| Volltext: | 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 |
