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Will someone answer these filmmaking questions for me??

This sounds like a test or assignment
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I'd try google too.

Bars and tone is used to calibrate your deck/monitor/sound system to the camera.

overlapping dialogue I'm not sure on. It may mean making a split, or "L" or "J" edit. This is where the audio (dialogue) from a shot is cut, and replaced with the next shot's audio before or after the video is cut.

"mis-en-scene" is french and is doesn't literally translate but roughly means "in the scene" and more commonly "infront of the camera" --thankyou 8 years of french. It can mean different things depending on the circumstance, but it's normally a way to describe a scene--and what's important. It could be a drawing, or a shoe box model (like we used to do in set building class), or it could be written words (similar to a treatment). Often, senses such as taste, smell and feel are described or represented to give a more complete view of how the scene is. This is the more traditional take of mis-en-scene. Today, it often represents (and is interpreted by) individual production areas. So, costumes, lighting, sets, props and so forth would all be represented and written about, illustrated, or modeled depending on what type of mis-en-scene is being done.
 
Yes. Bars and Tone are meant to calibrate professional video equipment to make sure that you are playing/recording the video signal correctly.

-Chris
Studentfilms.com
 
stupid French not translating literally . . . .

I recently saw that overlap dialogue thing in a magazine and wasn't sure what it was. So thanks for asking the question for me!

Does anyone know which of the two answers Joren provided are the right ones?
 
I've always understood mise-en-scene to be the opposite of montage.

Montage uses the shot as a building block, and the editing together of these shots is what creates meaning and portrays the story to the viewer.

Mise-en-scene is allowing the shot itself to tell the whole story without editing, so that the foreground, middleground, and background all combine to let a viewer know the relatinships between objects/people. Also, to allow meaning to build up by moving the camera and changing the shot through a dolly/pan, instead of editing to the next shot.

The Russians believed shots on their own are meaningless, and it is only through editing that the full scope of the images is understood. This is what separates film from photography.

The French believed that meaning is built up upon layers, much like how we view reality, without quick edits to intellectualize, but slow movement through space, with time to take in what is in front of you.

Atleast from what I've read, and the examples I've seen.
 
And I think Joren is right the L/J-cut in editing, but overlapping dialogue can also be what Orson Welles did in a lot of his movies:

As an actor was speaking, he would often have the next line by another actor cutt off the one speaking. So instead of a back/forth dialogue (like Tarantino/Mamet), people would just talk one on top of another (like Altman/Cassavetes), because he said that is much more true to the way people spoke.

But since actors are used to waiting their turn, they will usually do that, and so it may be that the overlapping has to be done "artificallly" in the editing.
 

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