Screenwriters often speak of a three-part structure to story construction: WIPE:see TRANSITIONS (Defined in detail under its own alphabetical listing.) MEDIUM LONG SHOT (MLS): A shot in which an object that is 4-5 feet tall fills the screen vertically. A shot that shows a character from the shins up (also referred as a PLAN AMERICAIN). VIDEO CAMERA: A camera which contains an electronic image sensor and records on tape rather than photographic film. This is how flowers can appear on the screen growing, blooming and dying within a few seconds. END.                                         HIGH-ANGLE SHOT: A shot which looks down on a character or object from a height. THREE SHOT: see SHOT. WIPE: A transition in which the second shot appears and “pushes" off the first one; usually the images are separated by a visible vertical line, but there are many variations of wipes. Shooting in actual settings is called shooting "on location". 2) A shot giving a characters reaction to what he/she has seen in the preceding POINT-OF-VIEW SHOT. Example of non1inear editing systems (NLEs) include AVID and Media 100; nonlinear software packages include Final Cut Pro and Adobe Also called POINT-OF-VIEW (POV) SHOT: A shot which represents what a character is looking at. SCENE; see UNITS OF FILM LENGTH. MEANS: Compare to TELEPHOTO LENS. The whole film is spliced together after being shipped as separate reels. END. DIEGETIC SOUND: Any speech, music, or sound effect that originates from a source within the film's story. Because raw-stock came on 10 minute reels in the silent era, directors often structured films in 10 minute sequences. TRACKING SHOT: see SHOT It is seen more or less from his/her perspective and thus often increases the viewer's emotional identification with that character. SHOT/COUNTER-SHOT see REVERSE-ANGLE SHOT (under SHOT). STOP MOTION: The method by which trick photography is created; i) film is exposed one frame at a time, allowing time for the slight rearrangement of models, etc. NONLINEAR EDITING: Random-access editing of video and audio on a computer rather than physically cutting the film. SOFT FOCUS: often need for romantic effect, all objects appear blurred because none are perfectly in focus. FADE: A shot that begins in darkness and gradually assumes full brightness is a fade-in. WIPE:see TRANSITIONS An edited sequence was then constructed using the variety of shots. For example, Yasujiro Ozu's films were often shot at a level of three feet to replicated the eye level of someone seated on a tatami mat and Susan Seidelman's films are often shot at a level below five feet because she is shorter than the conventions allow. for (i=0;i

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