The Storyboard

 A storyboard is a graphic organizer that consists of illustrations or images displayed in sequence for the purpose of pre-visualising a motion picture, animation, motion graphic or interactive media sequence.

Here we have an example:

Complementary Colors

 

Two colors that are on opposite sides of the color wheel are called complementary colors. Complementary colors of graphic designs provide high contrast and high impact color combination. When placed together or next to one another these colors will appear brighter and more vibrant.

180-degree rule

In filmmaking, the 180-degree rule is a basic guideline regarding the on-screen spatial relationship between a character and another character or object within a scene. By keeping the camera on one side of an imaginary axis between two characters, the first character is always frame right of the second character. Moving the camera over the axis is called jumping the line or crossing the line; breaking the 180-degree rule by shooting on all sides is known as shooting in the round.

MOST COMMON CAMERA ANGLES

This is a list of the different types of camera shot framing in film,  also I included in this series of videos some examples that come with explanations of when and why to use specific shot frames.

The Section d'Or ('Golden Section')

The Section d'Or ('Golden Section') was a collective of painters, sculptors, poets and critics associated with Cubism and Orphism.Active from 1911 to around 1914, they adopted the name both to highlight that Cubism represented the continuation of a grand tradition, rather than being an isolated movement, and in homage to the mathematical harmony associated with Georges Seurat.The Cubists observed in its harmonies, geometric structuring of motion and form, the primacy of idea over nature, an absolute scientific clarity of conception.However, despite this general interest in mathematical harmony, whether the paintings featured in the celebrated 1912 Salon de la Section d'Or exhibition used the golden ratio in any compositions is more difficult to determine. Livio, for example, claims that they did not, and Marcel Duchamp said as much in an interview.On the other hand, an analysis suggests that Juan Gris made use of the golden ratio in composing works that were likely, but not definitively, shown at the exhibition. 

Art historian Daniel Robbins has argued that in addition to referencing the mathematical term, the exhibition's name also refers to the earlier Bandeaux d'Or group, with which Albert Gleizes and other former members of the Abbaye de Créteil had been involved.