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Screen direction is the direction that actors or objects appear to be moving on the screen from the point of view of the camera or audience. A rule of film editing and film grammar is that movement from one edited shot to another must maintain the consistency of screen direction in order to avoid audience confusion.
Every eighth line down is marked thicker than the rest and shows half a foot of film. One second of animation would take three of these sections (hence every line represents 1/24th of a second). Sound breakdown was often done on separate sheets called bar sheets made by the editor, and given to the animator who would transpose them to his dope ...
A view camera is a large-format camera in which the lens forms an inverted image on a ground-glass screen directly at the film plane. The image is viewed, composed, and focused, then the glass screen is replaced with the film to expose exactly the same image seen on the screen.
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Tracking shots (also called travel shots) differ in motion from dolly shots, where the camera follows behind or before the character resulting in either an inward or an outward movement. Often the camera is mounted on a camera dolly which rides on rails similar to a railroad track; in this case, the shot is referred to as a dolly shot. A ...
The first large-scale application of motion control was in Star Wars (1977), where a digitally controlled camera known as the Dykstraflex performed complex and repeatable motions around stationary spaceship models. This enabled a greater complexity in the spaceship-battle sequences, as separately filmed elements (spaceships, backgrounds, etc ...
Match moving is primarily used to track the movement of a camera through a shot so that an identical virtual camera move can be reproduced in a 3D animation program. When new animated elements are composited back into the original live-action shot, they will appear in perfectly matched perspective and therefore appear seamless.
In the freeform method, the cinematographer almost always keeps the camera focused on the individual who is speaking, or the primary action. Even if the scene is shot multiple times, this leaves almost no variation in each take. [6] When applied to the freeform method, coverage takes the form of a dialogue pass, reaction pass, and freeform pass.