1. Camera lens size
2. Visual elements structure
3. Lightness and tonal lightness
4. Color
5. Framing and composition
6. Visual motion
7. Editing montage
8. Theory and position of mirror
9. Positioning and direction method
10. Sound in the image
11. Point of view and viewing point
12. Identity and cognition
13. Screen size and photography specifications
    1. Screen ratio and resolution
       1. Aspect ratio
          1. The aspect ratio of a display device is the proportional relationship between the width and the height of the display. It is expressed as two numbers separated by a colon (x:y). Common aspect ratios for displays, past and present, include 5:4, 4:3, 16:10 and 16:9.
       2. Resolution
          1. Image resolution is the detail an image holds. The term applies to raster digital images, film images, and other types of images. Higher resolution means more image detail.
    2. Correct concept of picture quality
    3. Depth of field
       1. is the term used to describe the size of the area in your image where objects appear acceptably sharp.
          1. The area in question is known as the field, and the size (in z-space) of that area is the depth of that field. DOF is governed by the angle at which light rays enter the lens.
    4. Focal lenght
       1. It’s a measurement that specifies how your lens interacts with your camera. On a practical level, focal length determines field of view, or how much of a view will be captured. It also indicates how large subjects and elements in that view will be, or the magnification.
14. Shots
    1. Establishing shot
       1. establishes the context for a scene by showing the relationship between its important figures and objects
    2. Extreme Long shot
       1. An extreme long shot (or extreme wide shot) make your subject appear small against their location. You can use an extreme long shot to make your subject feel distant or unfamiliar.
          1. It can also make your subject feel overwhelmed by its location. Of all the various camera shots out there, consider using the extreme long shot when you need to emphasize the location or isolation.
    3. Long shot
       1. is the same idea, but a bit closer. If your subject is a person then his or her whole body will be in view -- but not filling the shot.
          1. a long shot gives us a better idea of the scene setting, and gives us a better idea of how the character fits into the area
    4. Full shot
       1. full shots can be used to feature multiple characters in a single shot
    5. Medium shot
       1. A medium long shot (aka medium long shot) frames the subject from roughly the knees up.
          1. frames from roughly the waist up and through the torso. So it emphasizes more of your subject while keeping their surroundings visible.
    6. Medium close up
       1. The medium close-up frames your subject from roughly the chest up. So it typically favors the face, but still keeps the subject somewhat distant.
    7. Close up
       1. The close-up camera shot fills your frame with a part of your subject. If your subject is a person, it is often their face.
          1. perfect for moments that are important. The close-up shot size is near enough to register tiny emotions, but not so close that we lose visibility.
    8. Extreme close up
       1. An extreme close-up is the most you can fill a frame with your subject. It often shows eyes, mouth and gun triggers. In extreme close-up shots, smaller objects get great detail and are the focal point.
15. Camera level
    1. Knee shot
       1. This is when your camera height is about as low as your subject’s knees. They can emphasize a character’s superiority if paired with a low angle.
    2. Waist shot
       1. A hip level shot is when your camera is roughly waist-high.
    3. Chest shot
       1. The medium close-up frames your subject from roughly the chest up
16. Movement
    1. Create a flat space
       1. Zoom
          1. Zoom shots are camera shots that change the focal length of the lens during the shot. This action can be a zoom out, or a zoom in
       2. Pan
          1. Camera pans move the camera side to side on a horizontal axis. This can reveal something to your viewer or allow them to follow an action.
       3. Tilt
          1. A camera tilt is when you move your camera up and down on a vertical axis. So it’s exactly like a pan, only vertical.
    2. Create a deep space
       1. Dolly
          1. A dolly shot is where the camera is affixed to a mechanism called a dolly, which is a specialized push-cart built to handle heavy cinema cameras. A dolly will often have areas to attach seats for the camera operator and assistant camera operators to pull focus and control the camera.
       2. Track
          1. A tracking shot moves with your subject. Sometimes it follows behind or beside them on a dolly, Steadicam or a gimbal.
    3. Camera mechanisms
       1. ​Sticks / Tripod
          1. The most common mechanism is the tripod, or “sticks”, used for static shots and simple pans and tilts.
       2. Slider Shot
          1. A slider is a piece of equipment that “slides” your camera on a vertical or horizontal axis.
       3. Handheld Shot
          1. Handheld shots are held and moved by a camera operator. They aren’t stabilized and often shaky.
       4. Steadicam Shot
          1. A Steadycam is a camera stabilizing device that attaches to the camera operator. It uses a counterbalancing system for smooth and stable camera moves.
       5. Gimbal Shot
          1. Gimbals are another camera stabilizing device that use motorized gyroscopes to reduce friction.
       6. Crane Shot
          1. A shot from a robotic crane often sweeps up and over a scene. It is a great first or final shot for a film.
       7. Jib Shot
          1. A jib is a crane device that sweeps the camera up and over a setting. A jib is similar a crane, but with more limited range and movement. It's compact and utilizes counter-weights.
       8. Drone Shot
          1. These camera shots attach to a drone to fly over or alongside your subject. They're often used for aerial shots. Drones are way cheaper than helicopters and can operate in spaces helicopters can’t.
       9. Wire Shot
          1. the camera moves on a cable or wire for deliberate, smooth moves. Like drones, wires get much closer to the action than helicopters. These are often used in live concerts and sporting events.
17. Camera angles
    1. The camera shot angle is used to specify the location where the camera is placed to take a shot.
       1. Eye level shot
          1. When your subject is at eye-level they’re in a neutral perspective (not superior or inferior). This mimics how we see people in real life -- our eye line connecting with theirs.
       2. Low angle shot
          1. This shot frames the subject from a low camera height. These camera shots most often emphasize power dynamics between characters.
       3. High angle shot
          1. the camera points down at your subject. It usually creates a feeling of inferiority, or “looking down” on your subject.
       4. Dutch angle shot
          1. For a dutch angle (dutch tilt), the camera is slanted to one side. With the horizon lines tilted in this way, you can create a sense of disorientation.
       5. Aerial shot
          1. Whether taken from a helicopter or drone, this is a shot from way up high. It establishes a large expanse of scenery.
18. Scenery perspective
    1. Background
       1. The background is the space further away, behind both the foreground and middleground.
    2. Midground
       1. The middleground is the space within a composition between the foreground and the background.
    3. Foreground
       1. the foreground is closest to the audience’s eye
19. What is the audience watching?
    1. Triangle relationship
       1. Reality
       2. Image
       3. imagination
    2. Truth
       1. Cognitive truth
       2. Collective truth
       3. Desire truth
    3. Morality
       1. Private morality
       2. Public morality
    4. Cultural process
       1. Gender
    5. Morality and privacy right
    6. Harassment
    7. Ethics
20. Points of view, viewers point of view
    1. Camera
       1. Reality and reproduction
          1. Operation process of Viewpoint, viewing point, identity and cognition
          2. Morality and drama
       2. Viewpoint change / audience's perception change
    2. Viewpoint
       1. Distance angle
    3. Public distance:
       1. Distance viewing, sparce approval
    4. Social distance
       1. Basic recognition between people and communication
    5. Intimacy distance
       1. Intimate emotional exchange
    6. Fce to face
       1. Direct intersection (horizontal without angle)
    7. Peep
       1. Private viewing (horizontal side angle)
    8. Looking up
       1. a hint of admiration (vertical elevation angle)
    9. Looking down
       1. Contempt or sympathy (vertical depression)
    10. Identity
        1. Dynamic identity
21. Notions of seeing
    1. concepts
       1. Watch Look Gaze Stare View Observe Glance Scan
22. Perspective shots
    1. Size
    2. Characters movement
    3. Reaction shot
    4. Reverse shot
    5. Point of view dynamics
23. Notions of listening
    1. Concepts
       1. Listen Smell Deaf Auditor Eavesdrop
24. Sound creation process
    1. master the overall design
    2. Carry out spatial design
    3. Applied psychology - what the audience hears
       1. What audience and actors hear
          1. Sound effects you have in scene
       2. What the audience hear but the staff can not hear
          1. Sound effects
       3. Only the actors hear byt the audience cannot hear
          1. Increasing suspicion
25. Metaphorical sound design
    1. The metaphor of the subject or honor
    2. development event or plot
    3. Environmental atmosphere
    4. Characterization
    5. Express afection
    6. Manufacturing rythm
26. Basic concepts
    1. Use right tools
    2. Receive and capture the right sound
    3. Reduce noise to keep good quality sound
    4. Try to be as close to the sound source as possible
27. Sound
    1. Live sound
       1. Main sound source
       2. Bounce sound
       3. Ambient sound
    2. Tools
       1. Voice recorders
       2. Headphones (monitor)
       3. Microphone
    3. Role of sound
       1. Give a sense of presence or emptyness
       2. Atmosphere setting
       3. Synchronize the senses of the audience
       4. Lead the audience to focus in the picture
       5. Shape audience expectations
       6. Change the meaning of dual pictures
       7. Distinguish time and space
       8. Opening and closing
       9. Dramatic and emotional rendering
28. Sounds in video
    1. Dialogue
    2. Sound effects
    3. Music
29. Directions
    1. Mise-en-scene
       1. Scheduling on stage
          1. Setting Dressing the Set Lighting and color Costume, hair and props Casting and modeling Acting and blocking Rhythms between scenes 2 and 3 dimension composition
    2. Actors movements
       1. Stage directions
          1. Deep space composition
       2. Adjusting face of actors
          1. 1. Eyes (open, closed, covered)
          2. 2. Face (full, partial, front, side)
          3. 3. Body (complete, partial, front, side)
       3. Actors sections
          1. Enhanced
          2. Isolated
    3. Camera scheduling
       1. Camera scheduling
       2. 1. The use of depth of field.
       3. (Deep Depth of Field, Shallow Depth of Field)
       4. 2. The use of scene frames
       5. (Distant, medium, close, close-up)
       6. 3. Use of camera movement
       7. (X axis, Y axis, Z axis)
    4. Scene and art scheduling
       1. Scenes and metaphors
       2. Light, color and metaphor
       3. Metaphor of color
       4. Metaphor of color and light
       5. Light and dark metaphor
       6. Clothing and Dressing
       7. Light and shadow
30. Thinking from the lens
    1. Shot
       1. Element of storytelling
          1. ELS LS FS WS BS CU BCU
    2. Frame
       1. Different distance, different meaning
    3. Angle
       1. Lenses with different angles, different feelings
          1. Bird's eye view High Angle Eye level Low Angle Dutch Angle Hell angle
    4. Movement
       1. Different camera movements, different emotional power
          1. Pan. Track TILT UP / DOWN Dolly in/ Out Hand held Steadicam Drone shot
31. Storytelling method
    1. Cutting to a scene
    2. Stablish shots
    3. Storytelling base on plots
    4. Continuity
    5. Editing and shot composition
32. Lens connection
    1. Cut
       1. In the post-production process of film editing and video editing, a cut is an abrupt, but usually trivial film transition from one sequence to another. It is synonymous with the term edit, though "edit" can imply any number of transitions or effects.
    2. Dissolve
       1. Also known as mix, cross dissolve, or cross fade. It’s the most commonly used transitions from one shot to another.
       2. Dissolve is the effect that, while the first shot gradually disappears, the second shot becomes more and more visible.
       3. Dissolve is not only another way to change shot, it has different meaning and function from cut.
    3. Wipe
       1. One shot replaces another following a 2-dimension pattern.
       2. Almost all video editing software provide pre-defined wipe patterns. You adjust the duration of overlapping between two shots, then just choose and apply a wipe pattern to the transition. Done.
       3. With the ability of manipulating clips, you can create your own wipe pattern.
    4. Superimpose
       1. hen two or more image are placed over each other in the frame. This effect can be accomplished by exposing the same piece of film more than once as we see with double exposure. In narrative film, superimposition is often used for dissolve shots.
    5. Fade
       1. Fade is eventually a dissolve between normal image shot and black screen. When you dissolve from image to black, it’s a fade out. When dissolving from black to image, it’s called fade in.
    6. Seamless cutting
33. Editing and narrative
34. Montage
    1. Narrative montage
    2. Expressive montage
    3. Soviet montage
       1. Rythmic montage
       2. Tonal montage
       3. Overtonall montage
       4. Intellectual montage
35. Editing
    1. Transition
    2. Straight cut
    3. Dissolve
    4. Superimposition
    5. Fade in
    6. Fade out
    7. Iris in / Iris out
    8. Wipe
    9. Continuity
    10. Jump cut
    11. Sound clip
        1. J cut
        2. L cut
36. Editing process
    1. Combine all the shots into the final product Include lens shaping and selection Combine individual shots and segments Match image with soundtrack
37. Create sense of flowing
    1. camera movement blocking movement editing movement mise-en-scene movement (moving with/against camera)
38. Function of photography
    1. Movements in images can have an impact in perspective such as
       1. stay with character while moves
       2. lead the audience's attention
       3. reveal new information
       4. create dramatic tension suspension
       5. re-define limitation of space
       6. emphasis on the real time & space
       7. part of editing strategy
39. Camera movement
    1. Horizontal Movement
       1. pan, swish pan, arc pan, circular, trucking
    2. Vertical Movement
       1. tilt up, tilt down, pedestal
    3. Z- Axis movement
       1. dolly in, dolly out, zoom in, zoom out, traveling
    4. Combined movement
       1. handheld, steadycam
40. Structure of a film
    1. Story
    2. Sequence
    3. Scene
    4. Shot
41. Composition
    1. Alternation Repetition Tempo
    2. Rule of thirds
    3. Balance and symetry
    4. Leading lines
    5. Use basic composition Symmetry and balance Curve composition Triangle composition Three-point method Nine Palace Method Diagonal composition
    6. In depth rules
       1. Depth of field
       2. Deep space composition
42. Ethics outside the frame
    1. Psychology of associative graphics
    2. Law of closure Law of similarity Law of proximity Law of symetry
43. Frame
    1. Size Distance Image style/ Aesthetics
    2. Eye-level framing
    3. Aspect ratio
44. Degrees of relativity
    1. Contrast
    2. Affinity
    3. Elements within a frame (Space, Line, Tone, Color, Movement, etc) work individually and together to create similarities (Affinity) or conflicts (Contrast). These two concepts are applied to the frame, the shot, shot-to-shot, scene-to-scene, etc. to create your movie.
45. Basic lighting concepts
    1. Basic lighting aids
       1. Diffuser Reflector Scrim/Net Flag Butterfly
    2. Key light Fill light Ambient light Natural light Rim light Back light Background light
    3. Color temperature
       1. Plank's law
       2. Mixed light
       3. Tungsten light
       4. Direct sunglight
       5. Combination
    4. Hard Light Incident／Direct Light Shadow Soft Light Refelcted／Indirect Light Bounce Light Diffused Light
    5. Sources of light
       1. Artificial light
          1. Continuous light
          2. Discontinuous light
          3. transmitted light
          4. reflected light
       2. Natural light
          1. Skylight
          2. Sunlight
          3. Transmited light
          4. Reflected light
          5. Spotlight
    6. Spot Light Flood Light Silhouette Tungsten／Incandescent Light Fluorescent Light White／Color Balance
    7. Light Intensity Light Meter Footcandle
46. Three point lighting
    1. Lighting principles
    2. Key Light — Used as your primary lighting point
    3. Fill Light — Used to fill opposite the key light
    4. Backlight — Used to extract the third dimension
    5. Subtopic 5
47. Basic Depth Cues
    1. Perspective
       1. Vanishing points
          1. One vanishing points
          2. Two vanishing points
          3. Three vanishing points
       2. Multiple vanishing points
    2. Size difference
       1. Foreground (FG) Middleground (MG) Background
       2. Overlap
48. Shape
    1. Circle
    2. Square
    3. Triangle
49. Space
    1. Deep
       1. The illusion of 3d on a 2d surface.
    2. flat
       1. Frontal walls.
       2. No Converging lines
       3. No longitudinal planes
       4. Actors staged on the same horizontal plane
       5. Same amount of detail/texture.
    3. Limited
       1. Some depth cues
       2. Size change
       3. Textural diffusion
       4. Up/Down position
       5. No longitudinal planes, only frontal surfaces
    4. Ambiguous
       1. Impossible to tell size/ shape of room.
       2. Unreliable spatial clues.
    5. Open
    6. Closed
50. Surface divisions
    1. Dividing the physical space in front of camera into different areas that are shown in the screen for compositional reasons.
       1. Shows differences abd similarities
       2. Shows emotional separation
       3. Directs the eye for emphasis of a certain part of the scene
       4. Comments on a story situation (eg. feeling trapped
51. Lines
    1. Edge
    2. Contour
    3. Closure
    4. Intersection
    5. Axis
    6. Track
52. Elements of color
    1. Hue
       1. Primary colors
          1. Red Blue Green
       2. Secondary colors
          1. Magenta Cyan Yellow
       3. Others
          1. Orange Velvet
    2. Brightness
    3. Saturation
       1. Chroma
       2. Desaturation
       3. Affinity of saturation
       4. Contrast of saturation
53. Brightness & Gray Scale
    1. The range of change in brightness can be indicated by a grayscale graph
54. Color temperature control
    1. Vangie Beal Color temperature refers to a characterization of the spectral properties of a light source and is commonly used during the production phase in the film and photography industries. Low color temperature is the warmer, more yellow to red light while high color temperature is the colder, more blue light.
55. Color interaction
56. Ostwald system
    1. Associated with The Color Harmony Manual, it comprises a set of paint chips representing the Ostwald color space. There are four different editions of the Color Harmony Manual.
57. Color theory
    1. Addition
       1. The production of various colors of light by the mixing of the three primary colors of light
    2. Substraction
       1. a useful means of predicting the ultimate color appearance of an object if the color of the incident light and the pigments are known. By using the complementary color scheme, the colors of light that will be absorbed by a given material can be determined.
58. Different points of view
    1. First-Person Point of View (Subjective)
    2. Third-Person Limited Point of View (Objective)
    3. Omniscient Point of View (Objective)
59. Audio recording systems
    1. Single system audio
       1. audio is captured directly into the camera, and records simultaneously with the image.
    2. Double system audio
       1. where picture and sound have been recorded onto two different devices (or systems).
60. Unwanted noise types
    1. Controllable noise
       1. Interference than can be managed
       2. offenders of this type of noise are refrigerators, mobile phones and personal electronics. Make sure all phones and appliances are switched off.
    2. Uncontrolable noise
    3. uncontrollable noise originates from forces outside of one’s control. This might be a passing car or airplane, or music emanating from a nearby building.
61. Types of microphones
    1. Shotgun Microphone
       1. the shotgun microphone is mounted to a boom pole where it can be held above or below an actor to capture dialog.
       2. Also, windshield accessories such as a “blimp” or the cuddly-sounding “dead cat,” fit snugly over the microphone and reduce distortion.
    2. Dynamic Microphone
       1. These mics don’t require external power and lack an internal amplifier. Because of this, they tend to be used during broadcasts or performances.
       2. Most common type of microphone (the one's that singers hold when singing)
    3. Lavalier Microphone
       1. The lavalier microphone, or lav, is an omnidirectional microphone that clips onto the costume of an actor.
       2. These tend to be used if an actor is moving around often.
62. Splitting method -movie
    1. Location scouting
    2. Design lens position (camera blocking)
    3. Storyboarding
       1. Storyboarding
          1. Script - written story
          2. Breakdown script, assign a scene number
          3. Assign type of shots to scenes
    4. Table shooting
63. Basic concepts of post-production dimming and tonning
    1. RAW
       1. Raw footage is sometimes referred to as source footage and consists of the unprocessed captures from the camera shoot in no particular order or without rhyme or reason
    2. LOG
       1. is a shooting profile, or gamma curve, found on some digital video cameras that gives a wide dynamic and tonal range, allowing more latitude to apply colour and style choices.
64. Object control
    1. Reflective control
       1. which controls tone by tonal value of actual objects
    2. Incident control
       1. controls tone with lighting)
    3. Exposure
       1. (which controls tone by the actual camera and lens adjustments
65. Contrast
    1. Simultaneous contrast
       1. Two colors, side by side, interact with one another and change our perception accordingly. The effect of this interaction is called simultaneous contrast. Since we rarely see colors in isolation, simultaneous contrast affects our sense of the color that we see.
    2. Sucessive contrast
       1. Successive contrast is the effect of previously-viewed color fields ("inducing fields") on the appearance of the currently-viewed test field.
66. Floating Topic