A__________

Ad-libbing

speaking extemporaneously without a script (Chapter 9).

Additive making

a method of model building in which items are added and fastened until the desired form is achieved (Chapter 8).

Anecdote

a short, amusing, and personal story (Chapter 5).

Affective primer

the process of manipulating the emotions of an audience before the message is delivered (Chapter 1).

Antagonist

the adversarial character in a story (Chapter 1).

Appositives

a noun that renames or describes the noun beside it (Chapter 4).

Arbitrary Cues (or symbols)

signals that bear little physical resemblance to that which they represent (Chapter 6).

Assets

in videography, the term refers to clips, materials, or files that will be used within a project (Chapter 9).

Attractiveness, soundness, & utility

qualities of design set forth by Roman architect Vitruvius (Chapter 6).

Audience segmentation

a technique of identifying and analyzing audience characteristics (Chapter 2).

Augmented reality

a communication method in which an image or design representation is superimposed on the user’s view of the real world (Chapter 8).

Authoritative arc

the term used by Morgan to describe the lowering of one’s pitch of a voice at the end of a declarative sentence to reinforce credibility (Chapter 5).

B__________

Body copy

a term for the main body of text in a graphic composition (Chapter 6).

Boom

a long pole-like mic attachment used to position the mic close to the source of the sound, but out of the camera shot (Chapter 9).

Brand identity

a package of designated fonts, colors, and logos intended to represent a person or company’s values to external audiences (Chapter 6).

B-roll

background or supplemental footage which typically does not include internal audio (Chapter 9).

C__________

Cast-in-place making

a method of model making in which liquid materials are poured into forms and removed once hardened (Chapter 8). 217

Causal reasoning

the process of identifying relationships between a cause and a corresponding event (Chapter 1).

Channel

the term used by Shannon and Weaver to describe the medium used to send a message (Chapter 5).

Cinevate slider

a camera mount that allows the camera to slide from side to side (Chapter 9).

Cliché

an overused phrase (Chapter 4).

Clip

to crop or eliminate a segment of a video (Chapter 9).

Clips

refer to short segments of videos (Chapter 9).

CMYK

color management format which is styled for printed work (Cyan, Magenta, Yellow, and Black) (Chapter 6).

Compositional cues

signals within a document’s layout that help direct the eye and focus attention (Chapter 6).

Compression

the process of reducing file size by eliminating redundant information (Chapter 9).

Concept model

a physical representation of a design concept (Chapter 8).

Conflict

the struggle between two opposing forces in the story (Chapter 1).

Conjunction

a word used to connect words, clauses, or phrases such as and, but, or, nor (Chapter 4).

Contextual labels or labeling

labels that are positioned near the object to which they are describing (Chapter 6).

Continuity editing

editing a video to make time and space continuous from one scene to the next (Chapter 8).

Copy

a term for the text within a graphic composition (Chapter 6).

Crawling or crawler

text moving horizontally across the screen (Chapter 9).

Credit roll

list of names acknowledging contributors at the end of a film or video (Chapter 9).

Crossfade

subtle fade between one scene and the next (Chapter 9).

Cut(s)

a filmmaking term used to refer to individual clips within a video (Chapter 9).

D__________

Data

descriptive or statistical information (Chapter 8).

Demographics

background information about a group of people (Chapter 2).

Directional mic

a microphone that picks up incoming sound from a specific direction (Chapter 9).

Discontinuity

a filmmaking term that refers to differences in clips (Chapter 9).

Display type

a term used for large, eye-catching graphic-orientated text that is intended to garner attention (Chapter 6).

Dolly

a cart on wheels that allows the camera to move while filming (Chapter 9).

Dry media

non-liquids media, such as graphic or color pencils, or pastels (Chapter 8).

E__________

Elevator pitch

a succinct and persuasive statement given within 20-30 seconds (Chapter 5).

Euphemism

a mild (and often more congenial) word substituted for a harsh term or phrase (Chapter 4).

Exploded view

a three-dimensional view showing an assembly of objects slightly pulled apart (Chapter 8).

F__________

Firmographics

background information about a business, firm, or company (Chapter 2).

Font

a complete set of characters in a particular style of type (Chapter 6).

Form model

a physical representation of objects and/or massing (Chapter 8).

Framerate

the frequency at which individual frames appear (Chapter 9).

Frame

a term that can be used to refer to a scene’s composition (Chapter 9).

G__________

GIFs (Graphic Interchange Format)

a digital file format comprised of bitmap images, often used for short animations on websites and blogs (Chapter 8).

Glyph

an individual character of a font, such as a letter, number, or dingbat symbol (Ch. 6).

Golden hour, or magic hour

a photography terms describing the period of time just after sunrise and just before sunset when the quality of light is warmer and softer than normal (Chapter 9).

H__________

Haptic

relating to the sense of touch and/or manipulation of objects (Chapter 8).

Head credits

opening titles before a film or video begins (Chapter 9).

Hedging

a term used to describe the qualifying of a term with conditions or exceptions (Chapter 5).

Heuristics

an approach to information processing that utilizes mental shortcuts (Chapter 7).

Hyperbole

exaggerated claims or statements (Chapter 4).

I__________

Idiom

a phrase or expression which has a different meaning than its words, such as “piece of cake” or “break a leg” (Chapter 4).

Inbetweening

a term used in motion graphics that refers to the necessary frames between the starting and ending position of an object that give it the appearance of smooth movement (Chapter 9).

Interactive Media

a method of communication that responds to a viewer’s actions (Chapter 7).

Intercutting

a term in video editing that refers to cutting back and forth between scenes (Chapter 9).

Isometric

a three-dimensional view in which all three dimensions are drawn at full scale (not foreshortened) (Chapter 8).

J__________

Jargon

specialized or technical terms which may be unfamiliar to audiences (Chapters 4 & 5).

Jib arm

a boom device that holds a camera, allowing it to move smoothly while filming (Chapter 9).

Jump cuts

giving the illusion of time progression in a film or video by cutting from one clip to another and changing the camera’s position (Chapter 9).

K__________

Kerning

the horizontal spacing between two glyphs (Chapter 6).

Key framing

an animation term that describes the process of defining the beginning and ending position of an object in terms of time, form, color, etc. (Chapter 9).

L__________

Lavalier mic, or lapel mic

a small mic that is clipped to the collar, or lapel of a speaker (Chapter 9).

Leading

the vertical spacing between lines of text (Chapter 6).

Linear sequence

when a video follows a start-to-finish story sequence (Chapter 9).

Live-action

a filmmaking term that describes the filming of real people, animals, or environments as opposed to animation (Chapter 9).

Logline

a term in filmmaking used to describe a one sentence summary that conveys the central point or message of the story (Chapter 9).

Longitudinal

in research the term refers to information collected over a period of time (Chapter 7).

Lower thirds

a graphic overlay located at the bottom of the screen which displays an individual’s name and title (Chapter 9).

M__________

Maquette

French for scale model (Chapter 8).

Marker

a tag, such as a QR code, which is used to trigger augmented reality depictions (Chapter 8).

Maslow’s Hierarchy of Needs

theory of human motivation, asserting that basic needs must be met before one can attain self-actualization (Chapter 1).

Modifier

a word or phrase that qualifies or describes another (Chapter 4).

Motion graphics

a filmmaking term that refers to using animated digital footage in storytelling (Chapter 9).

Multivariate

information involving two or more variables (Chapter 7).

N__________

Negative space, or white space

empty space in a graphic composition, which often surrounds important objects (Chapter 6).

NLEs

a filmmaking term to describe non-linear digital editing systems in which the original footage remains unchanged (Chapter 9).

Noise

a term used by Shannon and Weaver to describe potential distractions keeping the receiver from getting an accurate message (Chapter 5).

Noise (graphic)

refers to irrelevant information, textures, or patterns in a composition (Chapter 6).

Non-linear sequence

when a story follows multiple plots or makes use of foreshadowing and flashbacks to tell the story (Chapter 9).

Non-restrictive clauses

words or phrases that add non-essential information (Chapter 4).

Notes

a term filmmakers often use to describe feedback or critique (Chapter 9).

O__________

Open type

fonts which are designed to be compatible in both MAC and PC environments (Chapter 6).

Orthographic views

scaled two-dimensional views of three dimensional objects such as plans, elevations, and sections (Chapter 8).

P__________

Parable

a short didactic story used to illustrate a moral (Chapter 5).

Parallel construction

constructing sentences to follow the same grammatical structure (Chapter 4).

Parallel projection

a method of drawing where objects are projected onto a fixed plane (Chapter 8).

Parti model

a physical representation of a design’s basic schema or geometry (Chapter 8).

Picture Superiority Effect

a theory positing that information shared via images is more likely to be recalled than information expressed in words (Chapter 6).

Pitch

a persuasive message (Chapter 5).

Post-production

the stage in filmmaking where footage is edited (Chapter 9).

Pre-production

the planning stages of filmmaking (Chapter 9).

Prior knowledge

one’s knowledge or beliefs about a topic prior to hearing a new message about it (Chapter 3).

Production

the stage in filmmaking when footage is filmed or content generated (Chapter 9).

Progressive disclosure

sharing aspects of information at predetermined times in order to maintain the attention of the audience (Chapter 1).

Protagonist

the hero of a story (Chapter 1).

Prototype

a full-scale model built to test processes or mechanisms (Chapter 8).

Psychographics

psychological characteristics about an audience such as attitudes, aspirations, and goals (Chapter 2).

Pull out text, or pull quote

an excerpt of text that has been pulled out from the body copy and emphasized with a larger or different font (Chapter 6).

Q__________

Qualifier(s)

a word that modifies the next word (Chapter 5).

Qualitative data

descriptive data typically in the form of words or descriptions (Chapter 7).

Quantitative data

measurable information such as statistics or counts (Chapter 7).

R__________

Raster

refers to images that are comprised of pixels which can appear unclear, or pixellated when increased in size (Chapter 6).

Receiver

the term used by Shannon and Weaver to describe the individual who is the intended target of the message (Chapter 5).

RGB

color management format style for web-based work (Red, Green, Blue) (Chapter 6).

Rough cut

a version of a film or video that begins to resemble the finished product, yet does not include refinements such as transitions (Chapter 9).

S__________

Score

a filmmaking term that refers to the soundtrack or background music, often written specifically for a film (Chapter 9).

Scrolling

a filmmaking term which refers to credits that move vertically on the screen (Chapter 9).

Scrubbing

a term used in film editing to describe playing through footage while in an editing program (Chapter 9).

Section oblique

an isometric view that slices through an object (Chapter 8).

Section perspective

a perspective view that slices through an object (Chapter 8).

Semiotics

the study of how signs and signals are used and interpreted (Chapter 6).

Sender

the term used by Shannon and Weaver to describe the individual who is providing the message (Chapter 5).

Sensory Cues (or symbols)

symbols that bear a physical resemblance to that which they represent (Chapter 6).

Speaker triggers

cues within a composition that are designed to help the speaker recall information (Chapter 6).

Stereoscopic

a virtual reality term used to describe two views positioned at slightly different angles that when viewed together give the impression of depth (Chapter 8).

Study model

a quick model generated for self-study of spatial relationships (Chapter 8).

Subtractive making

a method of model building in which a larger form is cut and sculpted until only the desired form remains (Chapter 8).

Supers

a filmmaking term used to describe the superimposing of titles over video footage (Chapter 9).

Syntax

an arrangement of words or phrases (Chapter 4).

T__________

Table read

a process in which each actor or person involved in a script reads their lines out loud in the same manner they will during filming (Chapter 9).

Talent

a term filmmakers use to describe the individuals who will be on-screen (Chapter 9).

Timeline

an area in video editing software that shows each clip’s duration and its position within the sequence of clips (Chapter 9).

Tone

the intended feel and quality of a video (Chapter 9).

Tracking

the horizontal space between a string of glyphs which affects the appearance of density in text (Chapter 6).

Typeface

font family containing a series of related fonts, such as bold, italics, or light (Chapter 6).

V__________

Vector

images built via mathematical calculations which can be scaled up infinitely (Chapter 6).

Virtual reality

a communication technology in which a user wears a headset in order to be immersed within a different environment (Chapter 8).

Voiceover

a narration not accompanied by the image of the speaker (Chapter 9).

W__________

Wet media

liquid-based products, such as paint and markers (Chapter 8).