Index 337rear projection, 310, 325
refl ected light meter, 137, 163
refl ectors, 303, 325
resolution, of image, 127, 163
reversal, 76
reverse shot, 59, 76
Reynaud, Emile, 6f, 47 f
rhetorical fi lms, 187, 204
Richardson, Robert, 300f
Riker, David, 206–207
Rinzler, Lisa, 154
rule of thirds, 20f, 21, 21f, 39S
Sayles, John, 180
scene cards, 268, 282
scene heading, 104, 116
Schoonmaker, Th elma, 316
Schüfft an process, 309, 325
science-fi ction, 191, 204
scouting, location, 297
screen dimensions, 149–153
screen direction, 13, 39
screenplay, 104–105, 252, 282
screens, 3–7
screenwriting, 101–105
scrims, 303, 325
script breakdown, 297, 297f, 323
second assistant camera, 300, 325
second assistant director, 294, 325
Sembene, Ousmane, 184, 184f
sensitivity, 130–132, 163
sensor, 123, 163
sequence, 4f, 39
sequences, 5
serial, 191, 204
set designer, 308, 325
set director, 308
sets, 297
setting, 103, 116
short-range apparent motion, 46, 76
shot
close, 8, 8f, 37
crane, 24, 37
cutaway, 59, 74
defi nition of, 5, 39
dolly, 24, 25f, 37
establishing, 61, 74
full, 9, 9f
high-angle, 23, 23f, 38
insert, 59, 75
linking, 10–14
long, 9, 10f, 38
low-angle, 23, 23f, 38
matte, 53medium, 8–9, 9f, 38
over-the-shoulder, 9, 9f, 38
point of view, 11, 12f, 39
reverse, 59, 76
static, 23–24, 39
two, 9, 9f, 39
wide, 9, 10f, 39
shotgun microphone, 91, 116
shot lists, 27, 28
shutter, 48, 48f, 76
shutter speed, 128, 129–130, 163
silent fi lms, 64–65
slate, 89, 117
Smith, G. A., 53
SMPTE time code, 87, 117
Snow, Michael, 195
Sokurov, Aleksandr, 135f
sound
ambient, 93, 115
changing technology in, eff ects of,
86–87
communication and, 81
designing, 98–100
early, 64
eff ects, 93, 117
importance of, 81
mixing, 91–92
music, 94–96
off -screen, 94, 116
on-disc, 84–85
optical, 84, 85–86, 116
post-production, 93–98
recorded, 83–86
recordists, 88–89
as step backward, 82
synchronous, 83, 87–89, 117
wild, 93, 117
sound stage, 297, 325
space, 13–16
special eff ects, 312, 326
special eff ects coordinator, 312, 326
speech, 99–100
splicer, 58, 58f, 76
split-screen, 227, 244
spot meter, 137, 163
sprocket holes, 51, 77
Stanford, Leland, 49
static shot, 23–24, 39
Steadicam, 25, 39
step outline, 268, 283
stock, fi lm, 125, 161
storyboards, 27f, 28–29, 28f, 39, 270, 270f
storytelling. see also narrative
construction in, 259–260
establishment of, 57–58inspiration in, 266–268
motivations in, 273–274
motors of, 255–259
premise in, 260
setup in, 272
storyteller in, 249
time in, 261–262
turning points in, 262–263
unconventional approaches in,
256–259
structure, 103
studio, 204
studio organization, 252–254
studio production, 176–179
studios, 170
stunt coordinator, 312, 326
style
composing, 18
investigating, 25–27
subject matter, in documentaries,
229–230
subjects, 210–211
superimposition, 53, 77, 227
Svankmajer, Jan, 196
switcher, 213, 244
synchronous sound, 83, 117T
Technicolor, 143–146
teleplay, 268, 283
teleprompter, 213, 245
television, 152
temperature, color, 146, 161
Th éâtre Optique, 47, 47f
thirds, rule of, 20f, 21, 21f, 39
35-millimeter fi lm, 52, 74
three-strip system, 143–146
tilt, 24, 24f, 39
time
in continuity editing, 14–15
importance of, in storytelling, 261–262
time codes, 87, 117
time lines, 257
titles, in documentaries, 222, 245
Toland, Gregg, 141
tone, 25–27
Tourneur, Jacques, 141
Tourneur, Maurice, 253f
traditions, narrative, 251
treatment, 267, 283
Tri-Ergon, 85
trim bins, 58, 77
turning points, 262–263
two-column script, 223, 245
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