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RTF 318
Pages
Blog
Child pages
Pages
FrontPage
100 Rule
Above the line
Absorption
Action
Actor's ability
Ambient backgrounds
Ambiguous
Amplitude
Analog and digital recording
Archetypes
Audience Point of Attention
Audio Connectors and Inputs
Audio Mixers
Auditions
Auditory Sensitivity and Frequency
Auditory streams
Avid Audio Basics
Beats
Below the line
Brightness
Calculating Lengths for Film
Calling Shots
Camera Movement
Casting
Casting relationships
Changing Sizes and Angles
Checkerboarding
Choosing an F-stop
Cinéma Vérité
Classic Hollywood Continuity Editing
Classified by construction
Classified by Directionality
Classified by positioning
closed
Coincidence and Non-coincidence
Color Balance
Color Space
Color Temperature and filters
Compression
Continuity shooting
Costumes and Makeup
Creating a New Wiki Page
Depth Cues
Depth of field
Depth of Field and Format
Depth of field charts
Depth of Focus
Diegetic sound
Diffraction
Directibility
Direct sound
Discrete Reflections
Doppler shift
Dragnet - System of Editing
Dynamic Range
Editing Screen Directions
Electricity Basics
Emotional Qualities
Equal Loudness Curves
Events
Exposure and interrelationships of shutter, aperture and film speed
Exposure time and Shutter angle formula
Eyeline
Eyeroom (looking room)
Fast lenses and slow lenses
Film layers - Black + White
Film Layers - Color
First impressions
Flex files
focal length
Focus and Depth of field
Focus Distance
Foley
Footcandles
Formatting
Four main
fp
Frame rates
Frequency masking
Frequency response
Graphing Components + Subcomponents
Graphing Visual Structure
Hard fx
Headroom
Hearing Conservation
High Angle
High-key lighting
Historical documentary and problems of access
Hue
Hybrids and Hollywood slang
Hyperfocal Distance
Image Area
Image Focus
Imaginative choices
Incident light meters
Influence of Sight
Inserts + Cutaways
Intermittent movement
Inverse square rule
Jump cuts
Keeping track of film - edge
Keeping track of video - drop frame and non-drop frame timecode
Kelvin scale and color temperature
Latitude
Lens Opening
Lighting
Lighting ratios
Lined scripts
Listening
Localization
Localization best in horizontal plane
Loudness effect
Loudness vs Time
Low-key lighting
Master Scene Technique
Match Cuts
Medium
Misdirection
Montage
Murch's Rule of Six
Non-diegetic sound
Objective vs. Subjective Sound
Online - offline
Open
Other lights
Overcranking and Undercranking
Overheads
Overlapping action
Perception of motion
Performance
Personal essay documentary
Phase cancellation, 3-1 rule
Post Workflow
Precedence effect
Premise
Propagation
Props
Proximity effect
Pulldown claw
Qualities of light
Quantity of light
Quantizing
Rabiger's approach to screen grammar as a reproduction of human consciousness
recognizable
Recorders
Record levels
Reflection
Reflective light meters
Rehearsal technique
Resolution
Reverberant field
Reverberation time
Review PPT
Rhythm
Role of the script supervisor
Rule of thirds
Sampling
SandBox
Saturation
Scheduling
Screen direction
Seeing Around the Edge of the Frame
Separating Sounds
Shooting out of sequence
Shotlists
Shot reverse shot technique
Signal path
Signal processing
Single System + Double System Recording
Slates
Sound
Sound design philosophy
Sound perspective
Sound Resolution
Source radiation pattern
Spatial perception
Speech perception
Speed
Stages of an audition
step outline
Storyboards
Tempo
Temporal masking
The 180 degree rule
The cocktail party effect
The crowbars of directing
The fatal flaw - passivity
The immutables - facts and images
The lens and perception (size constancy)
The lens and perspective
The script supervisor
The shot described by angle
The shot described by movement
The shot described in terms of coverage
The Vonnegut formula
Three Basic Shots
Three-point editing
Three-point lighting
Timbre
Tone
Traditional narration-based documentary
treatment
Video controls
Video process
Video standards - NTSC, PAL
Wavelength and Frequency
What Wiki Is
When film and video collide - the 3-2 pulldown
Whether the actor is right for the part
Why cuts work
Withholding information
Worldizing
209 more child pages
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Pages
FrontPage
Page Information
Title:
FrontPage
Author:
WikiBot Admin
May 03, 2012
Last Changed by:
Cheyenne T Smith
May 09, 2012
Tiny Link:
(useful for email)
https://wikis.utexas.edu/x/oZ4BAg
Export As:
Word
·
PDF
Hierarchy
Children (212)
Page:
100 Rule
Page:
Above the line
Page:
Absorption
Page:
Action
Page:
Actor's ability
Page:
Ambient backgrounds
Page:
Ambiguous
Page:
Amplitude
Page:
Analog and digital recording
Page:
Archetypes
Show all...
Page:
Audience Point of Attention
Page:
Audio Connectors and Inputs
Page:
Audio Mixers
Page:
Auditions
Page:
Auditory Sensitivity and Frequency
Page:
Auditory streams
Page:
Avid Audio Basics
Page:
Beats
Page:
Below the line
Page:
Brightness
Page:
Calculating Lengths for Film
Page:
Calling Shots
Page:
Camera Movement
Page:
Casting
Page:
Casting relationships
Page:
Changing Sizes and Angles
Page:
Checkerboarding
Page:
Choosing an F-stop
Page:
Cinéma Vérité
Page:
Classic Hollywood Continuity Editing
Page:
Classified by construction
Page:
Classified by Directionality
Page:
Classified by positioning
Page:
closed
Page:
Coincidence and Non-coincidence
Page:
Color Balance
Page:
Color Space
Page:
Color Temperature and filters
Page:
Compression
Page:
Continuity shooting
Page:
Costumes and Makeup
Page:
Creating a New Wiki Page
Page:
Depth Cues
Page:
Depth of field
Page:
Depth of Field and Format
Page:
Depth of field charts
Page:
Depth of Focus
Page:
Diegetic sound
Page:
Diffraction
Page:
Directibility
Page:
Direct sound
Page:
Discrete Reflections
Page:
Doppler shift
Page:
Dragnet - System of Editing
Page:
Dynamic Range
Page:
Editing Screen Directions
Page:
Electricity Basics
Page:
Emotional Qualities
Page:
Equal Loudness Curves
Page:
Events
Page:
Exposure and interrelationships of shutter, aperture and film speed
Page:
Exposure time and Shutter angle formula
Page:
Eyeline
Page:
Eyeroom (looking room)
Page:
Fast lenses and slow lenses
Page:
Film layers - Black + White
Page:
Film Layers - Color
Page:
First impressions
Page:
Flex files
Page:
focal length
Page:
Focus and Depth of field
Page:
Focus Distance
Page:
Foley
Page:
Footcandles
Page:
Formatting
Page:
Four main
Page:
fp
Page:
Frame rates
Page:
Frequency masking
Page:
Frequency response
Page:
Graphing Components + Subcomponents
Page:
Graphing Visual Structure
Page:
Hard fx
Page:
Headroom
Page:
Hearing Conservation
Page:
High Angle
Page:
High-key lighting
Page:
Historical documentary and problems of access
Page:
Hue
Page:
Hybrids and Hollywood slang
Page:
Hyperfocal Distance
Page:
Image Area
Page:
Image Focus
Page:
Imaginative choices
Page:
Incident light meters
Page:
Influence of Sight
Page:
Inserts + Cutaways
Page:
Intermittent movement
Page:
Inverse square rule
Page:
Jump cuts
Page:
Keeping track of film - edge
Page:
Keeping track of video - drop frame and non-drop frame timecode
Page:
Kelvin scale and color temperature
Page:
Latitude
Page:
Lens Opening
Page:
Lighting
Page:
Lighting ratios
Page:
Lined scripts
Page:
Listening
Page:
Localization
Page:
Localization best in horizontal plane
Page:
Loudness effect
Page:
Loudness vs Time
Page:
Low-key lighting
Page:
Master Scene Technique
Page:
Match Cuts
Page:
Medium
Page:
Misdirection
Page:
Montage
Page:
Murch's Rule of Six
Page:
Non-diegetic sound
Page:
Objective vs. Subjective Sound
Page:
Online - offline
Page:
Open
Page:
Other lights
Page:
Overcranking and Undercranking
Page:
Overheads
Page:
Overlapping action
Page:
Perception of motion
Page:
Performance
Page:
Personal essay documentary
Page:
Phase cancellation, 3-1 rule
Page:
Post Workflow
Page:
Precedence effect
Page:
Premise
Page:
Propagation
Page:
Props
Page:
Proximity effect
Page:
Pulldown claw
Page:
Qualities of light
Page:
Quantity of light
Page:
Quantizing
Page:
Rabiger's approach to screen grammar as a reproduction of human consciousness
Page:
recognizable
Page:
Recorders
Page:
Record levels
Page:
Reflection
Page:
Reflective light meters
Page:
Rehearsal technique
Page:
Resolution
Page:
Reverberant field
Page:
Reverberation time
Page:
Review PPT
Page:
Rhythm
Page:
Role of the script supervisor
Page:
Rule of thirds
Page:
Sampling
Page:
SandBox
Page:
Saturation
Page:
Scheduling
Page:
Screen direction
Page:
Seeing Around the Edge of the Frame
Page:
Separating Sounds
Page:
Shooting out of sequence
Page:
Shotlists
Page:
Shot reverse shot technique
Page:
Signal path
Page:
Signal processing
Page:
Single System + Double System Recording
Page:
Slates
Page:
Sound
Page:
Sound design philosophy
Page:
Sound perspective
Page:
Sound Resolution
Page:
Source radiation pattern
Page:
Spatial perception
Page:
Speech perception
Page:
Speed
Page:
Stages of an audition
Page:
step outline
Page:
Storyboards
Page:
Tempo
Page:
Temporal masking
Page:
The 180 degree rule
Page:
The cocktail party effect
Page:
The crowbars of directing
Page:
The fatal flaw - passivity
Page:
The immutables - facts and images
Page:
The lens and perception (size constancy)
Page:
The lens and perspective
Page:
The script supervisor
Page:
The shot described by angle
Page:
The shot described by movement
Page:
The shot described in terms of coverage
Page:
The Vonnegut formula
Page:
Three Basic Shots
Page:
Three-point editing
Page:
Three-point lighting
Page:
Timbre
Page:
Tone
Page:
Traditional narration-based documentary
Page:
treatment
Page:
Video controls
Page:
Video process
Page:
Video standards - NTSC, PAL
Page:
Wavelength and Frequency
Page:
What Wiki Is
Page:
When film and video collide - the 3-2 pulldown
Page:
Whether the actor is right for the part
Page:
Why cuts work
Page:
Withholding information
Page:
Worldizing
Hide...
Labels
There are no labels assigned to this page.
Recent Changes
Time
Editor
May 09, 2012 11:27
Cheyenne T Smith
View Changes
Migrated to Confluence 4.0
May 09, 2012 11:27
Cheyenne T Smith
View Changes
May 09, 2012 11:26
Cheyenne T Smith
View Changes
May 09, 2012 11:17
Cheyenne T Smith
View Changes
May 09, 2012 11:15
Cheyenne T Smith
View Page History
Outgoing Links
External Links (4)
www.axis.com/products/video/camera/progressive_scan.htm
en.wikipedia.org/wiki/Aspect_ratio_(image)
www.mir.com.my/rb/photography/hardwares/classics/nikonfmser…
filmsound.org/terminology/worldizing.htm
RTF 318 (190)
Page:
Film layers - Black + White
Page:
The crowbars of directing
Page:
Fast lenses and slow lenses
Page:
Action
Page:
Shot reverse shot technique
Page:
Listening
Page:
Post Workflow
Page:
Precedence effect
Page:
Proximity effect
Page:
Scheduling
Page:
Footcandles
Page:
Qualities of light
Page:
Match Cuts
Page:
Audio Connectors and Inputs
Page:
Storyboards
Page:
Exposure time and Shutter angle formula
Page:
Overcranking and Undercranking
Page:
Seeing Around the Edge of the Frame
Page:
Premise
Page:
The fatal flaw - passivity
Page:
Shooting out of sequence
Page:
Influence of Sight
Page:
Wavelength and Frequency
Page:
Intermittent movement
Page:
Choosing an F-stop
Page:
Graphing Components + Subcomponents
Page:
focal length
Page:
Overheads
Page:
Temporal masking
Page:
Loudness effect
Page:
step outline
Page:
Color Temperature and filters
Page:
Incident light meters
Page:
The shot described by angle
Page:
Quantizing
Page:
Ambient backgrounds
Page:
Casting
Page:
Lined scripts
Page:
Direct sound
Page:
Historical documentary and problems of access
Page:
Quantity of light
Page:
Timbre
Page:
The lens and perspective
Page:
Low-key lighting
Page:
Above the line
Page:
Eyeline
Page:
Localization
Page:
Jump cuts
Page:
Slates
Page:
Localization best in horizontal plane
Page:
Single System + Double System Recording
Page:
Classic Hollywood Continuity Editing
Page:
Shotlists
Page:
Hyperfocal Distance
Page:
Kelvin scale and color temperature
Page:
Tone
Page:
Tempo
Page:
Loudness vs Time
Page:
Amplitude
Page:
Lighting
Page:
Inserts + Cutaways
Page:
Headroom
Page:
Sampling
Page:
Hearing Conservation
Page:
Overlapping action
Page:
Formatting
Page:
Reflective light meters
Page:
Resolution
Page:
Image Area
Page:
Sound
Page:
Why cuts work
Page:
Auditory Sensitivity and Frequency
Page:
Compression
Page:
Classified by Directionality
Page:
Brightness
Page:
Montage
Page:
Master Scene Technique
Page:
Speech perception
Page:
Exposure and interrelationships of shutter, aperture and film speed
Page:
Emotional Qualities
Page:
First impressions
Page:
Non-diegetic sound
Page:
Graphing Visual Structure
Page:
Discrete Reflections
Page:
Calculating Lengths for Film
Page:
Inverse square rule
Page:
Props
Page:
Electricity Basics
Page:
The script supervisor
Page:
The immutables - facts and images
Page:
Phase cancellation, 3-1 rule
Page:
Events
Page:
Hue
Page:
Rhythm
Page:
Checkerboarding
Page:
Coincidence and Non-coincidence
Page:
The shot described by movement
Page:
Doppler shift
Page:
Lens Opening
Page:
Auditory streams
Page:
Propagation
Page:
Hybrids and Hollywood slang
Page:
Keeping track of video - drop frame and non-drop frame timecode
Page:
Performance
Page:
Continuity shooting
Page:
Reflection
Page:
Auditions
Page:
Color Balance
Page:
Signal processing
Page:
When film and video collide - the 3-2 pulldown
Page:
Three-point editing
Page:
Sound perspective
Page:
Film Layers - Color
Page:
High-key lighting
Page:
Latitude
Page:
Foley
Page:
Camera Movement
Page:
Rule of thirds
Page:
Frequency masking
Page:
Casting relationships
Page:
Reverberant field
Page:
Ambiguous
Page:
Classified by positioning
Page:
recognizable
Page:
Rehearsal technique
Page:
The cocktail party effect
Page:
Dynamic Range
Page:
Depth of Focus
Page:
Signal path
Page:
Audio Mixers
Page:
Frequency response
Page:
closed
Page:
Depth of Field and Format
Page:
Whether the actor is right for the part
Page:
Depth of field
Page:
Open
Page:
Online - offline
Page:
The 180 degree rule
Page:
Misdirection
Page:
Hard fx
Page:
Editing Screen Directions
Page:
Diegetic sound
Page:
Source radiation pattern
Page:
Eyeroom (looking room)
Page:
Costumes and Makeup
Page:
Reverberation time
Page:
Withholding information
Page:
Video controls
Page:
Screen direction
Page:
Depth of field charts
Page:
Depth Cues
Page:
Directibility
Page:
Avid Audio Basics
Page:
Three-point lighting
Page:
Record levels
Page:
The shot described in terms of coverage
Page:
Focus Distance
Page:
Absorption
Page:
Video process
Page:
Classified by construction
Page:
treatment
Page:
Perception of motion
Page:
Role of the script supervisor
Page:
Medium
Page:
Objective vs. Subjective Sound
Page:
Beats
Page:
The Vonnegut formula
Page:
Three Basic Shots
Page:
Equal Loudness Curves
Page:
Personal essay documentary
Page:
Separating Sounds
Page:
Archetypes
Page:
Flex files
Page:
Lighting ratios
Page:
Traditional narration-based documentary
Page:
Image Focus
Page:
Analog and digital recording
Page:
Below the line
Page:
Sound design philosophy
Page:
Speed
Page:
Saturation
Page:
Other lights
Page:
Color Space
Page:
Stages of an audition
Page:
Calling Shots
Page:
Pulldown claw
Page:
Frame rates
Page:
The lens and perception (size constancy)
Page:
Changing Sizes and Angles
Page:
Diffraction
Overview
Content Tools
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