hahaha...lame glerr rase nyee x berblog...cewahhhh....4 ari kowt...actually, jumaat mnggu lepas aku ada trip g taman negara tok subjek CINEPHOTO aku...CINEPHOTO nihh gabungan CINEMA + PHOTOGRAPHY...ayat yg mudahnye dia camna nk bg satu gambar tuu bermakna dan beremosi spy dapat share ngan viewer..haa..ada paham??...ape yg prof aku bgtaw...EMOSI SESUATU GAMBAR ITU ADALAH YG PENTING..,bkn sng ok, nk dptkan emosi tuu..klo SETAKAT GAMBAR CANTIK TAPI XDE MAKNA or SEQUENCE...bkn kategori CINEPHOTO, tp lbey kpd PHOTOGRAPHY only..ok ENOUGH tok ayat2 skema nihh!!...tp mmg perghhhh...glerr best (mula2 sblm g mcm2 prkataan aku dok maki..haha)...yee r kan...mana aku taw yg taman negara tuu best..ak pikir cme utan n utan n utan jee...aku nihh pnye laaa dok maki hamun...cam bangsat laa...ckp x best laa..mnyesal r byr mahal2 , tp dok utan jee an...bygkn r..byr RM160...wowww, x pnh seumor idup aku trip sebanyak nihh nk kne blanjee cam nk g tahiland...sawwadikapp..hahaa...kan..nk wat pee...bkn ade ape pon kat sane smpi nk kne byr RM160...ingat aku taukey balak kee..dh lah cme 2 ari jee...aku ckp WTH r kan 2 ari kne RM160..ape yg dok mahal sgt r kan...dok kat HOTEL 10 BINTANG KEEE...nk jumpe ngan berok yg bley speaking ke kat sane smpi kne byr mahal...tngkap gmbr pokok cam kat PUNCAK PERDANA tuu x da pokok....padahal bukak mata jeee... HAA KAW, keliling dh cam tmn negara kat puncak nihh....tp, aku silap..haha...actually, pengalaman lbih kurang 2 ari setengah kat sana..sangat bermakna terhadap aku n membuatkan aku bersyukur dan cinta kepada bumi ini yg makin terhapus panorama hijaunyaa di tebang arus permodenan...(alamak...ayat jiwang siakk...geli aku dowh..hahahaha)....*p/s = gmbr2 yg aku letak kat bwh just nk share gmbr2 yg aku snap...hehe..klo nk tgk gambar tu besar skit..klik laa kat gmbar ok
haiiiiii..nih yg nk berpot pet2 skit nihh...ttbe je rase nk muntah...menyampah plak aku tgk ari2 dok ada isu pasal bakal PENGETUA AF9 kat paper ari2, cam ade bnde dok cocok2 kat tekak nih bg muntah...tu satu...yg aku x ley tahan tu ade yang x psl2 dok mengutuk Ahmad Dhani ....walaupun aku nih bkn r minat dia sgt...tp, at least x pyh r nk dok kutuk psl dia...just klo bg pendapat x stuju jee ok laa...x pyh r nk dok OVER sgt smpi nk kutuk makhluk tuhan tuu (hamboii, ko pon 2 x 5 nmpk..mulot dajal sgt)...lgpon just calon jee, bkn btol2 pon...korg nihh over sgt r...adoii..haha..aku brani jamin (potong jari kalo salah nk??) dorg x kn pilih ahmad dhani...nihh cme sandiwara dorg jee...percayalaaa....hahaha...anyway, cter psl AF9 nih, aku ade gak nk test g audition AF9 aritu, konon2nye nk masuk r..mne taw kn...tp, malangnyee..pkr2 blik x pyh r...byk keje ley wat dari masuk AF tuu...hahaha...duit berjuta ley masuk kowt time cuti sem nnti...hehehe...ok enough!!!
WAAAAAA...TAHNIAH n WELL DONE r yeee junior2 SMSSI SPM`11...dgr cter dapat no. 2 dalam negeri Johor n no. 10 dlm rekod skola2 berasrama pnuh 1 malaysia....ble dgr cter2 camnih rase sgt bangga walaupun im not one of them yg menaikkn nma skola sampai dpt no. 2 tuu...tp, perasaan syg kat skola yg buat aku rase sgt2 bangga....lbey2 lg aku nih dari FIRST BATCH SPM mase skola tuu bkk..kire cam EXTREME SUPER DUPER SENIOR laaa kowt...hahaha...actually skola tuu masih baru...klo ikutkn , baru 7 tahun skola tuu berdiri kat tapak mersing tuu....mase tuu SEKOLAH MENENGAH SAINS SULTAN ISKANDAR (SMSSI) nih asalnyee name dia SEKOLAH BERASRAMA PENUH INTEGRASI MERSING (SBPIM) haaa....pastu. selepas bersilih ganti pengetua n para guru yang mengajornyee...mybe dia evolusikan nama skola nih jadi skola sains....tp, kan...ble aku sebot jee SKOLA INTEGRASI mase dlu....dorg ingat aku skola campur cina plus india plus omputih plus plus plus....hahaha...thats wrong mannnnn....actually skola berasrama penuh integrasi nihh means skola tuu ada lbey dari 1 jurusan...means lg kat skolah tuu ade jurusan SAINS TULEN. SAINS TEKNIKAL n SAINS AGAMA.......aku amik bidang sains teknikal....tinggal kat SBPI tuu mmg best walaupun byk bnde x best...disbbkn dia dah jd kenangan n nostalgia...tu yg membuatkn skola tuu jd lg best (mengada...dlu time ddk menangis nk blik umah...citt)...haha..
Helloo...helloo..helloo there...nice too meet uolss (meroyan dh plak)...dh lame x post sumthing kan....biase r kowt, bz skit 2, 3 ari nii...lg2 bile xsigment shooting2 nihh..anyway nih satu program yg dipanggil CRISS CROSS atas arahan dekan kami PROF RAZAK...setiap sem ade kne wat bnde nihh...anyway,haaaa, wat pertama kali nyeee...aku g wat bnde nihh dalam 1 produksi yg SEMPOI (padahal mmg first time pon)....mmg best sgt2, x taw nk habaq camna weyhh...PENAT?? of coz r penat..nme pon keje an (ada keja x penat..duduk goyang kaki x penat kowt)...tp, cam org kate...klo dtgnyee minat tuu...wat keje 24/7 pon cam sesaat jee (propa habihh laa hang nih)....group nihh di panggil group 10...tajuk short filem group nihh "DreBAr"...tp, nme tajuk asal short filem nih "sayang abang" tp aku rase cam feeling2 wierd plak an ngan tajuk dia...hahah..but, dorg tukar tajuk jadi "DreBAr" tuu aku rase far better...hahaha...actually kami dr group CINEPHOTO tugas dia amik gambar time produksi n jg conti dalam sesuatu shot...CONTI tuu means kesinambungan sesuatu scene ngan scene lg 1 ( apadaaa tulis mkna pon cam parya kaa)...program nih dari jumaat 18 mac aritu sampai20 hb ari sabtu...short2 filem nih akn di pertandingkan dalam FESTIVAL FILEM PELAJAR or HARI KARYAWAN....dorg akn berentap ngan group2 len....nice!!! alaa..cam FILEM FESTIVAL MALAYSIA or ANUGERAH SKRIN cenggituu...
wahai bintang yang jauh,
tahukah kau bahawa cahaya keemasan mu itu bergemerlapan menyinari segenap jiwaku, walaupun ianya tidak tercapai untuk ku menyentuhnya apatah ingin menyambutnya,
merindui sebutir bintang yang tidak ku duga akan berlarutan,
mencipta suatu petanda takdir tuhan yang maha kuasa,
adakah ini namanya cinta?
post kali nih mengajak kite bermuhasabah seketika bila sedang kita berseronok dengan KEDATANGAN JUSTIN BIEBER ke Malaysia, berseronok dengan itu ini kan (actually aku pon same)...huhu...tp, aku trjumpe satu artikel yg agak best utk di kongsi....
mybe kte lupe sjenak bhwa dunia di ambang MAUT dan sgt UZUR sbb kte nih mudah lupe...kita slalu mendengar Bila matahari tidak lagi terbit dari timur itulah tandanya kiamat semakin hampir dan ianya merupakan tanda besar hari kiamat. Hari ini sudah banyak tanda-tanda kecil kiamat. aku sure yg korg sume dh taw an tanda2 kiamat kecil,so, kat sini aku nk compilekn smula. Diantara kiamat kecil ialah:
haaa...first time aku dengar lagu nihh agak cam MENGARUT gak...aku tnye2 gak sape r yg nyanyi lagu camni...last2 aku dapat taw si ZIZAN tuu yg bwk..aduiii...haha,gelak aku...tp, ble dah lame2 dgr + menghayati lirik dia (ceyhh..konon bdk nih)....aku rase lagu nihh sgt best...WALAUPUN, si zizan raja lawak yang bawak rapping dalam lagu nihh tp NOT BAD laa kan...haha...plus DINA punye suara mengancam ...mmg gabungan yg terbaik r....apakata kita try lagu dia nihh haa skjp...anyway, actually kat ipod IJAU aku kat sblh kiri tuu mmg opening lagu nihh pown..haha...so, dgr laa same2 yee ngan lirik dia..sdey weyhh...gua yg ROCK nih pon tersadai gak...hahahha
first aku knl video dia kat FB..aku saja jaa bkk nk tgk mna taw vdeo BANGSAT cam ckgu Shida tuu an..tp, sbliknya aku rasa kagum plak..aku bukan apee weyhh...cme aku rase agak kagum ngan stail dia..walaupun aku yg dok blaja bidang perfileman nih salute kat dia...bg aku, walaupun scene n plot + shot + camera angle + editing +++++ (udah2 laa xyah dok merapu) yg dia bg is TOO SIMPLE n TOO SHORT...tp, emosi n MORAL OF THE STORY dia lbih hebat n padat dr filem2 yg mkn masa 2 jam tok korg tgk sampai trbeliak biji mata tp isinya mengarut..walaupun CGI melampaui AKAL MANUSIA camna pon..haha..
glerr r ....terbaik seyh pusaran air nih....besar plak an...nih kat jepun yg baru2 nih...mmg pling besar penah di catatkan katenye..x taw r tol ke x an...selain tuu try r tgk pusaran2 yang menakjubkan kat tmpt laen gak...
aihhh, dalam bas mase ak tgh dok jalan g PKNS td ptg,mcm2 emosi ade..ade mmg rase cam nk marah, meluat, sedih....dalam 1 prjalanan jee aku dapat rase macam2 emosi...syg aku x bwk kamera tok aku snap pic....aihh, pakal jee an...ok, first time aku masuk dalam bas yg nk ke pusat bandar shah alam...PERGHH!!,mmg penuh siak, aku dok sit kat blkg skali..mmg bas full mcm dalam tin sardin, mmg aku rase cam nk pengsan ngan mcm2 bau...
HAHAHHA...try tgk VIDEO GAME yg biase korg men dlu...skunk time utk rehatkan minda n otak, so, mmg sesuai sgt laa video nihh...mmg stail dorg edit...gerenti korg akn GELAK X HENGAT..ahahahA
uissshhh...nk gugur jantung aku bila aku bkak FB td pnuh post2 dorg update psal gempa bumi yg kat jepun tuu haa...aku pon g r check kan ne taw bdk2 nih tpu...skali btol r plak....lg rase nk tercabut jantung aku bila dia kata, mybe tsunami akan dtg ke MALAYSIA..OMG...adakah...adakah....time tuu jugak aku msg adik aku kat fb suh tgk FB ne taw klo ade pape amaran kee an...yee r...takot gak klo terkena....tp, ape yg aku dpt taw, Sabah or Sarawak mybe akn kne tempias skit...OMG, aku cme ley doa jee agar xde yg buruk brlaku...
agak shock gak r bila aku tgk gempa 8.9 SKALA RITHER nihh mengegarkan bumi jepun...aku tgk video dari YOUTUBE kat jepun...dorg shot dari high angle mmg nmpk menyeramkan....mne x nyee...jalan2 raya di LITUPI AIR HITAM PEKAT MELEKAT...aduiiii....aku harap laa sgt2 kwn2 aku kat sne xde pape....8.9 is quite big gak gegaran die...dia jgk ckp kelajuan air tsunami nih 700KM/J ok!!!....perghhh....tambah plak ketinggian dia ley mencecah 10 meter klo x silap...tnggi gak r tuu weyhhhh, mmg abih ranap...klo aku mmg dh x nmpk pape r....hope, kite sedar yang DUNIA SEDANG BERKATA DENGAN KITA BGAIMANA KEHANCURAN DUNIA BERPUNCA KESALAHAN DAN DOSA KITA SENDIRI....haa..korg tgk r sndiri camne itam nye air tuu...
haaa....hari nih kte akn blaja skit yee term2 dalam filem...term2 ini sgt penting dalam penyampaian sesuatu teknik dalam bidang perfileman....hope dapat ememberi sikit sebanyak ilmu:
Animation - The process of photographing drawings or objects a frame at a time; by changing a drawing or moving an object slightly before each frame is taken, the illusion of motion is realized.
Auteur (French for "author") - literally the director, who is regarded as the "author" of a film because he/she has primary control and responsibility for the final product. The Auteur theory insists that a film be considered in terms of the entire canon of a director and that each Auteur earns that title by displaying a unique cinematic style.
Background Music- Music accompanying action on the screen, but coming from no discernible source within the film.
Blocking - The arrangements made for the composition of a scene, especially the placement and movements of actors.
Boom - A long mobile beam or pole used to hold a microphone or camera.
Cinema Verite - A candid-camera style of filmmaking using hand-held cameras, natural sound, grainy high-contrast black-and-white film, and the appearance of no rehearsal and only basic editing.
Cinematographer (camera man or director of photography) - The person who supervises all aspects of photography from the operation of cameras to lighting.
Clip - A brief segment excerpted from a film.
Commentator - A voice (the person speaking may be either seen or unseen) commenting on the action of a film. A commentator, unlike a narrator, provides supposedly unbiased information, maintaining apparent perspective and distance from what occurs on the screen.
Composition - The placement of people or objects within the frame and the arrangements for actual movements within the frame or by the camera.
Continuity - The narrative growth of a film created through a combination of visuals and sound (resembling the "story" in print literature).
Continuity Sketches (See Storyboard.)
Crane Shot - A shot taken from a boom that can move both horizontally and vertically.
Cross-Cutting (parallel editing) - A method of editing in which the point of view (p.o.v.) switches alternately from events at one location to those of another related action. The action is ususlly simultaneous and used to create a dynamic tension as in the chase scene in D.W. Griffith's A Girl and Her Trust. (See Intercutting for the distinction between cuts.)
Cut - An individual strip of film consisting of a single shot; the separation of two pieces of action as a "transition" (used when one says "cut from the shot of the boy to the shot of the girl"); a verb meaning to join shots together in the editing process; or an order to end a take ("cut!").
Cutter (See Editor.)
Dailies (See Rushes.)
Deep Focus (depth photography) - Keeping images close by and far away in sharp focus simultaneously.
Depth of Field - The area within which objects are in focus; a large depth of field allows a great range of objects to be in focus simultaneously, while a shallow depth of field offers a very limited area in focus. Depth of field normally depends on how far "open" a lens is (a lens works much like an eye, with the pupil opening or contracting to control light). An "open" lens (for example, f 1.4) creates a shallow depth of field while a "stopped down" (contracted) lens (for example f 16) creates a large depth of field.
Director - The person responsible for overseeing all aspects of the making of a film.
Dissolve (lap dissolve) - A method of making a transition from one shot to another by briefly superimposing one image upon another and then allowing the first image to disappear. A dissolve is a stronger form of transition than a cut and indicates a distinct separation in action. Dolly A platform on wheels serving as a camera mount capable-of movement in any direction.
Dolly Shot - A moving shot taken from a dolly. A Dolly-In moves the camera toward the subject, while a Dolly-Out moves the camera away from the subject. A dolly shot creates a sense of movement through space by capturing changes in perspective.
Double Exposure (superimposition) - Two distinct images appearing simultaneously with one superimposed upon the other.
Dubbing (lip sync) - The process of matching voice with the lip movements of an actor on the screen; dubbing also refers to any aspect of adding or combining sounds to create a film's final soundtrack.
Editing (continuity editing, narrative montage) - The process of splicing individual shots together into a complete film. Editing (as opposed to Montage) puts shots together to create a smoothly flowing narrative in an order making obvious sense in terms of time and place.
Editor (cutter) - The person responsible for assembling the various visual and audial components of a film into a coherent and effective whole.
Fade - A transitional device in which either an image gradually dims until the viewer sees only a black screen (Fade-Out) or an image slowly emerges from a black screen to a clear and bright picture (Fade-In). A fade provides a strong break in continuity, usually setting off sequences.
Fast Motion - (accelerated motion) Movements on the screen appearing more rapid than they would in actual life. For example, a man riding a bicycle will display legs pumping furiously while he flashes through city streets at the speed of a racing car. A filmmaker achieves fast motion by running film through his camera at a speed slower than the standard 24 frames per second; subsequent projection of 24 frames per second speeds up the action.
Fill Light - Light used to control shadows by "filling in" certain dark areas.
Film Stock - Unexposed strips of celluloid holding light-sensitive emulsions.
Filters - Transparent glass of gelatin placed in front of or behind a lens to control coloration; some filters cut out certain types of light (such as ultra- violet); others create a soft, hazy appearance, and still others provide a dominant color when used with color films.
Fine Cut - The final assembling of all the various audial and visual components of a film.
Fish-Eye - An extreme wide-angle lens taking in (and distorting) an immense area.
Flashback - A segment of film that breaks normal chronological order by shifting directly to time past. Flashback may be subjective (showing the thoughts and memory of a character) or objective (returning to earlier events to show their relationship to the present).
Flash Forward - A segment of film that breaks normal chronological order by shifting directly to a future time. Flash forward, like flashback, may be subjective (showing precognition or fears of what might happen) or objective (suggesting what will eventually happen and thus setting up relationships for an audience to perceive).
Flashframe - A shot lasting only a few frames; the shortness of a flashframe makes its content difficult to assimilate. When many flashframes follow each other, they create a feeling of intense action and often visually resemble the effects of stroboscopic light; when used alone, flashframes usually act as flashbacks or Hash forwards.
Flip - A transitional device (now used rarely) in which an image appears to flip over, revealing another image on its backside; the effect is much like flipping a coin from one side to the other.
Focal Length - The distance from the focal point of a lens to the plane of the film (for viewers and cameramen, this is seen as the amount of area a lens can photograph from a given distance.)
Focus-Through (racking) - A change of the field in focus taking the viewer from one object to another that was previously out of focus.
Frame - A single photographic image imprinted on a length of film; also the perimeter of an image as seen when projected on a screen (a filmmaker sees the frame as the boundaries of his camera's view-finder). Freeze Frame A single frame repeated for an extended time, consequently looking like a still photograph.
High-Angle Shot - A shot taken from above a subject, creating a sense of "looking down" upon whatever is photographed.
Intercutting- The alternation between actions taking place at two distinct locations to make one composite scene. For example, cutting between two people involved in the same telephone conversation. The distinction between this and cross cutting is one of compression of time. The intercut can be used to speed up a scene and eliminate large pieces of time that would slow a story down.
Iris - A technique used to show an image in only one small round area of the screen. An Iris-Out begins as a pinpoint and then moves outward to reveal the full scene, while an Iris-In moves inward from all sides to leave only a small image on the screen. An iris can be either a transitional device (using the image held as a point of transition) or a way of focusing attention on a specific part of a scene without reducing the scene in size.
Jump Cut - An instantaneous cut from one action to another, at first seemingly unrelated, action. Jump cuts will usually call attention to themselves because of the abrupt change in time and/or place.
Key Light - The primary source of illumination
High-Key - light brilliantly illuminates a set;
Low-Key - light provides dim lighting, usually with heavy, dark shadows.
Lap Dissolve (See Dissolve.)
Library Shot - (stock shot) Any shot not taken for a particular film but used in it.
Lip Sync (See Dubbing.)
Local Music - Music originating within a scene and audible to both the characters in the film and the audience.
Location - A place outside-the studio where shooting occurs.
Long Lens - Any lens with a focal length greater than normal; a normal focal length approximates the size relationships seen by the human eye, while a long focal length creates a narrower angle of vision, causing a larger image. A long lens alters perspective by flattening a subject into its background. (See telephoto.)
Loop Film - A film with ends joined, creating a loop that can be run continuously through a projector.
Low-Angle Shot - A shot taken from below a subject, creating a sense of "looking up to" whatever is photographed.
Mask - A device placed in front of a lens to reduce the horizontal or vertical size of the frame or to create a particular shape (for example, periscope eyepiece, binoculars, or gun-sight).
Match Cut - A cut intended to blend two shots together unobtrusively (opposed to a Jump Cut).
Matte Shot - A process for combining two separate shots on one print, resulting in a picture that looks as if it had been photographed all at once. For example, a shot of a man walking might be combined with a shot of a card table in such a way that the man appears to be six inches high and walking on a normal size card table.
Metteur-En-Scene - A director or filmmaker (often used to indicate a director who does not deserve the title auteur).
Mise-En-Scene - The aura emanating from details of setting, scenery, and staging.
Mix - The process of combining all sounds at their proper levels from several tracks and placing them onto a master track.
Montage - (dynamic editing, expressive montage, conditional montage) A method of putting shots together in such a way that dissimilar materials are juxtaposed to make a statement. A shot of a man followed by a shot of a peacock, for example, declares that the man is pompous. (See Editing.)
MOS - Any segment of film taken without sound. (The letters MOS come from early foreign directors who wanted pictures taken "mit out sound.")
Moviola - A special projection machine (used by film editors) that holds several reels of film simultaneously and can run at variable speeds, backward or forward, and stop at any frame. (Moviola was originally a brand name but now refers only to a type of projection machine.)
Negative Image - An image with color value reversed from positive to negative, making white seem black and black appear white.
Neorealism - A film style using documentary techniques for fictional purposes. Most neorealist films rely on high-contrast black-and-white film, nonprofessional actors, and natural settings. Neorealism began as a movement among a group of filmmakers in Italy after World War II.
New Wave (Nouvelle vague) - A recent movement in French filmmaking based mainly on the notion of the Auteur. The movement was begun in the late 1950s by a group of young filmmakers (including Francois Truffaut, Jean-Luc Goddard, Louis Malle, and Alain Resnais) interested in exploring new potentials for film art.
Nonsynchronous Sound - Sound that combines sounds from one source with visuals from another, such as intense argument with only a man walking alone visible, or the sounds of a rooster accompanying visuals of a classroom lecturer. (See Synchronous Sound.)
Objective Camera - The attempt to suggest that the camera acts only as a passive recorder of what happens in front of it. The use of objective camera relies on de-emphasis of technique, involving minimal camera movement and editing.
Optical Printer - A device used to "print" the images of one film onto another film through direct photography.
Out-Take - A take that is not included in the final version of a film.
Pan - A shot in which a stationary camera turns horizontally, revealing new areas.
Parallel Editing (See Cross-Cutting.)
Perspective - The way objects appear to the eye in terms of their relative positions and distances.
Pixillatxon - A technique using cartoon methods to create movement by objects or people. For example, a man will stand with feet together and be photo- graphed, then he will repeat this action over and over, but move slightly forward each time; the result will show the man apparently moving forward (usually rapidly) without moving any part of his body.
Process Shot - A shot coordinated with another image created by Rear Projection, making the resulting picture look like a single simultaneous shot. A typical process shot shows the faces of two people riding in a car; behind them (as seen through the rear window) moves the usual traffic of a city street. The traffic has been added by rear projection, creating a process shot.
Producer - The person who is responsible for all of the business aspects of making and releasing a film.
Racking (See Focus-Through.)
Reaction Shot - A shot showing one or more characters reacting to an action or statement. Rear Projection (back projection) The process of projecting an image onto a translucent screen from the back side rather than over the heads of the viewers as is usually done. Filmmakers use rear projection to film an action against a projected background, thus recording on film both the stage action and the rear-projected image. (See Process Shot.)
Reverse Angle Shot - A shot of an object or person taken in the direction opposite that of the preceding shot (for example, a shot of the gates of a prison from within followed by a reverse angle shot showing the gates from outside). Rough Cut The initial assembling of the shots of a film, done without added sound.
Rushes - (dailies) The lengths of footage taken during the course of filming and processed as the shooting of a film proceeds.
Scenario (See Script.) - Scene A series of Shots taken at one basic time and place. A scene is one of the basic structural units of film, with each scene contributing to the next largest unit of film, the sequence.
Script - (scenario, shooting script) - A written description of the action, dialogue, and camera placements for a film.
Sequence - A structural unit of a film using time, location, or some pattern to link together a number of scenes.
Shooting - Ratio The ratio in a finished film of the amount of film shot to the length of the final footage. Shot A single uninterrupted action of a camera as seen by a viewer (see Take). Shots are labeled according to the apparent distance of the subject from the camera: extreme long-shot (ELS) also called an establishing shot; long-shot (LS); medium long-shot (MLS); medium or mid-shot (MS); medium close-up (MCU); close-up (CU); and extreme close-up (ECU). Although distinctions among shots must be defined in terms of the subject, the human body furnishes the usual standard of definition: ELS, a person is visible but setting dominates; LS, person fills vertical line of the frame; MLS, knees to head; MS, waist up; MCU, shoulders up; CU, head only; ECU, an eye.
Slow Motion - Movements on the screen appearing slower than they would in actual life. For example, a diver will seem to float to the water gently rather than fall at the speed dictated by gravity. A filmmaker achieves slow motion by running film through his camera at a speed faster than the standard 24 frames per second; subsequent projection at 24 frames per second slows down the action.
Soft Focus - A slightly blurred effect achieved by using a special filter or lens, or by shooting with a normal lens slightly out of focus.
Still - A photograph taken with a still (versus motion) camera.
Stock Shot (See Library Shot.)
Storyboard (continuity sketches) - A series of sketches (resembling a cartoon strip) showing potential ways various shots might be filmed.
Subjective Camera - Shots simulating what a character actually sees; audience, character, and camera all "see" the same thing. Much subjective camera involves distortion, indicating abnormal mental states. Shots suggesting how a viewer should respond are also called "subjective" (for example, a high-angle shot used to make a boy look small and helpless).
Superimposition (See Double Exposure.)
Swish Pan - A quick pan from one position to another caused by spinning the camera on its vertical axis and resulting in a blurring of details between the two points. Sometimes a swish pan is used as a transition by creating a blur and then ending the blur at an action in an entirely different place or time.
Synchronous Sound - Sound coordinated with and derived from a film's visuals. (See Nonsynchronous Sound.)
Take - A single uninterrupted action of a camera as seen by a filmmaker. A take is unedited footage as taken from the camera, while a shot is the uninterrupted action left after editing.
Telephoto Lens (See Long Lens) - A lens with an extremely long focal length capable of making distant objects appear nearer and thus larger. (A telephoto has greater power of magnification than a Long Lens.)
Tilt Shot - A shot taken by angling a stationary camera up (tilt-up) or down (tilt-down).
Tracking Shot (traveling shot, trucking shot) - Any shot using a mobile camera that follows (or moves toward or away from) the subject by moving on tracks or by being mounted on a vehicle.
Trailer - A short segment of film that theaters use to advertise a feature film.
Trucking Shot - Any moving shot with the camera on a mobile mounting, but chiefly a moving shot taken with a camera mounted on a truck.
Two Shot - A shot of two people, usually from the waist up.
Voice-Over - Any spoken language not seeming to come from images on the screen.
Wide-Angle Lens - Any lens with a focal length shorter than normal, thus allowing a greater area to be photographed. A wide-angle lens alters perspective by making nearby objects seem relatively larger than those far away and by increasing the apparent distance between objects both laterally and in depth.
Wipe - A transitional device in which one image slowly replaces another by pushing the other out of the way.
Zoom Freeze - A zoom shot that ends in a freeze frame.
Zoom Shot - A shot accomplished with a lens capable of smoothly and continuously changing focal lengths from wide-angle to telephoto (zoom in) or telephoto to wide-angle (zoom out).
WOWWW!!!! tu jeee yg boleh di ucapkan bila aku tgk akhbar hari nih...central market berubah wajah...mase aku first time dalam 2 tahun lps, mmg tempat tuu mcm hidup segan mati x maw...tp skunk, mmg lawa gilerr...teruja plak aku rase an...mcm nk g tgk ngan mata kpala aku jee....dlu aku ade g mase diploma LANDSKAP ARKITEK semester 5 kalo x silap...mmg sdey gak r tgk lorong2 yang byk manusia lalu lalang n full of activity tp, kawasan suram n dull semacam jee...anyway, skunk nihh aku tgk lorong nih dah jd cam kawasan menyambut agong plak...mmg gah r kowt (agaknyee r sbb aku x tgk sndiri lg)...
angin malam bekerja menyentuh inci-inci romaku,
sangat meremang sejuknya di bantu bersama mesin berbunga tiga yang menjadi penghuni tetap berputaran di siling bilikku,
sambil mendengar bait-bait ayat "headphone" berbisik merdu,
hanya aku yang mendengar bisikan pelbagai cerita,
pelbagai rasa, pelbagai ritma,
sambil jari jemari pantas melakukan tugas di setiap perkataan yang ada pada papan kekunci di meja,
sambil menghulur kepala di bibir tingkap,
hatiku berbicara, telingaku mencari-cari perkataan hati,
nota-nota di luahkan penuh karya,
antaranya,
hidupnya malam ini hanya seketika,
melabuhkan tirai rabunya seketika nanti,
sambil bersedia menjengah ke alam yang penuh hitam putih,
suatu yang tiada naratif, suatu yang tiada plot,
hanya dirinya bertindak selaku kekunci mesin alam tersebut,
hanya dirinya bertindak sebagai pelakon utama,
tanpa mengetahui siapa pembantu yang bersamanya seketika nanti,
hikayat yang direka tidak perlu pengkritik,
hikayat yang di reka tidak perlu penyimpan emas di dunia.
hidupnya malam ini juga,
bakal menyaksikan dirinya, pada terbit fajar esok,
di tebarkan paku-paku di sepanjang jalannya,
adakah dia bersedia, adakah dia mampu,
darah-darah dosa yang mengalir sepanjang jalan berpaku ini bakal menyaksikan dia hidup atau mati sesudahnya,
adakah sempat untuknya esok,
bila takdir menjadi penentu diri,
adakah untuknya esok,
haaaa...ini dia satu filem yang aku nk kongsikan skit r k....walaupun filem nih lame ...kalo x silap aku tahun 1927, filem yang di pengaruhi oleh stail German Expressionist nih adalah Filem terbaik sepanjang zaman bg aku n lecturer aku. anyway aku rase teruja sgt2 psl filem ini sbb:
dalam era nih dh laa silent era, mksudnye perkembangan filem dalam era ini agak black n white....gerenti bosan dengan XDE NYE SUARA lg....tp, aku teruja sgt2 di mana PROP yang dorg setting sgt besar dan di luar jangkaan kalo nk di ikutkan pada zaman itu.......cbe bayang kan filem hitam puti, zaman x moden lg, dgn naratif ntah pape....tapi, dorg dapat satu idea yang kreatif yang mana skala props dorg gne adalah SKALA SEBENAR (menurut lecturer aku)....btw, naratif cerita berkaitan sains fiksyen ini sgt menarik ok...walaupun zaman sekarang ble kita tgk filem nih, kte akan kate "ntah pape r dorg wat nih"...tp, cbe kte feel skjp camne kte yang menonton menjadi penonton pd zaman dorg...gerenti korg akn sgt teruja.....cara dorg mengaplikasikan prop sgt2 aku kagumi.
haa..try tgk skala bangunan dia....sgt gler kan..hhaha..
anyway, thanx to lecturer ak di mana lecturer aku ade ckp yang dia sgt mengagumi filem ini dan x dapat di ungkapkan dengan kata2 dan akhirnya memberi peluang aku untuk menonton sendiri...nasib aku baik kerana beliau menyuruh aku menonton sendiri dengan DVD yg dia bg....hahaha...jgn jeles r kwn2... klo pendapat kte mybe bangunan2 yang di shot melalui extreme long shot dari high angle camnih mmg kte ingat ini cme bangunan2 yang direka seperti lego berskala kecil.....tp papepon, walaupun dia dlm skala kecil atau besar, prop yang di hasilkan sgt detail dan tidak dapat di capai dek akal kalo kte sebahagian penduduk pada zaman 1927 tuu....mne x nye, zaman tersebut merupakan zaman war period... .
.
haa..lagi satu ak ade dpt info yang golongan aluminatist seperti LADY GAGA cbe meniru gaya robot dalam cerita ini...hahha....stail kan camne LADY GAGA yang kte taw ciri-ciri unik dalam pakaian dia mencuba untuk berpakaian dalam bentuk robot dalam lagu PAPARAZZI seperti dalam filem ini ( cbe r tgk video klip paparazzi) ...actually ada makna dalam pakaian yang Lady Gaga yang cuba hendak sampaikan...cuma ahli fikir sahaja yang mampu menyelongkar maksud-maksudnya....cme kita akn bincang kan tentang Lady Gaga dalam post akn datang...
kalo kita tgk dari poster promosi, first yg kte tgk gerenti kite ingat nih sebuah filem yang gempak...dengan konsep shooting mnggunakan hand held kan...mmg org kat nih konsep pertama r yang di buat pengarah kat malaysia wat filem hand held....filem nih mybe dlm pkran korg msti ingat lbey kurang cam cter mat saleh PARANORMAL kan...hahaha...ak pon dengan rase x sabar n tertunggu-tunggu camne hasil GABUNGAN 2 produksi utama iaitu GRAND BRILLIANCE + PRIMEWORKS PRODUCTION dpt amik filem nih tok di tayangkan umum...lg2 konsep hand held yg di gunakan utk menampakkan impak REALITI dan mengajak penonton meneroka sekali bersama mereka......
