336 IndexL
language, motion picture, 6, 10, 27–30
Latham Loop, 52
lead room, 8, 8f, 38
lens, 48, 48f, 75, 126–127
letterbox, 152
light
in black and white, 138–140
color and, 143–149
controlling, 137–138
defi nition of, 162
digital capture of, 123–124
as essence of medium, 123
focus and, 127
lens and, 126–127
look and, 125–126
measuring, 137–138
meter, 137
painting with, 140–142
photography and, 43
printing, 47–49
projecting, 45–47
sensitivity and, 130–132
tone and, 121–122
lighting unit, 299–303
light meter, 162
line producer, 293, 324
linking shots, 10–14
live action, 11, 38
location, 87, 88, 116
location scouting, 297
logline, 268, 282
long shot, 9, 10f, 38
look, 125–126
Loos, Anita, 253f, 254, 255f, 275
low-angle shot, 23, 23f, 38
Lumet, Sidney, 18M
magazines, camera, 301, 324
magic lantern, 45, 75
makeup, 313
manager, construction, 308
Mancini, Henry, 95f
Marey, Etienne-Jules, 5f, 50
match cuts, 13, 13f, 38
matte, 53, 75, 298, 324
McLaren, Norman, 195
media, evolving, 173–175
medium close-up, 7, 7f, 38
medium shot, 8–9, 9f, 38
Micheaux, Oscar, 175–176, 176f
Micheli, Amanda, 220f
microphone, 87, 87f, 91–92, 93, 117, 118mixing, on set, 91–92
Mizoguchi, Kenji, 177
model, 298, 324
montage, 194, 203
Moore, Michael, 212f
motion picture business, 169–175
motion picture economics, 186–187
motion picture fi nancing, 185–187
motion picture language, 6, 10, 27–30,
38, 193–197
motion picture types, 187
motivation, storyteller, 273–274
moving images, evolution of, 5–7
Moviola, 59, 75
Murch, Walter, 99
music, 94–96
musicals, 191, 204N
Nagra, 91, 116
narration, 65
narrative, 28, 38. see also storytelling
narrative fi ction, 212
narrative sequences, non-narrative vs.,
189–191
negatives, 48, 76
nets, 303, 324
Nickelodeons, 171, 204
Niépce, Nicéphore, 48
noise, in images, 124, 163
non-linear editing, 58, 76
non-narrative fi lms, 187, 192–193, 204
non-narrative sequences, narrative vs.,
189–191
normal lens, 126, 163
Nykvist, Sven, 138f, 304 fO
objectives, 102, 116
observer, in documentaries, 226–227
off -screen sound, 94, 116
operator, camera, 300
Ophuls, Max, 177–179, 178f
optical eff ects, 308, 325
optical sound, 84, 85–86, 116
organizational challenges, 289–291
original screenplay, 252, 282
outlines, 231, 244
over-the-shoulder shot, 9, 9f, 38
Ozu, Yasujiro, 177P
pan, 24, 24f, 39
Panavision, 125, 163
parenthetical directions, 269, 282participants, 210–211
passive characters, 256, 282
Paul, R. W., 52
Pearlstein, Rob, 260f
perspective, viewer’s, 12–13
persuasion, 105–106
phenakistoscope, 45, 46f, 76
phonograph, 83, 116
photography
defi nition of, 76
director of, 299, 323
eyesight and, 44f
fi rst image in, 48f
history of, 5–6, 48
life without, 43
light and, 43
from still to moving image, 49–52
pigments, 143, 163
pinhole camera, 47, 47f, 76
pioneers, 175–176
pitch, 170, 204
pixels, 123, 163
plane, fi lm, 127, 161
plane of focus, 136, 163
plans, 250–251
plot, 103, 116
point of view shot, 11, 12f, 39
Porter, Edwin S., 54–55
post-production, 170, 204
post-production sound, 93–98
praxinoscope, 6f, 46–47, 76
premise, 259, 282
pre-production, 170, 204
primary colors, 143, 143f, 163
prime lenses, 126, 163
producer, 291, 325
executive, 293, 324
line, 293, 324
producer roles, 292–295
production, 170, 204
designer, 303f
stages of, 291
value, 298–299, 325
production designer, 303–304, 325
production sound mixer, 91, 116
production team, 293–294
projection, 52
protagonist, 254, 282
pulling focus, 136–137
pull-out, 24, 25f, 39
push-in, 24, 39R
radio microphones, 89, 116
reality, 211–213Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).