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358 Cards in this Set
- Front
- Back
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ABOVE THE LINE |
The creative members of the production team: Director, writer, principal actors, producer, executive producer. The cost of their services appears on the top half of the budget summary. |
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ACADEMY OF MOTION PICTURE ARTS AND SCIENCES
AKA: AMPAS |
6,000 motion picture prof. A prof, honorary organization dedicated to the advancement of the organization. |
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ACADEMY OF MOTION PICTURE ARTS AND SCIENCE AWARDS
AKA: OSCARS, ACADEMY AWARDS |
"Oscar" looks like someone's uncle. |
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ACCOUNTANT |
Keeps track of all film expenses and reports to producer |
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ACTION |
Called by Director when sound recording equip. and film in camera are running at filming speed. |
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ACTOR |
A person who plays the role of a character |
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ADDITIONAL CAMERA
AKA: CAMERA B |
An extra camera operator. |
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ADDITIONAL PHOTOGRAPHY
AKA: RESHOOTS, RESHOOTING, PICKUPS |
Done by Additional Photographer. Reevaluation. Some cases, actors are recalled to reshoot. |
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ADVANCE |
Payment: a form of deposit before receiving all services. Composite Print: distance between a point on the soundtrack and the corresponding image. |
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AGENT |
A person responsible for the professional dealings of an actor, director or other artist. |
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AIR DATE |
The specific date on which a series episode, commercial, infomercial or television movie are to be televised. |
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ALAN SMITHEE |
Name used when directors don't want their name showed in a film |
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ANAMORPHIC |
A technique of shooting widescreen on standard 35mm. |
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ANAMORPHIC WIDESCREEN
AKA: 16:9 ENHANCED |
Where the 16:9 rectangular image is optically-squeezed (horizontally) to fit inside the 4:3 space. |
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ANGLE OF VIEW |
The amount of a scene that is taken in by the lens, usually expressed in degrees. |
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ANIMATION |
The process of creating the illusion of motion by creating individual frames. |
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ANIMATOR |
One who creates the movement of the object whether drawn or constructed by hand or computer. |
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ANIMATRONICS
AKA: PUPPETEERING |
Creature like devices that are operated by people behind the scenes. |
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ANSWER PRINT |
The first graded print of a film that combines sound and picture, which is created for the client to view and approve before printing the rest of the copies of the film. |
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APERTURE
AKA: F-STOP, EFFECT APERTURE, RELATIVE APERTURE |
A measure of the width of the opening allowing light to enter a camera. |
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ART DEPARTMENT |
The section of a production's crew concerned with visual artistry. |
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ART DIRECTOR |
The person who oversees the artists and craftspeople who build sets |
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ARTIFACT |
A visual defect in an image caused by limitations or the malfunction of film stock, video stock etc. Contrast with cinch marks. |
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ARTICULATION ARTIST |
A person who takes an artists designs and builds them in a computer. |
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ASPECT RATIO |
A measure of the relative sizes of the horizontal and vertical aspects of an image: |
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ASSISTANT CAMERA
AKA: ASSISTANT CAMERA OPERATOR, FIRST ASSISTANT CAMERAMAN, ASSISTANT CAMERAMAN, FIRST ASSISTANT CAMERA, CAMERA ASSISTANT |
A member of the camera crew who assists the camera operator. |
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ASSISTANT CHEIF LIGHTING TECHNICIAN
AKA: ACLT |
Assistant to the Gaffer. |
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A FIRST ASSISTANT DIRECTOR
AKA: 1ST AD |
Is responsible for the preparation of the shooting schedule and script breakdown used to plan the shooting of a film or television show. |
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A SECOND ASSISTANT DIRECTOR AKA: 2ND AD |
Is responsible for information distribution and reporting, cast notification and preparations during the shooting process, records all data. |
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ASSISTANT FILM DIRECTOR
AKA: ASSISTANT EDITOR, ASSISTANT SOUND EDITOR, FIRST/SECOND ASSISTANT EDITOR, APPRENTICE EDITOR |
Is responsible for providing any and all required logistical assistance to the editors. |
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ASSISTANT PRODUCTION COORDINATOR
AKA: APC APOC |
An office assistant to the production co-coordinator. |
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ASSOCIATE PRODUCER |
An individual who performs a limited number of producing functions delegated to them by a producer, under the direct supervision and control of that producer. |
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ASSOCIATION OF FILM COMMISSIONERS INTERNATIONAL
AKA: AFCI |
A non-profit educational organization founded in 1975 to serve the needs of on-location film, television and commercial production. |
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ATMOSPHERE
AKA: AMPTP |
Collective noun referring to the extras (Atmosphere Players) who lend a sense of realism to the scene. |
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AUTEUR |
Is the creator of a film as a work of art, and is the original copyright holder. |
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AUTOMATIC DIALOGUE REPLACEMENT
AKA: ADR, LOOPING, DIALOGUE LOOPING |
The re-recording of dialogue by actors in a sound studio during post-production. |
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AVAILABLE LIGHT |
Filming using only naturally occurring light. Not to be confused with using practicals to supply light. |
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AVID |
Manufacturer of a popular non-linear editing system. Often used to the system itself, as "AVID editor". |
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AXIS OF ACTION |
In the continuity editing system, the "Axis of Action" is an imaginary line that passes through the two main actors of a scene. "180 line". |
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B-MOVIE |
A low-budget movie. |
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BACK PROJECTION
AKA: REAR PROJECTION |
A technique where live action is filmed in front of a screen which the background action is projected from the rear. Not the same as Matte shot. |
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BACKLOT |
A large area on studio property used for constructing large open-air sets or for filming wilderness scenes. |
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BARN DOORS |
Hinged doors mounted on the front of a light that may be opened or closed to regulate light on set. |
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BARNEY |
A padded camera cover, shaped to allow the camera to be operated. Reduces mechanical noise and sometimes has heating elements. |
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BASE CAMP |
Staging area for equipment and large vehicles when filming on location. Can be used for dressing area, meal service etc.
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BEHIND THE SCENES |
The off camera goings on associated with and during filmmaking. |
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BELOW-THE-LINE |
The production staff, crew and technical elements of a project, the cost which appears the bottom half of the budget summary. |
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BELOW-THE-LINE EXPENSES |
All physical production costs not included in the above-the-line expenses, including material costs, music rights, publicity, trailer, etc. |
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BEST BOY
AKA: CHEIF LIGHTING TECH, BEST BOY ELECTRIC, BEST BOY GRIP |
The chief assistant, usually of the gaffer or key grip. In charge of people and equipment, scheduling the required quantities for each day's work. |
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BILLING
AKA: TOP BILLING, DIAGONAL BILLING, EQUAL BILLING |
A great deal of importance is placed on the relative sizes, positions, and order of names and the movie's title in printed publicity material as well as the opening credits. "CREDITS" |
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BIOGRAPHIC PICTURE
AKA: BIOPIC |
A filmed story of a person's life. |
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BIPACK |
In camera effect where you load two reels of film, so that they both pass through the camera gate together. |
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BIT PART |
A small unimportant role, usually only lasting one scene. |
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BLACK COMEDY |
A comedy in which the humor is derived from subjects which are typically considered "serious", or which is considered as unsuitable: death, war, suffering and murder. |
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BLACKFACE |
Using make-up, make an actor into an African-American, usually white actors. |
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BLACKOUT CLOTH
AKA: DUVATENE |
Heavy, densely woven cloth used to cover windows and doors to block light and/or facilitate day for night filming. |
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BLIMP |
Sound proof casing around a motion picture camera. Barney. |
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BLOCKBUSTER
AKA: HIT |
A movie which is a huge financial success. Common more that $100 dollars. |
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BLOCKING |
A process where the director and actors determine where on the set the actors will move and stand, so that lighting and camera placements may be set. |
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BODY DOUBLE
AKA: PHOTO DOUBLE |
Director may not find an actor's part of body suitable for certain shots, actor is replaced, body part, legs, arms, nudity. Not stunt double or stand-in. |
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BODY MAKEUP |
Makeup applied below the neck or above the wrists. |
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BOMB |
A movie which is a financial disaster. "Went down a bomb" UK success. |
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BOOM MICROPHONE
AKA: BOOM MIC, BOOM, FISHPOLE |
A long pole with a microphone on the end. |
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BOUNCE BOARD |
A large white card made of foam or poster board used to reflect soft light and for the soft key and fill. |
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BOX-OFFICE
AKA: GROSS, B.O. |
A measure of the total amount of money paid by cinema-goers to view a movie. |
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BOX RENTAL |
A fee or allowance made to the crew member for providing their own equipment. |
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BREAKDOWNS
AKA: BREAKDOWN SCRIPT |
A detailed list of all items, people, props, equipment, required for a shoot on a day-to-day basis. |
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BREAKAWAY |
A set, hand prop or other item constructed to break in a specific, safe way. |
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BUCK |
Slang for US dollar. |
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BULLET HIT
AKA: SQUIB |
a special affect that simulates a bullet striking and object or a person. This is a pyrotechnic effect. |
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BUTTERFLY |
A net that can be stretched over an exterior scene to soften sunlight or artificial lights. |
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CABLE PULLER |
The crew person responsible for the various cable hook-ups, managing all the various cables and wires and protecting them and the crew and public from injury or damage. |
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CALL SHEET |
A listing of which actors will be required for which scenes and when they will be requiered. |
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CALL TIME |
The time that an individual member of the cast or crew is expected on set or on location and ready to work. |
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CAMEO |
A bit part played by a famous actor who would ordinarily not take such a small part. |
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CAMERA TRACKS
AKA: DOLLY TRACKS |
Tracks of metal and/or 4x8 plywood sheets that are laid down to carry a dolly or camera crane. |
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CAMERA LOADER
AKA: CLAPPER LOADER |
The person who operates the clapboard at the beginning of a shot, also responsible for loading film stock into film magazines. |
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CAMP
AKA: CAMPY |
A form of comedic parody where the 'normal' conventions of a dramatic form, like adventure are deliberately exaggerated to the point of ridiculousness. |
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CARPENTER
AKA: HAMMER |
Responsible for all wood construction such as sets, set pieces and special effects construction. |
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CASTING DIRECTOR
AKA: EXTRAS CASTING, CASTING ASSISTANT |
The person who auditions and helps to select all of the speaking role actors in film. |
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CEL |
A hand drawn sheet representing a single animation frame, usually made of a clear material like cellulose or mylar to allow several layers. |
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CEL ANIMATION |
A form of animation where hand drawn pictures are transposed on to plastic sheets. |
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CENSORSHIP
AKA: CENSORING, CENSOR |
Changed required of a movie by some person or body other than the studio or the filmmakers. |
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C STAND
AKA: CENTURY STAND |
A metal stand for positioning a lighting accessory such as a flag. |
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CGI
AKA: COMPUTER GENERATED IMAGERY |
The use of computer graphics to create or enhance special effects or stunts. |
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CHANGE PAGES |
When a script is being edited during production. |
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CHANGE-OVER MARKS
AKA: CHANGE-OVER, REEL CHANGE, REEL CHANGE MARKS, CIGARETTE BURNS |
Mark to indicate that the reel needs to be changed soon. |
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CHROMAKEYING |
An electronic/computerized technique that allows for specific color elements to be replaced with different picture elements. Blue/Green Screen. |
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CHUTE COWBOYS |
Slang term for experienced parachutists that either perform or assist with stuns involving parachutes. |
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CHYRON |
Text graphics which appear at the bottom of a screen used to describe time, place or name of person on screen. |
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CINCH MARKS
AKA: SCRATCHES |
Scratches on a print running parallel to the edge of the strip of film. |
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CINEMA |
A place where screenings occur. |
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CINEMA VERITE
AKA: CINEMA TRUTH |
A documentary style in which no directional control is exerted. |
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CINEMATOGRAPHER |
A person with expertise in the art of capturing images either electronically or on filmstock. |
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CLEAN SPEECH - DAY
AKA: CLEAN |
A take in which all dialogue was performed without error. |
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CLIFFHANGER |
A moment of high drama, frequently used at the end of serials. |
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CLOSE CAPTIONED
AKA: CC |
System which displays the current dialogue on screen for deaf or hard-oh-hearing viewers. Not subtitles or intertitles. |
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CLOSE-UP
AKA: CU |
A shot in which the subject is larger than the frame, revealing much detail. |
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COLORIST |
Uses computer-based alteration programs to go frame by frame to insure light and color continuity. |
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COMPLETION BOND |
A guarantee that principal photography on a given production will be completed. |
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COMPOSITING |
The combining of visual elements from separate sources into single images, illusion that all these elements are parts of the same scene. |
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CO-PRODUCER |
Performs a substantial portion of the creative producing function or managerial portions. |
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COLOR TIMING
AKA: COLOR CORRECTION, COLOR TIMER, COLOR CORRECTED |
A process which adjusts the final print so that colors match from shot to shot. |
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COLOR TEMPERATURE |
The temp. at which a blackbody emits enough radiant energy. |
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COLOR CONSULTANT |
Expertise in film stock and film developing |
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COLORIZATION
AKA: COLORIZED |
Alter black and white image to include color |
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COMPOSITE PRINT
AKA: SYNCHRONIZED PRINT |
A print with an image and sound on the same strip of film. |
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CONSTRUCTION COORDINATOR
AKA: CONSTRUCTION FOREMAN/MANAGER |
Produce the Art director "vision" in 3D. |
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CONTINUITY |
The degree to which a movie is self-consistent. |
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CONTINUITY REPORT
AKA: CONTINUITY SCRIPT |
A detailed list of the events that occurred during the filming of a scene. |
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COOKIE
AKA: CUCALORIS |
An irregularly perforated shadow forming sheet, opaque or translucent, plywood, fabric metal. Set a distance from a light source, break up light. |
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COSTUMES |
Person responsible for obtaining wardrobe items specified by the costume designer. |
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COWBOY SHOT |
Shot framed mid-leg up. |
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COVER SET |
An interior location set which is prepared to serve as an alternate to planned outdoor shooting in case of weather problems. |
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COVERAGE |
The more detailed shots of which are filmed to be intercut with the master shot. |
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CROSSCUT |
Technique of interweaving pieces of two or more scenes. |
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CYBERPUNK |
Subgenre of science fiction that typically has elements which include a tones of future, urban areas in decay and poverty, powerful corporations. |
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DAILIES
AKA: RUSHES |
First positive prints made from the negative photographers on the previous day. Progress of filming and actors for Director. |
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DEPTH OF FIELD
AKA: DOF |
Measure of the range along a camera's line of site in which objects will be in focus. |
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DESIGNER (PRODUCTION) |
Someone who creates plans for the visual aspects of a production. |
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DIEGETIC SOUND
AKA: ACTUAL SOUND |
A sound that is created by something or someone visible or the screen to be present by the action of the film. |
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DIGITAL COMPOSITING |
Separately filmed components are combined through digital editing. |
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DIGITAL COMPOSITOR |
Person who does compositing through digital means. |
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DIGITAL THEATER SYSTEMS |
Company which has produced a digital soundtrack standard. |
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DIRECTOR |
Creative artist on a movies set. Principal. |
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DIRECTOR OF PHOTOGRAPHY
AKA: DP |
One who is ultimately responsible for the process of recording a scene the way desired by the director. |
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DIRECTOR'S CUT |
Director's assembled cut without studio interference. |
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DISSOLVE |
Image gradually replaced by another. |
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DOCUMENTARY |
A non-fiction narrative without actors. |
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DOLLY GRIP |
Skilled grip that moves a dolly in a smooth way with no jolting movements that jar the camera. |
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DOPE SHEET
AKA: CAMERA REPORT |
A list of scenes from the script that have already been filmed. |
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DOUBLE
AKA: STUNT/BODY DOUBLE |
An actor who stands in for another actor in intimate or dangerous scenes. |
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DOWNTIME |
Time when an ill prepared or malfunctioning element of production keeps everything else waiting. |
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DRAFTSMAN |
A person who creates the plans for set construction. |
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DRESSER |
A wardrobe assistant who helps actors with their costumes. |
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DRIVER
AKA: TRANSPO |
A person who drives either equipment or passangers. |
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DUBBING
AKA: ADR, LOOPING |
Recording dialogue under perf. conditions. |
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DULLING SPRAY |
Dulls surface glares. |
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DUTCH TILT |
A shot composed with the horizon not parallel with the bottom of the frame. |
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DVD MASTERING |
Resource higher than 4:3 is stretched vertically to about 1.33. |
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EDITING |
Reconstructing the sequence of events in a movie. |
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ENG CREW |
Small team usually less than five people, with a self contained vehicle: equipment. Usually daily news.
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EPIC |
A film with a large dramatic scope or that required an immense production. |
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EQUITY |
A UK trade union for actors. |
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EXECUTIVE PRODUCER |
In film: Involved with the financing of the film. TV: Supervises creative content. Gets credit. |
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EXPOSITION |
Important background information that is essential for an audience to understand. |
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EXTREME CLOSE-UP
AKA: ECU, EX/CU |
Shot where subject is much larger than the frame. |
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EYELINE MATCH |
To make sure an actor is looking at the "face" of the character/creature to be inserted later. |
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FAKE SHEMP |
Anyone appearing on screen whose face is not seen. |
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FEATURE FILM |
Movie at least 90 minutes long intended for theatrical release. |
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FEATURED BACKGROUND |
Term used to describe the performers who are placed in prominent positions in the background of the major action of a scene. |
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FEMME FATALE |
Charming, seductive, mysterious character in a movie. |
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FILL LIGHT |
Light used to fill in the shadow area of a subject. |
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FILM DEVELOPING |
Process whereby images recorded on film stock are transferred to a negative print. |
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FILM GRAIN
AKA: GRAIN, GRAINESS |
The tiny particles of light-sensitive material on film stock that record images. |
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FILM MAGAZINES |
A reel of film stock ready for use in a camera. |
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FILM PRINTING |
Process of transferring images from a negative print to a print. |
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FLIM STOCK |
Actual film medium on which photographic images are recorded. |
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FILMMAKERS |
Term used to refer to people who have a signif. control over the creation of a movie: director, producers, screenwriters, editors. |
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FIRST ASSISTANT CAMERA |
Focus puller, responsible for checking and maintaining camera acc. and equip on set. |
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FLAG |
Piece of dark fabric stretched on a frame used for setting shadows. |
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FLAT |
Section of a set made of plywood. |
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FOCUS |
The sharpness of an image, or the adjustments made on a camera necessary to achieve this. |
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FOCUS GROUP |
Small group not related to making the movie who see a sneak preview. |
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FOCUS PULLER
AKA: FIRST AC |
Adjusts camera focus during filming. |
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FOLEY |
Recreating incidental sound effects in synchronization with the visual component of a movie. |
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FOLLOW SHOT |
Shot where the camera is moved to follow the action. Can use stedicam. |
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FORCED CALL |
When a person is called to work before a minimum of hours have passed for rest purposes. |
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FORCED PERSPECTIVE |
Technique used to create a sense of great distance or to make space seem much bigger than it is. Objects fade in the distance. |
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FRAME |
An individual picture image which eventually appears on a print. |
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FREEZE FRAME |
Where a single frame is repeated to give the illusion that all action has stopped. |
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FULL SCREEN
AKA: 4:3 |
Term used to described the shape of the picture a movie is displayed in order for it to fill a regular TV screen aka 4:3. |
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GAFFER |
Head of the electrical department. |
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GIRAFFE |
A mechanically extendible and manipulated boom mic. |
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GOBO |
Plate with cut holes in it to create patterns of projected light. |
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GO MOTION |
form of animation similar to stop motion, but incorporates motion blur. |
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GREENS |
Real and artificial plants and trees used to dress a set, and foliage. |
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GRINDHOUSE |
Movie theaters that tries to get rid of B movies. |
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GRIP |
USA: Responsible for adjustment and maintenance of production equipment.
UK: works with equip that mount camera. |
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HARDTOP |
Slang for normal indoor theater. |
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HERO |
Signif. prop on forefront of shot. Or product being advertised in commercials. |
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HIGH CONCEPT |
Describes a film that includes and exploits certain elements (effects, fast action, star power) in order to attract a large audience. |
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HOD |
Head of Department. Keys. |
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HOLD |
Short wait until a noise dies before rolling camera. |
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HOLD DAY |
when the production company has permission at certain area but elects to take that day off. |
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HOST WRAPS |
Host summarizes what has happened before the show returns to action. |
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HOT SET |
Set where set dressers and prop persons have finalized placing furniture and props for filming a scene. |
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ISO |
Isolation camera. |
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INGENUE |
Role played by young actress. |
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INK |
Verb: Sign a contract
Noun: Press coverage. |
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INSERT |
A close-up shot of an object, sometimes produced by the second unit to explain the action. |
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INSERT CAR |
Moving vehicle on which the camera and crew are placed so they can film another moving vehicle. |
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ITC
AKA: INTERMITTENT TRAFFIC CONTROL |
Involves holding traffic on a road. |
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JIB (ARM) |
Arm of a mechanical crane for camera or mic. |
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JUDDER |
when images sampled at one frame rate are converted to a different frame rate for viewing. |
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JUICER |
Light tech, works under gaffer. |
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JUMP CUT |
Cut involving an interruption to the continuity of time. |
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KEY LIGHT |
main source used to light the subject. |
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KICKER |
Light source that headlights the subject from behind or side. |
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LAYOUT BOARD |
Large flat boards laid out as a courtesy to the location owner to flooring from shooting. |
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LAYOUT
AKA: BLOCKING |
A person responsible for working out the action before filming: where characters should go and which camera angles should be used. |
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LEADMAN |
Member of the art department who is in charge of swing gangs and set dressers and reports to set decorator. |
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LEGS |
of a movie: continuing to return large box-office figures. |
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LENS |
Optical device used by cam to focus an image. |
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LETTERBOXING |
Shrinking the image just enough so that it's entire width appears on screen. |
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LINE PRODUCER |
Responsible for preparing and executing budgets, hiring and managing every person and issue during the making of the film. |
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LOADS |
Pyrotechnic term. |
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LOCATION FILMING
AKA: ON LOCATION |
Filming occurs at a geographical location not a set. Real, existing place. |
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LOCATION SERVICE |
Company that contracts with private property owners. |
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LOCK IT DOWN/UP |
Direction by the director for everyone to be quiet on set. |
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LONG SHOT |
Great distance, characters in small comparison from surrounded. |
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LOOPING |
Voices recorded that: be inserted into the scene or corrected. Do not belong to original actors, language. |
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MACGUFFIN |
A seemingly unimportant item in a movie. Does not drive the story forward. |
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MAGAZINE |
The light, tight container that feeds and takes up film in a film camera. |
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MAGNETIC SOUNDTRACK |
A composite print in which the soundtrack is recorded on the attached strip of magnetic tape. |
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MARKS |
Tape or chalk used to give camera or actor specific reference point. |
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METHOD ACTING |
Style of acting that requires actors to draw experiences from their own personal lives. |
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MEDIUM SHOT |
Shot from a medium distance, showing characters from the waist up. |
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MISE EN SCENE |
What is literally choreographed within the scene rather than contrived through editing. |
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MONTAGE |
An artistic device for creating the artistic look of feel of a scene. |
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MOS
AKA: MIT OUT SOUND, MINUS OPTICAL STRIPE |
Take filmed without recording sound at the same time. |
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MOTION ARTIFACT
AKA: STROBING |
The visual interference patterns between a shot's frame rate and a filmed object's periodic motion or change. |
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MOTION BLUR |
Shots of objects that quickly move in the camera's frame. |
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MOTION CAPTURE |
Recording the actions of a real movement of an actor or object. |
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MOW |
Movie of the week. |
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MOVEMATCH |
The use of computer programs to combine and synthesize real footage with CGI graphics. |
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MUSCOLIGHT |
Brand name for a large truck with telescoping arm that supports an array of powerful lights |
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MUSIC ARRANGER |
Someone who adapts a musical composition for voices, instruments and or performance styles. |
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ND |
Neutral Density description of a gel for lighting purposes. |
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NEGATIVE COST |
The cost of a movie through the production of a finished negative, not including costs of prints, advertising or distribution. |
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NEGATIVE CUTTER |
A person who matches the negative of a movie and conforms it to the final version of the film as decided by the filmmakers. |
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NEGATIVE PICKUP |
An agreement where a distributor acquires a finished negative and agrees to pay Prints and Advertising and distribution costs. |
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NEGATIVE PRINT
AKA: NEGATIVE, NEG |
A reverse light image capture. |
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NIGHT PREMIUM |
An adjustment made to the basic rate of pay for work performed after a certain hour. |
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NG |
No good; take etc. |
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NON-DIEGETIC SOUND
AKA: COMMENTARY SOUND |
Sound where the source is not visible on the screen. Narrator, sound affects. |
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NON-LINEAR EDITING |
The computer-assisted editing of a movie without the need to assemble it in linear sequence. Visual equivalent of word processing. |
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NTSC |
The standard for TV/video display in the US and Canada as set by national television standards committee |
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NUT |
Out of control crew member or actor |
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Off book |
When an actor has completely memorize their lines and cues |
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Off-line |
The process of preliminary editing done and a lower-cost editing facility |
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Off line editor |
A person who performs the off-line work completing preliminary editing done in a low-cost editing facility |
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On line |
The process of final editing and preparation for distribution of film with edits often from the list of changes created during off-line |
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OPAQUER |
And artist from colors in the individual cells of an animated film 81 |
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Optical print |
A laboratory machine for combining the images of one or more reels of film through photographic techniques |
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Optical soundtrack |
A composite prints in which the soundtrack is recorded via the varying with a transparent track which runs beside the sequence of frames on the print |
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Option |
To buy the exclusive rights to a script within a specified time as a set price. |
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Orchestral arrangements |
And adoption of the score for all instruments in an orchestra |
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Overcranking |
The process of speeding the frame rate of a camera up so that when the captured pictures are played at the normal frame rate the action appears to be in slow motion |
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Over the shoulder shot |
A camera shop over the first character shoulders capturing the second character opposite them |
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P and A |
Prints and advertising the major costs in the film distribution |
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PAL |
A standard for TV/video display dominance in Europe and Australia which delivers 625 lines of resolution at 50 half frames per second |
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Pan |
The action of rotating camera on it's horizontal plane but set on the vertical axis |
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Pan and scan |
Refers to the technique of chopping off strips from one or both sides of the picture when displaying |
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Parallel |
A platform or scaffolding used to raise a camera or lighting above the ground for high angle shots |
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Permanents |
The highest point on set was in the studio soundstage was electricity is run for the lighting |
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Permit |
Issued to a production company to allow shooting by the for citing film commission for a location shop for any place public or private that is not a designated studio. |
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Picked up |
Movies made by one studio that have been acquired by another. To acquire distribution. |
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Pick up shot |
re shooting a portion of the scene the rest of which already filmed. |
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Picture car |
Of vehicle shown in the movie |
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Pipeline |
A studio term meaning schedule of movie projects in production |
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pixelization |
Visual square like did you don't break up that appears on the monitor when playing back the video from the digital medium such as a mini VD |
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Playback |
Music and vocals PC recorded used when shooting musical numbers and music videos |
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Point of view |
A camera angle in which the camera views what would be visible from a particular objects position. |
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pole cat |
And expendable metal bar placed vertically in a room between floor and ceiling. Used to hang lights and other equipment |
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Positive print |
an original light image captured on film |
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Post production |
Post work performed on the movie after the end of principle photography. Editing and visual effects. |
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. Postproduction Cordinator |
A person who organizes many facets of the postproduction process |
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Practical |
Refers to something on the sets that actually works in its own right. |
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Preproduction |
All activity prior to the first day of filming |
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Prequel |
A movie that presents the characters and events chronologically before the setting of the previously filmed movie |
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Previsualization artist |
And designer who uses low-resolution proxy models quick open LG hardware renderings and other 3-D effects systems to completely conceptualize a sequence that requires either visual effects or character animation with the goal of two producing usable data that will help streamline the production process. |
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. Principal photography |
The filming of major significant components of the movie which involved lead actors |
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It projectable version of a movie usually consisting of one or more film reels |
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Process shot |
The previously filmed the background shot is projected through a transparent screen while the actors sits in a specially designed vehicle |
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Product placement |
In business arrangement whereby the filmmakers agreed to show the products or logo of a particular company usually in return for payment or other consideration |
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Production accountant |
The offset person responsible for balancing and maintaining the accounting finances during the production |
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Production assistant |
The assistant responsible for various jobs on and off set such as running errands Office admin work fetching items |
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Production buyer |
A person who is responsible for the purchase of supplies equipment and property necessary for production |
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Production code |
Moral censorship of unacceptable content constructed by a Presbyterian elder Will Hayes who was enlisted to rehabilitate Hollywood's morals |
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Production coordinator |
The person responsible for overseeing practical matters both in preproduction and production |
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Production designer |
Responsible for designing the complete overall visual appearance of a movie |
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Production illustrator |
Illustrator responsible for drawing the story boards and anything else that needs to be drawn during the production of the movie |
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Production report |
It daily report of actual progress versus the production schedule |
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Production schedule |
A detailed plan of the timing of the scenes and other activities associated with the making of a movie |
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Production sound mixer |
The head of the sound department on the set |
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Prompter |
A person's supplies actors with the correct lines from the script if they forget |
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Publicity department |
The section of a productions crew responsible for promoting a movie |
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Publicist |
Person employed by studio or freelance to convince and oversee the publicity campaign that opens a movie |
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Quid |
Slang for a pound sterling |
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ramp |
In structure that allows a moving object such as a car to pass above another object or simply fly through the air |
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Re-Recording mixer |
In member of the sound crew responsible for mixing the final sound elements as in dialogue music sound effects and folly |
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Reel |
A strip of film well on the metal wheel |
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Release |
When the movie is shipped to exhibitors by the distributor |
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Report to |
A call that requires a crew member to report directly to a location rather than a studio for the filming day |
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Reverse shot |
Shot taken at 120–180 degree angle from the preceding shop |
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Rigger |
Workers responsible for the setting hanging and focusing of lights |
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Ritter |
A wind machine very large looks like an airplane propeller gas or electric power |
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Rotoscoping |
Animation technique in which images of live action are traced either manually or automatically |
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Run bys |
Shots where a moving vehicle passes a stationary camera position |
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Rushes |
The first positive prints made by the laboratory from the negative photographed on the previous day |
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Sabre artist |
A member of the post production team utilizing a combination of Inferno and other software to create special digital effects |
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Safe area |
Cameras view finder actually shows and records on film a greater area of the scene then will appear in the final product |
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Scene |
It continues block of storytelling either sent in a single location or following a particular character |
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Score |
The musical component of a movie soundtrack |
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Scout |
The visit of A potential location for filming by the location scout or the team of department heads to view and analyze before filming |
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Screening |
The exhibition of the movie typically at the cinema |
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Screenplay |
Script written to be produced as a movie |
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Scrim |
Diffusion material usually metal mesh placed in front of lights too soft and the effects |
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Second unit |
A small subordinate crew responsible for filming shots of lesser importance |
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Sequel |
A movie that presents the continuation of characters and or events of the previously filmed movie |
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Serial |
In multipart film that usually screens a chapter each week |
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Series |
A sequence of films with continuing characters or themes but with little other interdependence especially with respect to plot or significant character development |
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Set decorator |
A person who has total charge of decorating the set was all furnishings drapery interior plants etc. |
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Set designer |
Responsible for translating a production designers vision of the movies environment into a set which can be used for filming |
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set up |
Each change of position of the camera |
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Shiny boards |
Metallic surfaced boards used to bounce sunlight via reflection |
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Short |
A movie that is shorter than 40 minutes |
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Shot |
A continuous block of unedited footage from a single point of view |
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Shot composition |
The arrangement of key elements within the frame |
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Shot selection |
The location of the camera and what can be seen with it |
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Shutter speed |
The length of time that is single frames exposed for |
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Silk |
In large section of translucent White cloth used to filter and soft and hard light source |
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Sketch |
A short scene that typically lasts less than 15 minutes that is typically shown as part of the TV series content |
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Slate |
The recording identification of scene and take numbers usually done with the clap board |
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Sleeper |
And unpublicized sometimes indie movie that attains prominence and success |
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Slug line |
A header appearing in the script before each scene or shots detailing the location |
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Speed |
And announcement made by either the director of photography or camera operator indicating to the director that the camera was operating at the correct speed |
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Spherical |
And optical system in which the magnifications of the vertical and horizontal dimensions of the picture are the same |
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Squib |
A small explosive device which when detonated Will simulate the fact of a bullet puncture wound or small explosion |
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Stand in |
A person has the same physical properties of a particular actor and take there place during the lengthy setup of the scene |
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Stop motion |
A form of animation which objects are filmed frame by frame and altered slightly in between each Frame |
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Strike |
Securing removing the equipment and sets at the end of the shooting day or when changing locations |
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Studio |
Company that makes movies |
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Surround sound |
The sound system which creates allusion of multi directional sound through speaker placement and signal processing |
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Swing gang |
A group within the art department or groups that construct and take down the set |
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Synopsis |
A summary of the major plot points and characters of the script generally in a page or two |
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Take |
A single continuous recorded performance of the scene |
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Technical advisor |
A catch all name for person with expertise in a particular field provides advice for the production |
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Telecine |
The process of transferring moving images from film to video including freight rate and color corrections |
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Teleplay |
Is script written to be produced for television |
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TERRA-FLITE |
A cross between a steady cam and a Luna Crane used to steady images of running courses or cars driving over gravel |
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Time lapse |
Were numerous single frames or films spaced at a given interval to showing process that would take a very long time to occur |
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Timecode |
Electronic numbering codec guides the track attitude film video or audio material to provide a time reference for editing synchronization etc. |
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Topline |
The word is commonly used in marketing the star in a motion picture |
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Tracking shot |
A shot where cameras mounted on Dolly and pushed along a path parallel to the patch of the subject being filmed |
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trailer |
And advertisement for movie which contains scenes from the film |
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Traveling matte shot |
A shot in which foreground action is superimposed on separately filmed the moving background by optical Printing or digital compositing |
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Turn around |
The state of limbo that movie enters after studio decides to drop it in turn around the producers have a chance to set the project up with another studio or with different count talent |
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Two Shot` |
In medium close-up shot of two subjects |
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Under cranking |
The process of slowing the frame rate of the camera down so that when the captured pictures are played at the normal frame rate the action appears to be in fast motion |
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Voice over |
Indicates that dialogue Will be heard on the movie TV or commercial soundtrack but the speaker will not be shown |
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Walk on |
A minor role usually without speaking Lines |
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Wardrobe department |
The section of productions crew concerned with costumes |
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Wild sound |
Dialogue and sound effects that may be dubbed in later |
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wipe |
A transition in which images from one shot are fully replaced by the images of another |
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Working title |
The name by which a movie is known while it is being made |
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Wrangler |
The person was responsible for the care and control of entities used on set that can't be spoken to |
