This chapter explores a range of significant similarities and differences between videogames and films. It also examines the relationship between the philosophies of each. We begin by addressing the definition of videogames and the question of whether they count as a subcategory of some other artistic kind, namely, film or the moving image.
This will be a number like 50, 100, 200, etc. The higher the number, the more sensitive the film is to light. More and less sensitive films are called "faster" and "slower", respectively. As usual, there's no one right film, but a trade-off. Faster films allow you to capture a subject in worse light.
Single Shot. Two Shot. Three Shot. Over-the-Shoulder Shot (OTS) Point-of-View Shot (POV) For filmmakers and videographers, a major consideration for framing is the number of subjects you feature in your shots, and their physical relationship to each other and the camera.
Lesson Transcript. Instructor: Christopher Sailus. Chris has an M.A. in history and taught university and high school history. Cite this lesson. Comparing original stories to their film
An extreme close-up shot is a type of camera shot size in film that fills the frame with your subject, and is so close that we can pick up tiny details that would otherwise be difficult to see. This camera shot size often shows eyes, gun triggers, and lips. Extreme close-up shots are sometimes shot with a macro lens for greater detail.
This is one of the biggest, if not THE biggest difference between the movie and video game trailer industry. To state the obvious: movie trailer clients make movies, and game trailer clients make games. The contrast between the two is most obvious when it comes to client feedback. In my experience, feedback and notes for movie trailers focus on
Key grip is the supervisor of the team of grips on the film set. The key grip executes tasks from the cinematographer for light placement and camera movement with assistance from their team. The key grip coordinates the rigging on the film set similar to how the gaffer coordinates the lighting. The key grip works with the gaffer to convert
2. Familiarity of the material. The second major difference between stage and camera acting is the familiarity of the material. Theater is by its very nature repetitive and therefore familiar
The results delivered by HDR should mean more sumptuous colours, bringing more realism and depth, and added "pop". HDR aims to be a visual treat, which it very much is. HDR preserves the gradation
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difference between film and video
