7376338

              Index
ABC cutting, 310-311, 325
Above-key light position, 30-31, 34
defined, 380
Abstract painting, 12
Accelerated motion, 281-283, 289, 380
Achromatic axis, 61, 62, 64, 65
Action areas, lighting of, 46, 54, 79
Actual sound, 359
Additive mixing, 79, 82
defined, 71, 380
Additive primaries. See Light primaries
Aerial perspective, 187-188, 190-192, 380
Aesthetic energy, 169
and color harmony, 94-95, 97
of colors, 70
and converging vectors, 145
defined, 380
and distortions of screen space, 116
and establishing mood, 91
and image size, 146
and secondary frame, 212
and simultaneous screen space, 240
and sound, 331
and z-axis blocking, 218, 219
Aesthetic experience, 4, 13
Aesthetic fields. See Light, Motion, Sound,
Space, Time
Aesthetics, 2-13, 18
see also Media aesthetics
Afterimages, 61, 67, 81, 82
Analytical montage, 313-318, 323, 325, 380
see also Sectional montage, Sequential
montage
Angles. See Camera angles
Animation, 185
see also Cartoons
Answer print, 330
Area orientation, 100-109, 146
Area proportion, 161-167, 170, 171, 380
Arnheim, Rudolf, 13, 35, 68, 69, 83, 128, 147,
171, 280, 289, 345
Arrested motion, 281
Arrow, in time theories, 250-253 passim
Art, 2-10, 13
Articulating the z-axis, 207-214
Artist, role of, 3
Aspect ratio, 102-109, 146, 380
Asymmetry of the screen, 128-129, 146
Asynchronized sound. 359
At-at theory, 253, 268, 380
A theory of time, 256, 380
Atmosphere, and lighting, 29-31, 34
Attached shadows, 20-27, 34
in chiaroscuro lighting, 39, 54
defined, 380
in flat lighting, 45, 54
in interior scenes, 28
in low-key scenes, 30
and volume, 188
Attack, 341, 343t, 344, 380
Attraction of mass, 121-129, 146
Audio, combinations with video, 358-374
in film, 359-377 passim
in flashbacks, 360-361
informational interference, 375-376, 378
multiple tracks, 361-365
predictive sound, 361
in television, 360-377
V/A matching criteria, 366-374
V/A structural analysis, 371-374
video-audio phrasing, 361
volume interference, 376, 378
see also Sound
Bach, Johann Sebastian, 338, 353, 354, 355,
356, 367, 377
Background, 201, 219
and aerial perspective, 187
in cameo lighting, 42, 44t
in chiaroscuro lighting, 39
and color, 83
"crowding effect," 186
in double z-axis staging, 216, 217
in flat lighting, 45
in high-key scene, 30
and lateral movement, 185
in limbo lighting, 45
in linear perspective, 182, 185
in low-key scene, 30
and selective focus, 191
"shrinking of space," 185
in silhouette lighting, 42, 44t
and simultaneous contrast, 80
Background lights, 28, 40, 43, 44t
Background shadows, 28
Back light, 43, 44, 45
Balance, 168-169, 170, 380
Bauhaus, 11,12, 25, 46, 89
Beatles, 367
Beer, Johannes, 171
Below-key light position, 30-31, 34, 380
Benham, Charles E., 66
Benham's top, 66
Bergman, Ingmar, 93
Bergson, Henri, 253, 268, 269
Bernstein, Leonard, 367
Biological time, 249
Birren, Faber, 83, 97
Blocking, and context, 286
see also Z-axis blocking
Blood pressure, and colors, 69
Braque, Georges, 365
Bretz, Rudy, 289
Brightness, 60, 61, 62, 65, 82
and aerial perspective, 188
and aesthetic energy, 70t
and color compatibility, 64-66
and color harmony, 94, 97
and complementary color, 81
defined, 380
and dynamics, 90, 911, 97
and light, 66
in Munsell color system, 63
and surface reflectance, 79
and surrounding light, 78
in V/A structural analysis, 372
see also Achromatic axis, Grayscale
Brightness scale, 61, 62
B theory of time, 256, 258, 380
Burnham, Jack, 46, 55, 97
Calculus, 252
Calder, Alexander, 247
Cameo lighting, 42, 44t, 54, 380
Camera angles, 227, 234-241, 264
Camera motion, 194, 195, 285, 286, 289
Camera positions, 206, 216, 217, 218, 219,
239, 241, 305-309
Cameras, 112, 174, 175, 192, 206, 226
see also Color camera, Narrow-angle lens,
Photography, Subjective camera,
Television cameras, Wide-angle lens
Canon (music), 356
Caravaggio, 39
Cartoons, 168, 281, 283, 284, 285, 331
see also Animation
Castel, Louis-Bertrand, 89
Cast shadows, 20-27, 34
in daytime lighting, 28
defined, 380
in cameo lighting, 42
in chiaroscuro lighting, 39, 54
in flat lighting, 44, 45, 54
in interior scenes, 28
Index
Cast shadows (continued)
in low-key scene, 30
and single light source, 28
and volume, 188
Cathedrals, 118
see also Gothic cathedrals
Cesium atom, 248
Chiaroscuro lighting, 38-44, 54, 188, 380
see also Cameo lighting, Rembrandt
lighting, Silhouette lighting
Chords, 90, 135, 350, 351, 353, 372, 380
Chroma. See Saturation
Chroma-key matting, 51, 216
Chromalizer, 90
Chromatic scale, 349
Chromaticity diagram, 64, 82, 380
Cinemascope, crowd scenes, 216
and deductive visual approach, 114-115,
146
screen images, 113
Cinemascope screen, 102, 103, 110
Cinema vérité, 226
Circadian cycle desynchronization, 249
Clemens, Samuel L., 334
Clock time, 28, 274
see also Objective time
Close-ups, 223-225
ABC cutting, 311
in cinemascope, 105
and converging vectors, 303
and depth of field, 190
and intensity control, 264
and screen space continuity, 218
and sound perspective, 365, 378
and space orientation, 336
and subject continuity, 311
and visualization, 222
and wide-angle lens, 190
Cohen, Joseph, 83
Collision montage, 318-321, 323, 325, 382
video-audio, 366, 378
Color, 7, 58-83, 86-97, 188, 372, 380
see also Brightness, Hue, Objective color
perception, Primary colors, Saturation,
Spectrum, Subjective color perception
Color attributes, 59-66, 82, 380
Color camera, 45, 77, 82
Color compatibility, 59, 64-66, 79
Color constancy. 76, 82, 381
Color harmony, 94-95, 97, 381
Color models. See Chromaticity diagram,
Color solid, Munsell color system,
Color models (continued)
Ostwald color tree
Color organ, 89
Color perception, 58, 59-67
and color constancy, 76
and surface reflectance, 79
and surrounding colors, 80-81
and surrounding light, 77-79
Color relativity, 76-82
Color solid, 60, 63-65, 82, 94, 97,
381
Color synthesizer, 89
Color television, 58, 76
and additive mixing, 71
and cameo lighting, 42
chroma-key matting, 51
and chromaticity diagram, 64
and color attributes, 60
color compatibility, 64-66
and color constancy, 77
color reproduction, 95
color vibrations, 81
informational clues, 87
lighting, 45
and subjective color perception, 66
Color temperature, 78, 381
Color vibrations, 80, 81, 95
Comedy, and timing, 277
Commentative sound, 359
Commercials, 167, 272, 275, 297, 331
Communication media, 226
see also Film, Television
Communication purpose, 328, 344
Comparison montage, 318, 323, 325, 382
video-audio, 366, 378
Compatibility. See Color compatibility
Complementary colors, 61, 80, 81, 95
Complexity, 4-5, 372
Complexity editing, 311-324, 325, 381
Computers, and video patterns, 51
Cones (eye), 59, 66
Context, 5-8
and balance, 169
and camera angles, 234, 241
defined, 381
and dialogue variables, 332, 333t
and induced motion vectors, 288
and motion paradox, 289
and primary motion, 285-286
and visualization, 222, 236
Contextual clues, 110
Contextualism, 2-10, 13, 381
Continuing vectors, 142, 144-145, 147, 154,
218, 298-302, 324, 381
Continuity, and dissolves, 295
and psychological closure, 138, 139
and shooting angles, 236
Continuity editing, 298-311, 324, 381
Continuous set, 206
Contrast. See Simultaneous contrast
Contrast tolerance, 45
Converging vectors, 142, 144-145, 147, 154,
218, 302-304, 305, 324, 381
Cooper, Fenimore, 334
Copland, Aaron, 345
Costumes, and color energy, 95
Counterpoint, 353-357, 377, 381
Counter weighting, 151
Cox box, 76
Cross-fade, 337
Cubism, 245, 365
Cuts, 293-294, 324, 373
see also ABC cutting
Cyclorama, 25
da Messina, Antonello, 124
Dassin, Jules, 273
da Vinci, Leonardo, 21, 45, 163, 197
on aerial perspective, 192
Daytime lighting, 28, 34
Dean, Alexander, 128, 147
Debeaming, 48-49, 54, 297, 381
Debussy, Claude, 338
Decay, 341, 343t, 344, 381
Deductive visual approach, 114-115, 146, 381
Defocus effect, 296, 324
Density, 372, 381
see also Event density, Unit density
Density variable, 280, 282
Depth clues, 179-191, 196
and superimposition, 214
Depth of field, 190, 191, 196, 381
Depth planes, 219
see also Background, Foreground,
Middleground
Descriptive nonliteral sound, 336-338, 344,
381
De Voto, Bernard, 345
Dialectic, 381
see also Hegelian dialectic, Visual dialectic
Dialogue, 332-334, 344
Direct address, 232-233, 332, 334-335, 344
Direct focus, 155, 170, 381
394 Sight • Sound • Motion
Directional forces. See Vectors
Dissolves, 218, 294, 295-296, 324, 373
Distance. See Z-axis
Distortion, 213, 283, 284, 285
Distribution of mass, 161-167, 170
Dolly, 279, 285, 287, 288, 289
and z-axis motion vector, 194, 197
Double re-entry switcher, 53, 133
Double z-axis staging, 216-217, 219
Drugs, and color perception, 66
Duchamp, Marcel, 246
Duncker, Karl, 278
Duration, 340, 343t, 344, 381
Durée, 253, 269
Dürer, Albrecht, 162, 185, 202
Dynamics, 90, 91t, 97, 372
see also Loudness
Edge light, 24
Edman, Irwin, 3, 4, 13
Editing, 285, 289, 297-324, 381
see also Complexity editing, Continuity
editing, Film editing, Television editing
Eisenstein, Sergei, 88, 97, 136, 219, 282, 319,
321, 325, 345
theory of film montage, 323
Electromagnetic waves, 17, 33, 59
Electron beam, 18, 34, 249, 253, 254
and color, 66, 76
control of, 38, 46-53, 54
debeaming, 48-49
Electron guns, 71
Electronic switching equipment, 133
Electronic wipes, 50-51
see also Wipes
Ellipsoidal spotlights, 19, 24, 44t
Emotion, and color, 88
Emotional literacy, 11, 13, 374
Energy, of color, 88
and event density, 248
and sound perspective, 376
of structural gestalt, 371
see also Aesthetic energy, Event energy
Entropy, 258, 320
and art, 261
and intensity control, 260-261
and television events, 264
and television recordings, 267
Ethics, and aesthetics, 9
Event density, and cuts, 293
defined, 381
and intensity control, 261
Event density (continued)
in live television, 294
and slow motion, 280
and subjective time, 248, 268, 275
Event energy, 223, 319
Event rhythm, 282, 294, 295
Events, complexity of, 261, 265
functions of color, 86, 88-93
intensity of, 260-261, 263-264
and internal timing, 275
live transmission of, 263-267
manipulation of, 258
motion of, 285, 289
and objective camera, 226
rhythm of, 264, 267, 275
spot time, 272
and television recordings, 267
and time continuum, 256, 258
viewer participation, 230-232
see also Filmic events, Television events
Expressive nonliteral sound, 338, 344, 381
Exterior lighting, 28
External light, 18, 33, 381
External lighting, 18, 38-46, 52, 381
Eye, and color perception, 59
Eye level, 196
and camera angles, 227-229, 241
defined, 184, 382
and vanishing point, 183, 184
Fable time. See Story time
Faces, lighting of, 26, 27, 30, 79
and visualization, 222
and wide-angle leris, 190
Fades, 296, 324
Fall-off, 23-25
and aerial perspective, 188
in cameo lighting, 42, 44t, 54
in chiaroscuro lighting, 39, 54
in daytime lighting, 28
defined, 23, 34, 382
in flat lighting, 44, 45, 54
in high-key scene, 30
in Rembrandt lighting, 44t
in V/A structural analysis, 372
Fall-off speed, 23-25, 47
Feedback, 52-53, 54
see also Video feedback
Fellini, Federico, 32, 93
Field forces, 116-145, 146-147
Field of view, 223-226, 241
and cuts, 293, 311
Field of view (continued)
see also Close-ups, Long shots, Medium
shots
Figure-ground phenomenon, 130-133, 146,
278, 289
defined, 382
and depth clues, 214
and rear-screen projections, 279
and sounds, 365, 378
Fill light, 24, 34, 40, 43
in cameo lighting, 44t
in color television, 77
in flat lighting, 45
Film, and aesthetics, 10, 11, 18
and balance, 168-169
and color, 60, 89
communication functions of, 226
complexity control, 261-263
cuts, 293-294
direct-address method, 335
materia of, 18, 33
and motion, 249, 252
pictorial elements, 150
projection rate, 252
and psychological closure, 137
running time, 272
sectional montage, 318
shot time, 274
structural rhythm, 166-167
structuring the three-dimensional field,
201-220
and subjective now, 260-263
and tertiary motion, 292
time continuum in, 254
time/motion concept, 268
and time vector, 258-263, 268
and V/A gestalt, 359-377 passim
vector fields in, 244
viewer/performer relationship, 233
and Zeno theories, 249-252
Film editing, 265, 267
see also Editing, Television editing
Film frames, 18, 252, 254, 268, 274
and accelerated motion, 281
and slow motion, 280
Filmic events, 258-263
Filmic time, 263, 267, 269
Film images, 2, 146
Film lighting, 46, 54
Film screen, aspect ratio, 102, 146
asymmetry of screen, 128-129
attraction of mass, 121-129
figure-ground phenomenon, 130-133
Index
Film screen (continued)
and Golden Section, 164, 165, 166
and graphic weight, 165
horizontal orientation, 100
lateral action on, 214
magnetism of frame, 121-129
main directions, 116-120
screen-left and screen-right, 128-129
as stationary reference, 278
Film sound, 328, 330-331, 344
Filters, 18, 72-75
Flashbacks, 293, 360-361
Flat lighting, 44-46, 54, 382
Flip frame, 297
Floodlights, 25, 26. 44t
Fluorescent lighting, 44, 79
Focus, 155
see also Depth of field, Rack focus,
Selective focus
Forced perspective. 185, 186, 190, 382
Foreground, 200, 201, 219
and aerial perspective, 187
and lateral movement, 185
in linear perspective, 182
and selective focus, 191
Frame. See Film frames, Freeze frame,
Magnetism of the frame, Television frame
Framing, 158-160, 170
natural dividing lines, 160
and secondary frame. 212
and tension, 152
Freeze frame, 281
Fresnel spotlights, 19, 32
Fugue, 357, 382
video-audio, 363, 378
Future, 255-263, 293
see also Time continuum, Time vectors
Gale, Richard M., 269
Geographical matching, 367, 378, 382
Gestalt, 135-136, 147
and complexity editing, 311, 325
defined, 382
and object framing, 158
of sound, 348
in television image, 137
video-audio, 338, 358, 386
Giotto, 179
Golden Section, 163-166, 170-171, 382
Gordon, Donald A., 83
Gothic cathedrals, 89, 118, 377, 378
and negative volumes, 204
Graphic depth factors, 178-188, 382
Graphic mass, 121, 123, 146, 165
defined, 382
distribution of, 170
relative weight of, 171
Graphic speed, 142
Graphic vectors, 140, 141, 143, 151, 152, 372
defined, 147, 382
and event intensification, 287
magnitude of, 142, 147
see also Linear perspective
Graphic weight, and balance, 169, 171
factors influencing, 165t
and structural rhythm, 167
in V/A structural analysis, 372
Gray, Basil, 181
Grayscale, 47, 60, 61, 62, 82
Griffith, D. W„ 106
Gropius, Walter, 11
Groupe de Recherche d'Art Visuel, 89
Group Zero, 89
Hahn, Lewis Edwin, 13
Haiku poetry, 313
Harmonic development, 354
Harmonics, 339
Harmonic structure, 350
Harmony, 350, 372, 377, 382
see also Color harmony, Homophony,
Polyphony
Hegel, Georg Wilhelm Friedrich, 319
Hegelian dialectic, 319, 325, 382
Heraclitus, 319
Hierarchical relationship, 278
High-key lighting, 30, 34, 188, 382
Historical matching, 367, 378, 382
mismatching, 376, 379
Homophonie video-audio structure, 363, 378,
382
Homophony, 351-358, 377, 382
Honegger, Arthur, 338
Horizon line, 196
defined, 184, 382
and depth clues, 181-182
and moving camera, 182
tilting of, 120, 146
and vanishing point, 183, 184
Horizontal plane, 117, 119, 120, 146
Hue, 60, 64, 65, 82
and additive mixing, 72
and aerial perspective, 188
and aesthetic energy, 70t
Hue (continued)
and color harmony, 94, 97
defined, 382
and pitch, 90, 91t, 97
and surrounding light, 78
and temperature perception, 68
in V/A structural analysis, 372
Hue circle, 61, 63
and color harmony, 94-95, 97
complementary colors, 95
in Munsell color system, 63
Human figure, 164, 168, 171
Hyde, Stuart, 13
Idea-associative montage, 313, 318-321, 325
defined, 382
and event synthesis, 323
video-audio, 366
see also Collision montage, Comparison
montage
Image, energy of, 110
Image size, 110-113, 146, 180, 196
and lenses, 189
and pace, 113
and screen space continuity, 218
universal reference, 171
and z-axis motion, 192-193
Imitation, in counterpoint, 356
Incandescent lighting, 78, 79
Index vectors, 140, 142, 143, 144
continuing, 298-302, 324
converging, 303-304, 325
defined, 147, 382
direct and indirect focus, 155, 170
and event intensification, 287
magnitude of, 142, 147, 152
position of target object, 155, 170
screen space for, 170
and vector line, 307
Indirect focus, 170, 382
Indoor film, 79
Indoor light, 78-79
see also Fluorescent lighting, Incandescent
lighting
Induced motion vector, 288, 382
Inductive visual approach, 116, 146, 383
Inertia, 283, 289, 383
Inner orientation, 29-32
Instant replays, 281
Institute of Design (Chicago), 11
Intellectual montage, 323
Intensity, 47-49, 54
396 Sight • Sound • Motion
Interference. See Video-audio interference,
Volume interference
Interior lighting, 28, 34
Internal color manipulation, 76
Internal light, 18, 34, 54, 383
Internal lighting, 38, 46-53, 54, 383
Internal timing, 275
International Commission on Illumination
(ICI), 64
Intervals, 349
Involvement, and subjective time, 248, 268,
275
Iris effect, 106
Isolationists, 2
Itten, Johannes, 11, 25, 35
Jacobson, Egbert, 83
Jeanneret-Gris, Charles E. (Le Corbusier),
164, 171
Jung, Carl Gustav, 11
Jungian circle, 11
Kandinsky, Wassily, 11, 12, 13
Kennedy, John F., 273, 274
Kepes, Gyorgy, 83, 89
Key (music), 343t, 372
Key effects, 52-53
Keying, 51, 54, 383
Key lights, 40, 43, 44
Kicker lights, 24, 40, 41, 44, 45
Kinescope, 267
Kinetic sculpture, 247
Klee, Paul, 11
Klein, Adrian Bernard, 89
Kline, Franz, 246
Koffka, Kurt, 138
Köhler, Wolfgang, 138
Kracauer, Siegfried, 330, 345, 374, 379
terminology of sound, 359
Kubrick, Stanley, 113
Labile balance, 169. 171
La Tour, Georges de, 40
Law of inertia, 283
Le Corbusier Modulor, 163, 164, 171
Leitmotiv, 338, 383
Lenses, depth characteristics of, 188-191
see also Narrow-angle lens, Wide-angle lens
Leveling, 135, 383
Lewin, Kurt, 147
Lewis, Colby, 289
Light, 2, 11, 13, 16-34, 372, 383
and brightness, 66
and color, 59
and color perception, 76, 77-79
and depth clues, 188
as materia, 46, 54
see also Additive mixing, Edge light,
External light, Fill light, Internal light,
Rim light, Subtractive mixing
Lighting, chiaroscuro techniques, 42-44
for clock time, 28
in color television, 45
defined, 38, 383
functions of, 34
hard, 24
and intensity control, 261
for mood and atmosphere, 29-31, 34
in open set, 205
orientations of, 18-32
photographic principle, 43, 44
purposes of, 18, 34
for seasons, 29
for shadows, 19
soft, 24
for space orientation, 18-24
structuring of, 38-54
for texture, 24
for time orientation, 27-29
see also Above-key light position,
Below-key light position, Cameo lighting,
Chiaroscuro lighting, External lighting,
Film lighting, Flat lighting, Fluorescent
lighting, High-key lighting, Incandescent
lighting, Internal lighting, Limbo lighting,
Low-key lighting, Predictive lighting,
Rembrandt lighting, Silhouette lighting,
Television lighting
Lighting instruments, 18, 40
as dramatic agents, 32, 34
single light source effect, 38-39
in television lighting, 46
see also Ellipsoidal spotlights, Fresnel
spotlights, Kicker lights, Scoops,
Spotlights
Light modulator, 46
Light organs, 46
Light primaries, 58, 71, 72, 82
Light shows. 46, 89
Light source, 25, 38, 40
in chiaroscuro lighting, 39
as dramatic agent, 32
for lighting faces, 30
Light source (continued)
in predictive lighting, 31
and shadows, 28
see also Above-key light position,
Below-key light position, Floodlights,
Moving light source, Scoops, Spotlights,
Sunlight
Light-Space Modulator, 46
Limbo lighting, 45
Linden, George W., 55, 219, 241
Lindgren, Ernest, 13
Linear perspective, 182-186, 190, 196, 383
Literal sound, 332-336, 344, 367, 383
Long shots, 223-225, 264
Loudness, 341, 343t, 344, 372, 383
see also Dynamics
Low-key lighting, 30, 34, 383
and aerial perspective, 188
in chiaroscuro lighting, 39, 54
Magnetism of the frame, 121-129, 146, 162,
383
Main directions of screen, 116-120, 146
see also Horizontal plane, Vertical plane
Major scale, 349
Manipulation, and responsibility, 8-10
Maps, figure-ground reversal, 131
Marx, Karl Heinrich, 321
Masking, 105, 106
Mass, 151, 383
attraction of, 121-129, 146
distribution of, 161-167, 170
and inertia, 289
and motion, 283
symmetrical arrangement of, 153
and volume, 176
see also Graphic mass
Mass communication, 9-10
Mass-communicators, and ethics, 9
Matching, 367-374
see also Geographic matching, Historical
matching, Structural matching, Thematic
matching, Tonal matching
Materia, 18, 33
Matting, 51, 54, 240, 241, 383
and complexity control, 262, 266
and figure-ground reversals, 133
McLuhan, Marshall, 147, 335, 345
Media, 10, 13
see also Film, Television
Media aesthetics, 11-12, 25
Medium shots, 223-225
Index
Melodic development, 354
Melody, 348, 372, 377, 383
and homophony, 351
in polyphony, 353-357
Metric montage, 323, 340
Middleground, 191, 200, 201, 219
Millerson, Gerald, 55
Minor scale, 349
Misinformation, 376
Mixing. See Additive mixing, Subtractive
mixing
Modulor (Le Corbusier), 163, 164, 171
Moholy-Nagy, Lâszlô, 11,13, 46, 55, 89, 197,
269, 283, 289
Moiré effect, 81
Montage, 313-324
defined, 325, 383
Eisenstein's theory, 323
video-audio, 366-367
see also Analytical montage, Collision
montage, Comparison montage, Idea-associative
montage, Intellectual
montage, Metric montage, Overtonal
montage, Rhythmic montage, Sectional
montage, Sequential montage, Tonal
montage, Video-audio collision montage,
Video-audio comparison montage,
Video-audio montage
Mood, and color, 88, 91, 97
and lighting, 29-31, 38
lighting for, 34
and sound, 331, 338
and theme, 338
and tonal matching, 378
Moog synthesizer, 51, 331, 342, 385
Moonlight, 44, 59, 78, 83
Moore, Henry, 204
Motion, 2, 7, 11, 13, 185, 244-267, 277-288
see a/so Accelerated motion, Primary
motion, Secondary motion, Slow motion,
Tertiary motion, Z-axis motion vector
Motion paradox, 250, 277-280, 289, 383
Motion pictures. See Cinemascope, Film
Motion vectors, 142, 143, 277
and accelerated motion, 282
continuing, 298-302, 324
converging, 303-304, 325
defined, 147, 383
magnitude of, 142, 147
and mass, 283, 289
panning with moving object, 153
and primary motion, 286
screen space for, 170
Motion vectors (continued)
and slow motion, 280
and vector line, 308
see also Z-axis motion vector
Moussorgsky, Modest Petrovich, 338
Moving light source, 31
Mozart, Wolfgang Amadeus, 338, 367
Mueller, Conrad, 83
Multiple audio tracks, 361-365
Multiple cameras, 239
Multiscreens, 156, 240, 241, 261, 269, 293
and complexity control, 262, 266
Munsell, Albert H., 63
Munsell color system, 63, 76
Music, 331, 337, 338, 344
and V/A matching criteria, 367-374
passim
and visual notation, 348-357
see also Chords, Harmony, Homophony,
Melody, Polyphony, Program music
Narration, 332, 334, 344
Narrow-angle lens, 188, 208-210
and aerial perspective, 190, 191
and camera movement, 195
and depth of field, 190, 191, 196
and image size, 189
and inertia, 283
and linear perspective, 190, 196
and overlapping planes, 189
and traffic density, 207
and use of dolly, 194
and z-axis, 193, 194, 196, 219
National Center for Experimental Television,
89
Natural dividing lines, 160
Negative volume, 196, 201, 219
defined, 177, 383
in Gothic cathedrals, 204
and mobility, 203
in open set, 205, 206
and use of dolly, 194
see also Volume duality
Neutral balance, 169, 171
Newscasts, lighting of, 30
Newton, Sir Isaac, 90, 283
Nighttime lighting, 28, 34
Noise, 267, 328, 344, 365, 383
Nonliteral sounds, 336-338, 344, 368,
383
"Nose room," 152, 170
Notan lighting. See Flat lighting
Object framing, 158-160
Objective color perception, 59-66, 82, 383
Objective time, 247-248, 272, 285, 288
and complexity editing, 311
defined, 268, 383
types of, 272, 288
Object proportions, 161, 167, 171, 383
Open set, 204-207, 219, 383
Optical illusions, 9
Order, 4-5
Orientation. See Outer orientation, Situational
orientation, Space orientation, Time
orientation
Ortega y Gasset, José, 2
Oscilloscope, 51
Ostwald, Wilhelm, 64
Ostwald color tree, 64
Outdoor film, 79
Outdoor light, 78
see also Moonlight, Sunlight
Outer orientation, 18-29
Overlapping planes, 179, 196
depth clues, 189, 214
and lenses, 189
Overtonal montage, 323
Overtones, 339, 340
Pace, 272, 289
defined, 275, 276, 288, 384
and dialogue, 334
and image size, 113
in V/A structural analysis, 372-373
see also Performance pace, Scene pace,
Show pace
Painting, abstract, 12
chiaroscuro, 38, 39, 40, 41
color as expressive element, 89
Cubism, 245, 365
deductive approach to, 12
inductive approach to, 12
Kandinsky approach to, 12
linear perspective in, 184
orientation of picture, 100
overlapping planes, 179
pictorial elements, 150
picture area of, 146
Pointillism, 67
Rembrandt lighting, 40, 41
right/left asymmetry, 128
shadows in, 21
third dimension in, 174
time and motion in, 245
398 Sight • Sound • Motion
Paint primaries, 58, 71, 72, 73, 82
Pan, 285, 286, 287, 289, 311, 318
Paradoxes of motion, 250, 277-280, 289, 383
Parallel lines, 182, 183, 186, 190, 196
Parmenides, 249
Past, 255-258, 268
A and B theories of time, 256
and cuts, 293
manipulation of, 258-263
see also Time continuum, Time vector
Pentagram, 163
Pepper, Stephen C., 13
Perception, 7-8
and art, 5
and depth clues, 214
and fall-off speed, 24
figure-ground phenomenon, 130-133, 289
influence of colors, 68-70
and light, 16
and lighting, 34, 38
manipulation of, 18
of motion, 278, 283, 289
and psychological closure, 139
and shadows, 20
and size constancy, 110-115
and time continuum, 258
see also Color perception, Linear
perspective, Subjective color perception
Perceptual clues, 110-113
Performance pace, 276, 373, 383
Performance rhythm, 276, 334, 373, 384
Perspective, and zoom motion, 194, 195
see also Aerial perspective, Forced
perspective, Linear perspective, Sound
perspective, Two-point perspective
Persuasion, and responsibility, 8-10
Photographic principle, 43, 44, 45
Photography, and color filters, 75t
medical, 86
orientation of picture, 100
pictorial elements, 150
picture area of, 146
and subtractive mixing, 72
third dimension in, 174
time and motion in, 245, 250
Picasso, Pablo, 8, 365
Picturization, 292-324, 334, 384
Pitch, 339, 343t, 344, 372, 384
and hue, 90, 91t, 97
Pointillists, 67
Polarity. See Reversed polarity
Polyphonic video-audio structure, 363, 378,
384
Polyphony, 351-358, 377, 384
Popper, Frank, 55
Positive volumes, 176, 177, 196, 201, 219,
384
in open set, 205, 206
and use of dolly, 194
see also Volume duality
Predictive lighting, 31, 34, 384
Predictive sound, 361, 378, 384
Present, 255-258, 268
and cuts, 293
manipulation of, 258-263
see also Time continuum, Time vector
Primary colors, 64, 384
see also Light primaries, Paint primaries
Primary motion, 285-286, 289, 292, 371, 384
Prism, 17, 58, 82
Program music, 338, 344, 384
Projection bulb, 18
Proportion. See Area proportion, Golden
Section, Object proportions
Proximity, and psychological closure, 138,
139
Psychological closure, 134-139, 147, 374
and complexity editing, 311
and continuing vectors, 145
defined, 384
and object framing, 158
premature, 159, 160, 170
principles of, 138-139
and screen space, 236
and sound, 329
Psychological time. See Subjective time
Pudovkin, Vsevolod lllarionovich, 282, 289,
325, 330, 345, 379
terminology of sound, 359
Pythagoras, 163
Rack focus, 191, 384
Rainbow. See Spectrum
Rate, 275, 288
Rear screen projection, 216, 279
Reflection of light, 17
Reisz, Karel, 379
terminology of sound, 359
Relativity, and motion, 277-280
Rembrandt, 39, 41
Rembrandt lighting, 39-41, 44t, 54, 384
Renaissance, 118
Respighi, Ottorino, 338
Retina (eye), 59
Reversed polarity, 47, 53, 54, 384
Reverse modeling, 30-31
Rhythm, 7, 289
and accelerated motion, 282
in counterpoint, 355
defined, 276
of dialogue, 333t
of events, 264, 267, 275
of film, 267
and intensity control, 261
of live television, 264, 267
and manipulation of time, 274-275
in melody, 349
and montage, 321, 325
and screen images, 166-167
and sound, 331
and structural gestalt, 371
structural interference, 379
and subjective time, 275
and television recordings, 267
and timing, 275
in V/A structural analysis, 373
and video-audio gestalt, 377
see also Performance rhythm, Scene
rhythm, Sequence rhythm, Shot rhythm,
Show rhythm, Structural rhythm, Thematic
rhythm control
Rhythmic montage, 323
Riley, Bridget, 247
Rim light, 24, 40, 41
Rods (eye), 59
Round (music), 356
Rudolph, Mae, 83
Running time, 272, 273, 274, 275, 276, 288,
384
Sacco, P. Peter, 350, 351
Saint Augustine, 257, 269
Saturation, 60, 62, 64, 82
and aerial perspective, 188
and aesthetic energy, 70t
and color harmony, 94, 97
defined, 384
in Munsell color system, 63
and surrounding light, 78
and timbre, 90, 911, 97
in V/A structural analysis, 372
Scales (music), 348-350
Scanning beam. See Electron beam
Scene, 274, 275, 292, 384
Scene design, 95, 201, 219
Scene pace, 276, 373, 384
Scene rhythm, 276, 384
Scenery, in open set, 204, 205, 219
see a/so Scene design
Scene time, 274, 275, 288, 384
Schlemmer, Oskar, 11
Schönberg, Arnold, 349
School of Design (Chicago), 11
Schubert, Franz, 351
Scoops, 19, 24, 49
Screen borders, 106, 278
see also Magnetism of the frame
Screen images, 18
cinemascope, 113
and depth clues, 180
fade, 324
mass of, 121
and motion, 253
and psychological closure, 137
and simultaneous screen space, 241
and size constancy, 110-115
size relationships, 167
in television, 113
and television recordings, 267
and visualization, 222-241, 292
and z-axis blocking, 218
Screen-left and screen-right, 128-129, 146
Screen space, 100-147, 384
and camera angles, 241
and continuity editing, 298
continuity of, 218
and shooting angles, 236
and vector fields, 237
z-axis staging and blocking, 214, 218
see also Cinemascope screen, Film screen,
Sequential screen space, Simultaneous
screen space, Television screen
Sculpture, 247
Seasons, lighting for, 29
Secondary motion, 286-288, 289
and cutting, 311
defined, 285, 384
and event clarification, 286
and film, 292
and intensification, 287
and structural gestalt, 371
Sectional montage, 314-318, 323, 325, 380
Segue, 337
Selective focus, 190, 191, 196
Selective lighting, 26, 27, 34, 40
see also Rembrandt lighting
Selective sound, 365, 378, 384
Sequence, 155-156, 273, 275. 292, 384
Sequence motion, 292, 324
Sequence pace, 276, 373, 384
Sequence rhythm, 276, 292, 373, 384
Sequence time, 274, 288
defined, 273, 384
and running time, 274, 275
Sequential montage, 313-314, 323, 325, 380
Sequential screen space, 236, 241, 385
Seurat, Georges Pierre, 67
Shade, 64
Shading. See Fall-off
Shadow gradient. See Fall-off
Shadows, 18-24, 34, 38
in chiaroscuro lighting, 39
in color television, 77
and depth clues, 188
and fill light, 24
in film lighting, 45
in nighttime lighting, 28
see also Attached shadows, Cast shadows
Sharpening, 135, 385
Shot, 274, 275, 292, 385
Shot length, 321
Shot rhythm, 276, 385
Shot sequence, 155, 170
Shot time, 274, 275, 276, 288, 385
Show pace, 276, 372, 385
Show rhythm, 276, 292, 373, 385
"Shrinking of space," 185
Side light, 43
Silhouette lighting, 42, 44t, 54, 385
Similarity, and psychological closure, 138,
139
Simultaneous contrast, 80, 83, 385
Simultaneous screen space, 240, 241, 385
Situational orientation, 336, 344
Size, human figure as reference, 168
Size constancy, 110, 167, 180, 385
Skin tones, 75, 79, 83
Slow motion, 280-281, 289, 385
and intensity control, 261
in television, 281
Smith, W. Eugene, 39
Snow, and fall-off, 29
Sound, 2, 7, 11, 13, 328-344, 385
basic structures of, 348-357, 377
and color, 89-91, 97
and editing, 298
elements of, 339-343, 344
energy level of, 90
figure-ground phenomenon, 365
in film, 344
functions of, 330-331
multitrack recording techniques, 365
and psychological closure, 138
Sound (continued)
Pudovkin terminology, 359
and television, 272, 344
variations and characteristics, 343t
see also Audio, Dialogue, Film sound,
Literal sound, Music, Narration, Nonliteral
sounds, Predictive sound, Selective
sound, Sound effects, Sound perspective,
Source-connected sound, Source-disconnected
sound, Television
sound
Sound effects, 331, 337
Sound perspective, 365-366, 376, 378, 385
Sound rhythm, 331
Sound track, 330, 361-365
Source-connected sound, 358-359, 377, 385
Source-disconnected sound, 358-359, 377,
385
Space, 2, 11, 13
see also Negative volume
Space modulators, 201, 202, 204, 206, 219,
280
Space orientation, 18-24
lighting for, 34
and literal sound, 335-336
Space perception, and colors, 69t
Special effects patterns, 50-51
Spectrum, 17, 58, 60
Speech, 332-335, 344
see also Dialogue, Direct address, Narration
Split screen, 262, 266, 318
Spotlights, 33
in cameo lighting, 44t
in chiaroscuro lighting, 40
and facial texture, 26
in Rembrandt lighting, 44t
and shadows, 25, 26
see also Ellipsoidal spotlights, Fresnel
spotlights
Spot time, 272, 273, 288, 385
Stabile balance, 169, 171
Staging, See Double z-axis staging
Static images, 251
Steichen, Edward, 13
Stereoprojection, 175
Stereovision, 175
Stopwatch, 275
Story time, 273, 274, 288, 385
Strobe light, 251
Structural analysis. See Video-audio
structural analysis
Structural interference, 377, 379
Structural matching, 368-374, 378, 385
400 Sight • Sound • Motion
Structural rhythm, 166-167, 171
Structural synthesis. See Video-audio
structural synthesis
Style, 240-241, 334
Subjective camera, 230-233, 241, 279, 385
Subjective color perception, 66-67, 82, 385
Subjective time, 247, 248, 272, 274, 285, 288
and complexity editing, 311
defined, 268, 385
manipulation of, 260-263, 275, 287
and montage, 321
types of, 275-277
see also Biological time
Subtractive mixing, 71, 79, 82, 385
Subtractive primaries. See Paint primaries
Summer, and cast shadows, 29
Sunlight, 17, 18, 33, 45, 58
and shadows, 28
Superimposition, 52, 53, 214, 240, 241, 318
and complexity control, 262, 266
Surface reflectance, 79
Swish pan, 287
Symbolism, 6
and colors, 87-88, 97
and sound, 332
Synchronized sound, 359
Synthesizer, 51, 331, 342, 385
Tactile orientation, 24-26, 34
Tactile sense, 25
Take. See Cuts
Target object, 155, 170
Television, accelerated motion in, 282
and aesthetics, 10, 11, 18
and balance, 168-169
and Bergson theories, 253
and biological time, 249
and color, 59, 60, 64-66, 79, 81, 83, 89
communication functions of, 226
crowd scenes, 216
direct-address method, 232-233, 334-335
double z-axis staging, 216-217
functions of cuts, 293-294
image transmission, 254
inductive visual approach, 116, 146
intensity control, 263-265
live transmission, 263-267
materia of, 18, 33
and montage, 323
and motion, 249, 253, 311
and open set method, 205
pictorial elements, 150
Television (continued)
and psychological closure, 137
running time, 272
screen images, 113
sectional montage, 318
shot time, 274
slow motion in, 281
structural rhythm, 166-167
structuring the three-dimensional field,
201-220
and the subjective now, 263-267
and tertiary motion, 292
and texture, 25
tilting technique, 109
time continuum in, 255
time/motion concept, 268
and time vector, 263-267, 269
vector fields in, 244
and video-audio gestalt, 360-377
viewer/performer relationship, 233
wipe configurations, 297
Television cameras, 46, 53, 66, 68, 95
Television editing, 264-265, 267, 269, 274,
275
Television events, 263-267
Television frame, 254, 263
Television image, 2, 146, 263, 267, 273
Television lighting, 46, 54
Television recordings, 267, 269, 275, 293-294
see also Video tape
Television screen, 18, 34, 38
and additive mixing, 71
aspect ratio, 102, 146
asymmetry of screen, 128-129
attraction of mass, 121-129
axes of, 174
and color constancy, 77
figure-ground phenomenon, 130-133
and Golden Section, 164, 165, 166
and graphic weight, 165
horizontal orientation, 100
image size, 110
lateral action on, 215
magnetism of the frame, 121-129
main directions, 116-120
screen-left and screen-right, 128-129
size of, 110
as stationary reference, 278
and z-axis, 215
vectors, 140-146
Television sound, 328, 329, 330-331, 344
Television time, 267, 269
Temperature perception, and color, 68
Tempo, 275, 276, 288, 334, 373
Tension, and converging vectors, 302
in counterpoint, 355
and framing, 152
and Golden Section, 162
and object proportions, 167, 171
and syncopation, 339
in vector field, 223
Tertiary motion, 289, 292-297, 324, 374
defined, 285, 385
and dialogue, 334
and film, 292
and montage, 321, 325
and structural gestalt, 371
and television, 292
and transitional devices, 297
Tertium quid, 319, 323, 325, 366, 378, 386
and montage, 312, 318
Texture, Bauhaus study of, 25
lighting for, 24, 34, 39, 42, 54
and television, 25
Theater, materia of, 18
Theater stage, lateral action on, 214
Thematic matching, 367, 377, 378, 379
Thematic rhythm control, 386
Theme, 388
of fugue, 357
Tilt, 285, 286, 287, 289, 311
Tilting technique, 109, 120, 146
Timbre, 90, 911, 97, 339, 343t, 344, 372, 386
Time, 2, 7, 11, 13, 244-267
aspects of, 244-246
directions of, 258
theories of, 249-253, 256, 268
types of, 272-277
see also Filmic time, Objective time, Scene
time, Sequence time, Shot time, Spot
time, Story time, Subjective time,
Television time
Time arrow. See Arrow, Time vector
Time continuum, 255-258, 268, 273, 274
Time orientation, 27-29, 34, 336
Time perception, and colors, 69t
Time vectors, defined, 386
and film, 258-263, 268
manipulation of, 258-263
reversal of, 259
and television, 263-267, 269
and television recordings, 267
Timing, 272-277, 288, 386
see also Pace
Tint, 64
Title card, 80, 81
Toffler, Alvin, 269
Tonal matching, 368, 377, 378, 379, 386
Tonal montage, 323
Touch. See Tactile sense
Transitional devices, 292, 293, 297
see also Cuts, Dissolves, Fades, Wipes
Transitional effects, 296, 324
see also Defocus effect, Wipes
Triad, 350
Truck, 285, 287, 289
Twelve-tone system, 349
Two-point perspective, 184, 386
Unit density, 280, 281
Ushenko, Andrew Paul, 147
V/A. See under Video-audio
Value. See Brightness
Van Gogh, Vincent, 186
Vanishing point, 183, 184, 196, 386
Vector continuity, and continuity editing,
298
and shooting angles, 236
Vector distribution, 150, 170
Vector fields, 140
and accelerated motion, 281
and camera angles, 241
and context, 234
and continuity editing, 298
defined, 386
direct and indirect focus, 155-156
and dissolves, 295
extension of, 155-160, 170
in film, 244
and montage, 322
in polyphony, 353-357
and multiscreens, 156
and screen space, 237
and shooting angles, 236
and sound designs, 351
stabilized, 152
of structural gestalt, 371
structural interference, 377, 378, 379
structuring of, 150
in television, 244
and tertiary motion, 292
video-audio gestalt, 358
in V/A structural analysis, 373
Vector line, 305-309, 325
Vector magnitude, 142-144, 147, 151, 154,
386
Vectors, 140-146
and area proportions, 161-162
and balance, 169, 171
defined, 140, 147, 386
distribution of, 170
and structural rhythm, 167
types of, 140-142
see also Continuing vectors, Converging
vectors, Graphic vectors, Index vectors,
Induced motion vectors, Motion vectors,
Time vectors, Z-axis motion vectors
Verbal communication, 331
Vertical plane, 118, 119, 146
Video, combinations with audio, 358-374
in film, 359-377 passim
in flashbacks, 360-361
and predictive sound, 361
in television, 360-377
video-audio phrasing, 361
Video-audio collision montage, 366, 378, 386
Video-audio comparison montage, 366, 378,
386
Video-audio fugue, 363, 378
Video-audio gestalt, 338, 358, 386
Video-audio interference, 374-377, 378, 386
Video-audio matching criteria, 367-374
Video-audio montage, 366-367, 378, 386
Video-audio phrasing, 361
Video-audio structural analysis, 371-374
Video-audio structural synthesis, 375
Video-audio time-space gestalt, 361
Video feedback, 52-53, 54, 386
Video patterns, 50, 51
Video tape, 264, 267, 274
see also Television recordings
Video transitions. See Cuts, Dissolves, Wipes
Viewpoint. See Field of view
Visual dialectic, 319-321
Visualization, 222-241, 292, 324, 386
and context, 236
and dialogue, 334
and intensity control, 261
Volume, and mass, 176
see also Negative volume, Positive volumes,
Volume duality
Volume duality, 176-177, 197, 201-207, 219
defined, 196, 386
and open set, 206, 219
and use of dolly, 194
and z-axis blocking, 218
and zoom motion, 194, 195
Volume interference, 376, 378
Volume unit meter, 376
Wagner, Richard, 338
Walker, Edward L., 83, 197
Warren, Austin, 289
Weber, Carl Maria von, 338
Weight perception, and colors, 69t
Weintraub, Daniel J., 83, 197
Wellek, René, 289
Wertheimer, Max, 138
Whole-tone scale, 349
Wide-angle lens, 188, 211-213
and aerial perspective, 190, 191
and close-ups, 190
and depth of field, 190, 191, 196
and image size, 189
and inertia, 283
and linear perspective, 190, 196
and overlapping planes, 189
and traffic density, 207
and use of dolly, 194
and z-axis, 192, 194, 196, 219
Wide screen. See Cinemascope
Wilson, John Rowan, 97
Winter, and cast shadows, 29
Wipes, 50-51, 296, 324
Wise, Howard, 97
Wolfe, Thomas, 269
Wöfflin, Heinrich, 128, 147
Words, 331, 332
X-axis, 174, 175
Y-axis, 174, 175
Youngblood, Gene, 55
Z-axis, 174, 175
articulation of, 207-214, 218, 219
defined, 386
motion in, 185
and zoom motion, 194
Z-axis blocking, 214-215, 386
Z-axis motion vector, 192-195, 196, 386
Z-axis space, 218, 387
Z-axis vectors, 190, 300-302
Zeno, 249-252, 268
Zettl, Herbert, 35, 55, 83, 197, 289, 325, 345,
379
Zoom, 285, 287, 288, 289, 311
Zoom lens, 188
Zoom motion, 194, 197