Terms to Study for Test #1

Cinema 1 - Instructor J.Varner

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You will need to bring a Scantron (#882) Form to class (for sale in the LACC Bookstore) and a #2 pencil. This is NOT an open book test, but use of an English/Foreign Language Dictionary is allowed.

Chapter 1: Introduction to Film & Video Systems

Film vs. Video issues:
24/30 frames per second
Contrast Ratio
Acquisition (camera) Format
Postproduction (edit) Format
Telecine/Scan
Single vs. Multi-camera
Resolution: (p.10)
Standard Definition (720 X 480)
High Definition 2K (1920 X 1080)
Film & 4K (4000 X 3000)
Three Stages of Filmmaking (p.2)
Intermittent Movement (p.45)
Shutter/Claw/Aperture (p.45)
Film Formats`(p.45-53)
[S-8mm,16 & Super16mm, 35mm, IMAX]
4 & 3 Perf (holes per frame) (pp. 51 & 270)
Negative / Reversal (Positive) Film (p.48)
Speed (fast/slow) = sensitivity to light (pp.149 & 233 & 259)
Aspect Ratios: (pp. 47 & 87-88)
[1.33:1] 4:3 Academy
[1.66:1] European & Super 16mm
[1.78:1] 16:9 U.S. Digital TV & HDTV
[1.85:1] U.S. Wide Screen Movies
[2.35:1] Scope
Anamorphic (scope/flat)(pp. 52 & 87-88 & 91)
Widescreen Video (pp. 88-91 & 94):
Horizontal Stretch/ Squeeze
Letterbox /Side Bar
Blow Up/ Edge Crop
Single/ Double System Sound (pp. 22)
Lip/Crystal Sync & Wild Sound (pp. 53-54)
ADR or Looping (p.80)
Foley (sync) (pp. 634-5)
SFX (non-sync sound effects)
Dailies or Rushes (p. 56)
Video out, Film out, D.I.
HDTV (High Definition TV) (pp. 9-20)
Lines: 1080 (HD) 720 (HD), 480 (SD)
Scan: Interlace & Progressive
Frames (Per Second): 24, 30, and 60
Aspect Ratio: 16:9 or 4:3
Codec (p. 20)
Mbps (Megabits per second)
Component/Composite/RGB (p.17)
CCD & CMOS (single vs. 3 chip) (pp. 5 & 136)
Pixels (picture elements) (p. 5)
NTSC (U.S. TV standard – analog)
PAL (Eurasia TV Standard) (p.5)
Analog Video (VHS, Hi-8) (p.8)
Digital Video (Mini-DV, HDV, etc.)
FireWireª (i-Linkª) (p.24)
Prosumer/Professional/Broadcast (p. 24)
Digital Standard Definition (pp. 25-27)
Digital High Definition: (pp. 28-33)
HDV (tape)
DVCProHD (Panasonic)
HDCam (Sony)
AVCHD (Advanced Video Codec)
Digital Cinematography: (pp. 33-34)
Panavisionª, Dalsaª, Arriª, Grass Valleyª
Recording Media (pp. 35-37):
Tape, DVD /Disks, HDD, Flash Memory

Capture/Postproduction/Distribution (p.59)
Video Tap (Video Assist) (pp.70, 247)
DTV (Digital Television) ATSC (pp. 63-66)
Camera Capture Speed: (pp. 70-1 & 357-60)
Slow Motion – Overcranking
Fast Motion – Undercranking
Time Lapse – Intervalometer
Blurring/Strobing (judder) (p. 361)

Elements of the camcorder (p.110)
White Balance (p.113-117)
Preset for 3200ºK (indoor)
Viewfinder Zebra, Focus (p.112)
Focus & Exposure (p. 118-120)
Backlight Compensation (p.119)
Gain or Sensitivity (p. 134)
Video Shutter (pp.135-136)
(Lecture only): 16 x 9, SP Tape Speed, Dew, 16-bit audio, Image Stabilization
Head Drum / Tape (p. 122)
Batteries: (p. 131)
Nickel-Cadmium Battery [NiCad]
Nickel-Metal Hydride [HiMH]
Lithium-Ion [Li Ion]
SMPTE Time Code (p. 22)

Lens Elements/Barrel (p.141)
Focal Plane (sensor or film) (p.141)
Prime Lenses (p.141)
Zoom Lenses (p.141)
Optical/Digital Zoom (p.160)
Focusing a Zoom Lens (p. 157)
Focal Lengths (p.141, 145):
Short Focal Length [wide angle]
Medium Focal Length [normal]
Long Focal Length [telephoto]
Zoom vs. Dolly (pp. 144) Perspective
Speed:
Fast Lens/Slow Lens (p. 149)
Iris Diaphragm (p.150)
F–Stop Series: (p.150)
[1, 1.4, 2, 2.8. 4. 5.6, 8, 11, 16, 22, 32]
Stopping Down/Up (p.150)
T-Stop (p.150)
Depth of Field: (p.151)
3 Factors for Depth of Field (p.154)
Hyperfocal Distance (pp. 158-159)
Where to Focus? (p.155)
Pulling Focus (p.156)
Prime Lenses for Special Use (pp.163-4)
Close-Up/Split Field Diopters (pp.165-7)
Lens Quality: (pp. 167-171)
         Vignetting, Chromatic, Sharpness, Flare
Depth of Focus/Back Focus (pp.173-176)
Lens Care (p.176)

Raw stock (p. 254)
Emulsion/ Base (pp. 254-256)
Negative/Positive Process (pp. 255-256)
Characteristic Curve (pp. 256-259)
Gamma (p. 260)
Primaries: Red, Green, Blue (p. 258)
Film Speed: (pp. 259-260)
Exposure Index (E.I.), ASA, ISO
Contrast (p.260)
Lab Processes  (p.262-264)
Pushing, Pulling, Flashing, Bleach Bypass
Graininess  (faster stock) (p.265)
Kodak Look Managerª (p.266)
Tungsten vs. Daylight Balance (p.268)
Kodakª Identification: (pp.269-270):
72xx (16mm), 52xx (35mm)
Latent Edge Numbers (pp. 271-272)
Kodak KeyKodesª & Fujiª MR Codes
Handling Film Stock (pp. 273-274)
Exposure: (pp. 275-276) Over & Under
Light Meters: (pp. 276-279)
Direct / Indirect Reading (p. 279)
Incident Light (point at camera) (p. 276)
Spot Meter (p.283)
Flat Disk Diffuser (p. 283)
Reading the Meter  (pp. 280-281)
Subject Reflectance (brightness) (p.277)
Shutter: (p. 280)
180 degree shutter (p.233 in Chap. 6)
Exposure = Intensity x Time (p.233)
1/48 second  = 1/24 x 1/2
T-stops used not F-stops (p. 281)
Filter Factor (p. 300)
Backlight/Special Exposures (pp. 286-8)
Footcandles (p. 289)
Exposure Range & Error (pp. 290-291)
ƒ/stops: negative (9-10) reversal (5-6)
Exposure Control [four ways] (pp. 291-2)

Additive & Subtractive Primaries (p. 292)
Color Temperature: (pp. 297-299)
Kelvin Temperature Scale
Warm Light Source [3200 K tungsten]
Cold Light Source [5600 K daylight]
Conversion Filters: (p. 301)
[85 – orange] tungsten for daylight
[80 – blue] daylight for tungsten
Matte Boxes/Lens Shade (p. 307)
Other Filters (pp.301-306):
UV/1A
Neutral Density
Graduated
Polarizing
Diffusion
Low Contrast
Fog/Star
Software

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