What are the definitions and types of technical terms in the focus plane?

1. Empty shot-There are no people on the screen, only shots of scenery or objects. Empty lens is also called scenery lens. The content of empty lens is not "empty", it is an important means for film and television to introduce the environment, describe events, portray characters and convey feelings. When representing the environment where the story takes place, empty shots often appear at the beginning of the film. 2. Long lens-refers to a lens that shoots for a long time, does not cut the space, and maintains the integrity of time and space. This shot keeps the continuity and unity of space and time in the same picture, which can give people a sense of intimacy and realism; The rhythm is slow, so the lyrical atmosphere is strong. Some people call the long shot "montage in the shot". Andre bazan, a French film theorist, is an advocate of "long lens theory". He summed up the practice of using long lens in movies: (1) The use of long lens and depth of field lens can avoid strictly limiting the audience's perception process, which is a potential ideographic form, focusing on revealing the motivation through the normal and complete movement of things, and maintaining the "transparency" and the authenticity of ambiguity; (2) The long lens (lens-paragraph) ensures that the time process of the event is respected, and the depth of field lens allows the audience to see the whole picture of the real space and the actual connection of things; (3) continuous shooting's scenes embody the narrative principles of modern movies, abandon the ellipsis that strictly conforms to the causal logic of drama, and reproduce the natural flow of real things, thus being more realistic. Later generations called Bazin's theory "long lens school". As a film style and means of expression, long shots have their unique advantages in showing complete realistic scenes. 3. Head-down shots-Most shots are taken head-up. In a movie screen, the orientation and image of the subject in the audience's visual range will change with the different shooting angles, thus attracting the audience's attention to the subject and changing the audience's psychological reaction. Upward photography refers to the camera shooting from bottom to top and from low to high. The upward lens represents the line of sight that the audience looks up, and they often feel stretched, open, lofty and admired in emotional color. Overhead shooting refers to the camera shooting from high to low and from top to bottom, and overhead shooting represents the line of sight of the audience looking down. In the emotional color, the prone lens makes people feel gloomy, small and depressed. The shooting angle is suitable for expressing the tragic fate of people or the abomination and meanness of characters. In many movies, we often shoot the enemy's binge drinking, the noise of casinos, the plot of gangsters and so on. 4. Fast and slow shooting-24 frames per second at normal shooting speed. If the shooting speed of the camera is reduced or accelerated without changing the projection speed of 24 frames per second, special visual effects will appear on the ground screen. A shot taken at a speed 24 frames/second lower than the normal speed of the camera is called a snapshot, which is faster than the actual motion on the screen when projected. If the fast-moving lens is used properly, it will produce an exaggerated comedy effect. However, due to the time spent in the audience's field of vision, it is not used much. A shot shot at a speed of 24 frames per second higher than the normal speed of the camera is called slow motion, which appears on the screen in slow motion during the screening. Slow motion has special significance in film and television modeling. It can artificially "delay" the action rhythm and "extend" the action time, so that the audience can see clearly some action processes that are invisible under normal circumstances. Therefore, pudovkin called slow motion a "close-up of time", which is a way to consciously guide the audience's attention. 5. Subjective lens-As far as the impression of the lens on the audience is concerned, there are two kinds of objective lens and subjective lens. A shot described from the director's (and audience's) point of view is called an objective shot. The shot described from the perspective of the characters in the play is called subjective shot. The subjective lens regards the camera lens as the eyes of the people in the play and directly "witnesses" the scenes of other people, things and things in life. Because it represents the subjective impression of the characters on people or things in the play, with obvious subjective color, it is difficult for our audience to have an immersive and empathetic effect, so that the audience and the characters can communicate emotionally and get the same feelings.