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Light stage is a device used for capturing the shape, texture, and reflectance of a target, usually for virtual cinematography. Light stages are usually a combination of multiple cameras and structured light techniques, and additionally, polarizers are included to find the subsurface scattering component of the target's skin. Omnidirectional camera
Three-point lighting is a standard method used in visual media such as theatre, video, film, still photography, computer-generated imagery and 3D computer graphics. [1] By using three separate positions, the photographer can illuminate the shot's subject (such as a person) however desired, while also controlling (or eliminating) the shading and ...
A diagram of a standard three-point lighting set-up, consisting of a key light, back light, and fill light Kuleshov effect The mental phenomenon by which viewers of a film interpret the juxtaposition of and interaction between sequential shots in a way that differs from their interpretation of either of the individual shots alone. This effect ...
Light sources that affect the scene and are included in the actual frame are called practical light sources, or simply practicals. [2] Available light is an important factor in candid photography in order not to disturb the subjects. The use of available light may pose a challenge for a photographer.
Movement can be used extensively by film makers to make meaning. It is how a scene is put together to produce an image. A famous example of this, which uses "dance" extensively to communicate meaning and emotion, is the film, West Side Story. Provided in this alphabetised list of film techniques used in motion picture filmmaking. There are a ...
A common artificial lighting strategy that creates an overall appearance similar to natural fill places the fill light on the lens axis so that it will appear to cast few if any shadows from the point of view of the camera, which allows the key light that overlaps it to create the illusion of 3D in a 2D photo with the same single-source ...
Light from the lamp, usually a Xenon arc lamp similar to those used in film projectors with a power between 1 kW and 7 kW, is split by colored filters into red, green and blue beams which are directed at the appropriate DMD. The 'forward' reflected beam from the three DMDs is then re-combined and focused by the lens onto the cinema screen.
For example, the foreground might be in focus while the middle-ground and background are out-of-focus. When avoiding deep focus is used specifically for aesthetic effect—especially when the subject is in sharp focus while the background is noticeably out-of-focus—the technique is known as bokeh .