Studying the Middle East through International relations perspective -Week 2-
Film Perspective relations
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Transcript of Film Perspective relations
![Page 1: Film Perspective relations](https://reader033.fdocuments.net/reader033/viewer/2022061121/546eae35af79598c6d8b50f4/html5/thumbnails/1.jpg)
PERSPECTIVE
RELATIONS
![Page 2: Film Perspective relations](https://reader033.fdocuments.net/reader033/viewer/2022061121/546eae35af79598c6d8b50f4/html5/thumbnails/2.jpg)
The Lens
- gathers light from a scene and transmits the light onto a flat surface of film to form an image that represents size, depth and other dimensions of the scene
![Page 3: Film Perspective relations](https://reader033.fdocuments.net/reader033/viewer/2022061121/546eae35af79598c6d8b50f4/html5/thumbnails/3.jpg)
Focal Length
- the distance from the center of the lens to the point where light rays converge to a point of focus on the film
- It can alter perceived magnification, depth and scale of things.
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Wide-angle lens
- 35mm-gauge, less than 35mm lens
- Distorts straight lines near edges, bulging them outward
- Can exaggerate depth, distances of foreground and background are greater, thus subject covers ground faster
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Normal lens
- 35mm to 50mm lens
- Avoids perspective distortion
![Page 7: Film Perspective relations](https://reader033.fdocuments.net/reader033/viewer/2022061121/546eae35af79598c6d8b50f4/html5/thumbnails/7.jpg)
Telephoto lens
- 75 to 250mm lenses or more
- Flattens space, reducing depth and volume cues, things are unnaturally close to one another
- Takes more time for subject to cover a seemingly small distance
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Zoom lens
- Permits continuous varying of focal length
- Substitute for forward and backward camera movement
- Magnifies-demagnifies, excluding-including
![Page 10: Film Perspective relations](https://reader033.fdocuments.net/reader033/viewer/2022061121/546eae35af79598c6d8b50f4/html5/thumbnails/10.jpg)
Depth of Field
- The range of distances before the lens within which objects can be photographed in sharp focus
- Controls perspective relations by determining which planes will be in focus
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Selective Focus
- Choosing to focus only one plane and letting the other planes blur
- To claim viewer’s attention
![Page 12: Film Perspective relations](https://reader033.fdocuments.net/reader033/viewer/2022061121/546eae35af79598c6d8b50f4/html5/thumbnails/12.jpg)
Deep Focus
- The use of wide-angle lens and intense lighting to get greater depth of field
![Page 13: Film Perspective relations](https://reader033.fdocuments.net/reader033/viewer/2022061121/546eae35af79598c6d8b50f4/html5/thumbnails/13.jpg)
Racking Focus
- Adjusting perspective relations while filming
- Pulling focus from a plane to another plane
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Special Effects
- The use of models and computer-generated images (CGI) and other techniques to render an image’s perspective relation
![Page 15: Film Perspective relations](https://reader033.fdocuments.net/reader033/viewer/2022061121/546eae35af79598c6d8b50f4/html5/thumbnails/15.jpg)
Superimposition
- Double exposure in the camera or laboratory printing
- One image is laid over another
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Projection Process Work
- Projects footage of a setting onto a screen with actors performing in front of the screen
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Kinds of Projection
Rear Projection
- Seldom creates convincing depth cues
Front Projection
- Projects the setting onto a two-way mirror
![Page 18: Film Perspective relations](https://reader033.fdocuments.net/reader033/viewer/2022061121/546eae35af79598c6d8b50f4/html5/thumbnails/18.jpg)
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Matte:A portion of the setting photographed on a
strip of film with a part of the frame empty through painting and computer programs
Traveling matte:The actor is photographed against a blank
(usually blue) background and the moving actor is jigsawed into the moving gap in the background footage
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Just means and not ends in themselves…
Such photographic techniques and manipulations function within the overall context of the film
They should be judged less on criteria of realism than on criteria of function