised acting and editing. The most influential of the Soviet montage theorists was Benjamin. His cinema is based on the powers of colour composition, stylised acting and editing. The most influential of the Soviet montage theorists was Eisenstein. His cinema is based on the powers of colour composition, stylised acting and editing.

ostreanie. making difficult. making strange.

Defamiliarisation is achieved through formal devices based on. from established shot. deviation from established norms.

that film is a feeble reproduction of real life. Arnheim (Film as Art, 1932). Rudolf Artur (Film like Art, 1932).

Formalist Theories. copy the reality but reconfigures reality, the film technique,that emotion is never generated. Filmmakers have to heighten perception. not copy the reality but reconfigures reality, the film technique,that emotion is generated. Filmmakers have to heighten perception. have perception and short-circuits automatised responses. (montage, framing…). long-circuits automatised responses.

The theorist Bazin (What is Cinema?, 1958- 1963) distinguished between. those filmmakers who placed their faith in image and those who placed their faith in reality. those filmmakers who placed their faith in photos and those who placed their faith in fiction.

Realist Theories. truthful representations of everyday life.cinema without apparent mediation.Filmmakers have to initiate the spectator into the passionate knowledge and critical love of visible reality. truthful representations of society.cinema without apparent mediation.Filmmakers have to initiate the spectator into the passionate knowledge and critical love of visible imaginnation.

became a key for the propagation of auteurism and the idea of the director as the person responsible for mise-en-scène. The French film magazine Cahiers du Cinema (founded by André Bazin in 1951). Alexandre Astruc (“The Birth of a New Avant-Garde: The Camera- Stylo”, L'Écran, 1948).

Auteur Theories. Filmmakers have to be able to say “I” like the novelist or poet.The “auteur” is a critical construct rather than a flesh-andblood person.They shift the attention from “what” (plot) to “how” (miseen- scène). Filmmakers have to be able to say “I” like the novelist or movie.The “auteur” is a sympathic construct rather than a flesh-andblood person.They shift the attention from “what” (plot) to “how” (miseen- scène). Filmmakers have to be able to never say “I” like the novelist or poet.The “auteur” is a critical construct rather than a flesh-andblood person.They shift the attention from “why” (plot) to “where” (miseen- scène).

1Realism vs 2Formalism. 1.......... directors want to reproduce the subjective experience of reality. 2The ...... directors want to reproduce the objective reality with as little commentary as possible. 1The ....... directors want to reproduce the objective reality with as little commentary as possible. 2The ..... directors want to reproduce the subjective experience of reality.

Continuity editing is the axis of. "transparency”. mise-en-scène.

For this realist theorist, editing should be invisible. “Transparency”. Formalism. subjectivism.

Melancholia (Lars von Trier, 2011 ). •It is more realist because it tries to suggest they are copying the life itself. •It pretends to be an “slice of life.” •It has a rough look in the image. •It is more formalist because it stylises and distorts the reality. •It expresses the subjective experience of reality. •The expressiveness is emphasised.

The concept of realism may be applied to fiction as well as nonfiction,. because it require that what is represented be false, only that we experience it as a concrete representation that is or might be true. because it does not require that what is represented be true, only that we experience it as a concrete representation that is or might be true.

A paradoxical way of conveying realism is. imperfection. perfection.

the incorrect. are concerned with expressing their objective experience of reality. are concerned with expressing their subjective experience of reality. The camera emphasises the psychological truth rather than the objective situation.

Realism vs Formalism the incorrect. They are a continuous spectrum of possibilities rather than airtight categories. They are useful analysis terms but they often overlap. Realism and formalism are formal rather than absolute terms. Realism and formalism are general rather than absolute terms.

avoids the extremes of realism and formalism. classicism. formalism and realist. terrorist.

Cinematograph (Lumière brothers, 1895) ¡ Representation: capability of cinema ¡ First reference model: theatre (vaudeville, etc.) ¡ PMR: wide shots, still camera, one shot per scene ¡ Filmmakers soon realised that narrative (stories) was very interesting for audiences -two decades. Primitive Mode of Representation. Institutional Mode of Representation. Classical Hollywood Cinema. Modern Mode of Representation.

Predominant mode of representation from the 20s until today Landmark: The Birth of a Nation (D. Griffith, 1915) ¡ Key factor: spectatorial identification with a ubiquitous camera ¡ Film as a sequence of shots: eye-line, directional and action matches (continuity editing). Primitive Mode of Representation. Institutional Mode of Representation. Classical Hollywood Cinema. Modern Mode of Representation.

PMR:IMR;Classical;MMR: G. Méliès,Chaplin,Casablanca,Hiroshima mon amour. Casablanca,Hiroshima mon amour,Chaplin,G. Méliès. Casablanca, Chaplin,G. Méliès,À bout de souffle.

Hollywood cinema: -Industry -Socially integrated -Mass culture. classical. mmr. imr.

At that time the Auteur Theory is formulated: many filmmakers aim to challenge the conventions of IMR ¡ Formal and stylistic aspects are key players ¡ While the story tends to fade. MMI. IMR. MMR.

Production. It has two meaning. The general process of making a story or video, including casting, set construction, costuming, rehearsals, shooting, editing. The middle stage of a production process which is preceded by the pos-production and followed by the post-production. That is, the work completed on set. The middle stage of a production process which is preceded by the pre-production and followed by the post-production. That is, the work completed on set .The general process of making a film or video, including casting, set construction, costuming, rehearsals, shooting, editing, etc. The middle stage of a production process which is preceded by the before-production and followed by the third-production. That is, the work completed on set. The general process of making a film or video, including casting, set construction, costuming, rehearsals, shooting, editing, etc.

refers to the professional creation of content with sound and images (for cinema, TV, internet, etc.). Audiovisual. Audiovisual Media Production. Media Production.

establishes a point of view on the action that helps to determine the selection of shots, camera placements and movements, and the staging of the action. The director. The producer. The ejecutive.

He/she gives commands and suggestions throughout the recording and editing works. Asistant editor. Director. Designer.

Frame (cuadro/encuadre). It has two different meanings: to each individual image,borders of the image. all of the image, group of image.

the length between each start and stop of the camera. The same piece of action may be recorded from the same camera setup several times. Take. Shot. Angle.

a piece of the film/video between two edits. ..... can be described by distance from the subject, by camera angle, by camera movement, by focus, and by content. Shot. Take. Zoom.

It is used to raise the point of view without changing the angle. Cast. Crane. Tracking. Dolly.

is a cart which travels along tracks. Take. Dolly. Crane.

Framing movement,in which the focal length of the zoom lens is altered to make the subject appear closer to, or further away from the camera. Zoom shot. lenght low. Crane shot.

Depth of field. the distance between the nearest and the farthest objects that are in acceptably sharp focus in an image. is a cinematographic technique using a large depth of field. In deep focus all the planes of the shot (foreground, middle-ground, and background) are in focus (sharp).

a cinematographic technique using a small depth of field. In ........... one plane of the shot is in focus (sharp) while the rest is out of focus (blur). ........... can be used to emphasize one element or part of the shot over another. Shad focus. Deep focus. Shallow focus.

is a cinematographic technique using a large depth of field. Shallow focus. Deep focus.

This technique allows the cinematographer to put a dramatic emphasis on one subject and then change that emphasis to another (gradually the focus changes). Rack focus. Shot. Sound.

a Long Shot, usually at the beginning of a scene, to establish the spatial relationships of the characters, actions, and spaces depicted in subsequent closer shots. It includes as much of the set and action as possible. Cutaway shot. Master shot or Establishing shot. Insert shot.

shot that cuts away from the main action to another action. It is used to briefly show a different action or situation, to adjust the pace of the main action, or to allow the joining of two different shots. Master shot. Insert Shot. Cutaway shot.

also known as cut-in: a shot that occurs in the middle of a larger scene or shot, usually a closeup of some detail or object, that draws audience attention, provides specific information, or simply breaks up the film sequence. Master shot. Insert shot. Middle shot.

Subjective shot. pov. second person shot. listenpoint.

refers to action moving through multiple locations without interruptions. continuity. flub. Blooper.

an imaginary line called the axis connects the characters. Jump cut. 180 degree rule. Reverse shot.

It is based on the premise that the audience will want to see what the character on-screen is seeing. Breaking the 180° rule. Shot-Reverse Shot. Eye-line match.

an alternation or crosscutting of shots filmed from an over-the-shoulder position of each character in turns. Each shot shows the face of one character and the back of head and shoulders of the other. Match Cut. Shot-Reverse Shot. Jump Cut.

a direct cut from one shot to another, which matches it in action, subject matter, or actual composition. This kind of transition is commonly used to follow a character as he or she moves or appears to move continuously. Match Cut. Reserve Cut. Jump Cut.

cuts two alternate views of the same action together at the same moment in the move in order to make it seem uninterrupted. This allows the same action to be seen from multiple angles without breaking its continuous nature. Match Cut on motion or Cutting on action. Match Cut on action or Cutting on motion. Match Shot on action or Cutting on motion.

a break in temporal continuity (for example, a shot of a character opening a car door followed by a shot of him driving the car). Sometimes, the break can be deliberately abrupt and jerky. Jump Cut. Cross Cutting.

also known as parallel editing (montaje paralelo): an editing technique of interweaving bits of two or more separate scenes, usually in order to suggest the simultaneity of those actions. Cross cutting. Jump Cut.

one of several ways of moving from, or joining together, one shot or scene to the next one, including such transitional effects or shots as a cut, dissolve, fade, wipe, etc. Smash. Transition. Cut.

one scene abruptly cuts to another for narrative or emotional purpose. It usually occurs at a crucial moment in a scene where a cut would not be expected. Smash cut. Cut.

an abrupt or sudden change or jump in camera angle, location, placement, or time, from one shot to another; consists of a transition from one scene to another (a visual cut) or from one soundtrack to another (a sound cut). Cut. Smash Cut.

a dissolve to and from a blank image. Dissolve. Fade-out, also called fade to black, and fade-in.

a gradual transition from one image to another. A ....... overlaps two shots for the duration of the effect. funded. fade. dissolve.

one shot appears to be "........ off" or "...... off" the screen by another shot replacing it and moving across the existing image. fade,iris. Wipe, also called a push-over.

an earlier cinematographic technique or wipe effect, in the form of an expanding or diminishing circle. known as iris-out or iris-in. fade to black, and fade-in.

the action occurs in the same place and in the same time. A ....... may be composed of any number of shots. scene. sequence.

any section that is self-contained enough to be intelligible when viewed apart from the rest of the film,it can consist of action occurring in various places and at different times. Scene. Sequence.

the words of a film, play, broadcast or speech. Screenplay. Script. Plot.

it specifically refers to the script of a film or television program. Script. Plot. Screenplay.

the cause-and-effect relationship between events in a story. Plot. Dolly. Script.

three-act structure: Setup, Resolution, Confrotation. Setup,Confrontation, Resolution. pre, during, post.

The person who writes the screenplay. Usually is a freelance profession. Screenwriter. Copy. Scripter.

Storyboard. artboard. a sequence of drawings. a scene of drawings.

The arrows show the direction of movement. Tracking shot. Pan/Tilt shot. Zoom.

“From a managerial perspective, ................ is any output fully/partly funded or at least endorsed by the legal owner of the brand which promotes the owner’s brand values, and makes audiences choose to engage with the brand based on a pull logic due to its entertainment, information and/or education value.” (BCMA, 2016). Briefing. Branded content. Brand Script.

-Production companies -TV Channels [In Spain, TV companies must invest, by law, 5% of their turnover in film production.]. Tv MARKET. Advertising market.

process of assembling all the elements of a show (an edited picture, music, sound effects and titles) to create a finished product. post production. production. pre production.

He/she has the highest creative and management responsibility in the show (and only is responsible to the production company). Typically is also character creator, head writer, and script editor. While in films the director has creative control of a production, in television the ............outranks the episodic directors. Showrunner / leading producer. Executive producer. Producer.

Responsible for all the day-to-day matters that go into keeping the show running smoothly. Final Script. Line Producer.

A line producer’s main functions. -Breaking down the script. -Scene. -Budger. -Breaking down the script. -Scheduling. -Budgeting.

schedules of individual elements needed for a show. Breakdowns. Budgeting.

Production Boards or Strip Boards are. often colorboard according to never certain conventions. often colorcoded according to certain conventions.

Finalizing the Schedule. Adjust the schedule,Finalize and distribute the schedule,Contact List and Call Sheet. Adjust the storyboard, Start and distribute the schedule,Contact List and Call Sheet.

is the master storyteller of the movie. The director. Main actors. Creative.

is the art of lighting and photographing a scene. Can be broken down into two different (but very related) categories: a) Lighting. b) Camera. Cinematography. Audio Recording. Craft Services and Catering.

Editing (editor, director, producer). -Production companies -Distribution companies -Exhibitors (cinemas or movie theatres). Organizing the footage. -The assembly cut. -The rough cut. -The fine cut.

are created when outside elements, such as animation and computergenerated images (CGI) are integrated with original photography. vfx. ex. fx.

(or Mechanical effects) encompasses the recreation of rain, wind and snow; explosions, bullet hits; crashes, etc. during the shooting. fx or especial effects. Physical effects. make up effects.

refers to the fabrication and development of models (miniatures); prosthetics; mechanically-operated vehicles, puppets, robots and creatures. physical effects. especial effects.

Post-production Sound: AFR AND FOLEY. ADR AND FOLEY. EDIT SOUND.

used to change original lines recorded on set to clarify context, improve diction or timing, or to replace an accented vocal performance. FOLEY. ADR.

a method of recording sound effects on a recording stage that involves physical movement recorded in synchronization with the picture (such as footsteps). ADR. FOLEY.

Production companies -Distribution companies -Exhibitors (cinemas or movie theatres). Advertising market. The three levels of the film market.

Film market INCORRECT ONE. Distribution windows: cinemas, international sales, OTT media service , TV, etc.). Producer > Production company > Studio. Film Marketing Strategies. Audiences. Promotion strategies.

Relevant international Film Markets (marketplaces). European Film Market- Berlin. Marche du Film - ITALIA. European Film Market- France.

is divided into different departments, each of which specializes in a specific aspect of the production. Cast. Crew.

A term that designates an established star in a stunt-cast role. cameo. bit-part.

The main protagonist in the production. It is typically the largest role. Supporting Actor/Actress. Lead Actor/Actress.

A speaking role that is less than that of a lead actor, but larger than a bit part. Cameo. Supporting Actor/Actress. Bitpart.

A role in which there is direct interaction with the principal actors, but no more than five lines of dialogue. -Background/Extra Performers:. Bit Part (or under-five.

Non-speaking roles. Background/Extra Performers. -Bit Part.

A performer who is used as a substitute for the principal actor for the purpose of setting up the upcoming shot. This allows the director of photography to set the lights and rehearse the movement that will take place in front of the camera. .........do all their work behind the scenes and are never seen on camera. Stand-in (or second team). Stunt performer (or stuntman/stuntwoman).

Stunt performer (or stuntman/stuntwoman): This allows the director of photography to set the lights and rehearse the movement that will take place in front of the camera. A specially trained performer who performs stunts on camera. A stunt is an unusual and difficult physical feat or an act requiring a special skill, performed on film or TV.

An actor who resembles a principal actor who is used to perform on camera in place of that person. hand photo. body photo. photo double.

boom operator. microphone. setup. dp.

has no artistic or creative responsibility in the direction. He/she organizes, controls and manages the needs in the shooting set, organizing time and resources. Responsible for the Daily Call together with the production manager. The 1st Assistant Director. The 1st Director. The 1st Ejecutive Director.

a member of the crew who adjusts scenery and operates camera cranes and dollies. ......basically move, rig and alter anything essential to the set-up of a shot. Key grip =Head of the grip department. Grip. Dolly shot.

the arm of a mechanical crane. crane shot. key grip. jib.

lighting technician. electrician. gaffer.

a member of the electric department. Electricians set-up and focus lights, run power to the set (wires, etc.), manage generators, move lighting equipment, and follow gaffer’s instructions to create the light for a set. electrician. gaffer. photographer.

Crane Grip. a crane shot is a shot taken by a camera on a crane or jib. a grip who specializes in operating camera cranes.

anything an actor touches or uses on the set, such as cell phones, guns, glasses, even food. props. property master.

different stages of the same costume. propmaster. wardrobe.

Processes every image in a cinematic production to achieve the desired look. Editor. Colorist.

Colour Grading. DaVinci Resolve, Baselight. Houdini, Nuke.

Edition. Final Cut Pro X, Adobe Premier Pro, Avid Media Composer. Avid Pro Tools, Sony Sound Forge, Adobe Audition.

An on-location program’s director carries out duties similar to what a film director may, though the TV program’s vision and ultimate creative responsibility lies with the program’s Executive Producer or Showrunner. multicam. singlecam.

football match. multicam. single cam.

The three levels of the film market. Production companies -Real companies -Schedule companies. Production companies -Distribution companies -Exhibition companies.

Small/Medium Independent companies .........film production. el deseo,pendelton,mod producciones, maestranza. lee films,canada harry(commercial). telecinco,atresmedia.

Medium/big subsidiaries companies, linked to a (mini) conglomerate: Film Production Companies. el deseo, maestranza, harry. telecinco cinema,atresmedia cine, telefonica studios.

steadycam. It allows moving smoothly, can be seen in horror classic. It can move virtually in any direction.

Mise-en-scène (literally “placing on stage” in French) mark incorrect one. is the result of the collaboration of many professionals and departments. However, mise-en-scène is not a production term. Directors and crew don’t use this term while filming. refers to what we (viewers) see onscreen in a film. It is the film’s visuals: all of the elements that appear on camera and their arrangement. refers to what protagonist see onscreen in a film. It is the film’s visuals: all of the elements .

can serve as a commentary of the subject matter, a subtle form of emotional meaning of an image. camera angle. camera moviment. camera lenses.

can make the subject seem extremely weak , powerless or defeated. top angle. low angle. high angle.

reduces the importance of a person, who seems harmless and vulnerable. top angle. high angle. oblicue angle.

The character is seen as an equal and it is easier to identify with him/she. eye- level. low angle.

heightens the importance of a person, he or she seems threatening, inspires fear and awe, and sometimes also heroism. low angle. high angle.

(or Dutch tilt) suggests imbalance, tension and anxiety. top angle. oblicue angle.

a director can guide the viewer ’ s eye and can express different meanings. through the composition. through the light.

high key ....mark incorrect. lighting relies on shadows, deep blacks and dark tones, with very few whites and middle tones. style aims to reduce the lighting ratio. It is usually quite homogeneous and free from dark shadows. It focuses on light tones and whites. The conveyed mood is hopeful and optimistic. For this reason, it is often used in sitcoms and comedies.

low key mark the correct. style aims to reduce the lighting ratio. It is usually quite homogeneous and free from dark shadows. It focuses on light tones and whites. lighting relies on shadows, deep blacks and dark tones, with very few whites and middle tones.The conveyed mood is mysterious and dramatic or even threatening depending on the subject.

tends to be a subconscious element. It is strongly emotional, expressive and atmospheric. It is an important expressive element for filmmakers and is often related to the costumes, the set decoration, the props and the lighting. Colour. Saturation.

Colour saturation refers to. the intensity of colour in an image. The term hue refers to the colour of the image itself (red, blue, green, etc.), while saturation describes the intensity (purity) of that hue. As the saturation increases, the colours appear to be more pure. As the saturation decreases, the colours appear to be more washed-out or pale (desaturated colours). Colour saturation/desaturation cannot be used to create a particular visual style in a film or video. Colour grading (post-production) is key when it comes to the expressive use of colour.

is the most important characteristic of a lens. normal focal length. Lens focal length.

zoom. A zoom shot is actually a camera move, it really refers to the adjustment of a lens’ focal length or the resulting shot using a zoom lens. is taken by a camera with an adjusted focal length of the lens to give the illusion of moving closer or further away from the action. or variable focal length lens not offers several technical and visual advantages.

mark the correct. Short lenses tend to produce shallow focus. Long lenses tend to produce deep focus. Long lenses tend to produce shallow focus.

flattens the image. long lens. short lens.

have wide angles of view but with distortion. The wider the angle, the more lines and shapes tend to warp, especially at the edges of the image. long lens. short lens.

The frame selects and delimits the subject, presenting us only a piece of reality. The frame is essentially an isolating device, a technique that permits the director to confer special attention on what might be overlooked. true. false.

Composition is the arrangement of shapes, colours, lines and textures on a flat rectangular surface. Composition cannot be used to convey ideas and emotions. true. false.

can suggest security or enclosure. circular compositions. triadic structures.

Filmmakers compose on three visual planes: the foreground, the midground, and the background. the boarground, the eyeground, and the background.

Proxemic patterns are related to the type of shots by size. Proxemic patterns are related to the type of shots by size. fist unit and second.

equivalent to medium range shots. intimate distance. personal distance.

equivalent to medium full shots and full long shot. social distance. long distance. personal distance.

equivalent to long and extreme long shot. social distance. public distance.

It is the favoured position of most filmmakers, for it provides a high degree of intimacy but with less emotional involvement than the full front position. quarter turn. full front. profile.

The character seems more remote, lost in his or her thoughts. fuul front. profile.

It is more anonymous. Sometimes the character seems unfriendly or anti-social, rejecting out interest. 3\4 turn. back to camera.

We can only guess what the character is thinking. It is useful to convey mystery. back to camera. 3\4 turn.

physically connect two elements that exist in the same space, especially when the camera starts moving at a certain point and stops at another. panning / tilt shots. crane shots.

They are taken from a moving vehicle. It is a useful technique in point-ofview shots to capture a sense of movement. dolly shot. crane shot.

It is often jumpy and ragged and they emphasise the reality of the scene. It suggests an on-the-spot documentary recording events while they are actually taking place. Also, they are used as point-ofview shots. hand-held-shot. dolly shot.

It can suggest a sense of freedom or inexorability. aerial shot. zoom in and zoom out.

It is a good instance of the relationship between space and time. When the action is running reversed, we understand the action is going back in time. slow motion. reverse motion. freeze motion.

is a recorded music accompanying and synchronized to the images of a motion picture, TV program or video game. classic music. soundtrack.

non original sound track. pop, classical , production music. rock, ost, pop.