Film Terminology Flashcards

Question

ART FILM

Answer 1

Implies a film that is non-commercial, avant-garde, often foreign, obscure, and in general not a big money maker for a studio.

Answer 2

The one movie theater in town in which art films are shown, oftentimes the clearing-house for obscure films to barely break even.

Answer 3

The relationship between the height and width of a motion picture or television frame expressed numerically. There are several aspect ratios now in use: The Academy Aperture is 1.33:1; standard widescreen in Europe is 1.66:1; standard wide-screen in America is 1.85:1; the anamorphic is 2.35:1; and a 70mm frame is 2.2:1.

Answer 4

This individual acts as the liaison between a production company and those personnel involved in the production process (read: a credit thrown to someone in lieu of responsibility and/or money).

Answer 5

(1) The subtle aura pervading a scene. | 2) People in a scene other than the principal actors (extras

Answer 6

Any element of sound in film and television.

Answer 7

Used for talent (actors, writers, directors, key crew members) meaning the talent is available to work during the time requested. See also UNAVAILABLE and TECHNICALLY AVAILABLE.

Answer 8

When it comes to continuity and editing, the “Axis of Action” is an imaginary line that passes through the two main actors of a scene, defining the spatial relations of all the elements of the scene as being to the right or left. The camera is not supposed to cross the axis at a cut and thus reverse those spatial relations. This will confuse the audience as to where in relation to one another the actors are standing. In other words, if two actors are talking to each other if we are shooting an actor’s face and he/she is looking toward screen right, when the camera flips to the other actor whom he/she is talking to, that actor should be looking toward screen left.

Answer 9

(1) A large piece of scenery--e .g., a painting or photograph--used as an artificial background during the filming of a scene when the view through a window in the set is supposed to be a landscape or a street with buildings. (2) Any facsimile used for background purposes.

Answer 10

Profit participation or moneys received after a film is released. The backend is usually worked out during Pre- Production and is performance-based compensation vs. up front payment.

Answer 11

Flaps that are hinged to camera lights. Adjustment of the flaps regulates the amount and the shapes of light that falls onto the set.

Answer 12

A special cover over the camera that insulates the camera noise.

Answer 13

A deliberate slight pause in the flow of dialogue or action.

Answer 14

Refers to the technical elements of the production staff. Literally, these are the budget elements and people that appear below a bold line on a standard production budget form. Money spent "below the line" actually translates into things that show up "on screen." The money that paid for the crane on the set was a BTL cost.

Answer 15

Chief Electrician in charge of all power distribution and the lighting equipment on the truck; he is the first assistant to the gaffer.

Answer 16

He is the first assistant to the key grip.

Answer 17

The frame holds the subject's face from chin to top of head.

Answer 18

A conspicuous minor part in a film.

Answer 19

A walk-through of the actors' movements relative to the camera for a given scene. This ensures that the camera will capture all the good stuff when film is actually rolling, such as people being blown out of doors by large fireballs.

Answer 20

The arrangement and choreographed movement of actors and major props (e.g., automobiles, horses) for the camera. Since the camera can also move, blocking the scene may include the movement of the camera.

Answer 21

1) The noise made when two pieces of sound track are spliced. A patch is affixed to eliminate the sound. 2) The device used to delete any undesirable words or sounds, such as frequently occur in live television.

Answer 22

A mistake or a fluff made in dialogue or action during filming.

Answer 23

A hydraulically operated, mechanical arm counterweighted to support a camera and attached to a dolly. Operated manually or by remote control, it permits a technician to move the camera in smooth vertical camera movements-upward and downward, or through spaces that would otherwise be inaccessible.

Answer 24

A telescoping arm that supports a microphone. The sound man positions the microphone just outside the camera frame while recording sound within the scene.

Answer 25

Articles made of special material that can be shattered or broken apart without injuring the participants in a scene.

Answer 26

Any extraneous shot that connects two pieces of cut film.

Answer 27

Ribald humor--e.g. American Pie, and Dumb and Dumber.

Answer 28

An extra large camera light. See ARC LIGHT.

Answer 29

When a studio or production company purchases a script outright.

Answer 30

The "grace" period is allotted to production when going over onto lunch or dinner. Once grace is called the production is allowed to finish the current shot and no lens changes are permitted. If the UPM lets the 1st AD know that lunch is going to arrive late, she or he will call Grace, if possible, to avoid having to pay the meal penalty or feed the crew Happy Meals.

Answer 31

They is the key document to keeping everyone organized during production. The night before any day of shooting, the UPM or production coordinator will send out a call sheet to everyone crew member and personnel involved in production. The sheet will have all the pertinent information regarding the shoot for that specific day.

Answer 32

The Assistant Director's job of calling out "lock it up, quiet, roll sound, roll camera" in advance of each shot.

Answer 33

A small part in a film, performed by a distinguished actor.

Answer 34

A method of turning the architectural plan and elevation for a set into a perspective drawing for the purpose of previewing how the finished set will appear to the camera when using a particular lens, camera position and aspect ratio.

Answer 35

The viewpoint chosen by the director or cinematographer to photograph a subject.

Answer 36

The person who physically operates the camera and is responsible for properly composing and framing the subjects being filmed under supervision of the director of photography (DP).

Answer 37

Installs (threads) the magazine of film into the camera and also removes it after the footage had been shot; focuses the lenses during filming.

Answer 38

Responsible for loading the raw film into the magazine and then unloading the exposed film into cans; functions as the Slate Operator (sometimes referred to as the Clapper) during shooting; keeps record of all the camera shots and takes, printed and unprinted; checks prints of slate and take numbers with the continuity supervisor; turns in a daily report to the second assistant director.

Answer 39

Subjects or objects are positioned at the left side of the frame or move toward the left side of the frame. Screen direction is opposite to legitimate stage direction. As you view the scene in front of the camera, Camera Left is parallel to your left-hand side. To move Camera Left, a performer moves in the direction of his or her right-hand side; to move Stage Left, a performer moves in the direction of his or her left-hand side. Camera Right The opposite of Camera Left. As you view the scene in front of the camera, Camera Right is parallel to your right-hand side. To move Camera Right, a performer moves in the direction of his or her left-handside; to move Stage Right, a performer moves in the direction of his or her right-hand side.

Answer 40

Signifies that the magazine of film is empty before the finish of a shot.

Answer 41

Sometimes called Chinese or Dutch angles. The angling of the camera so that the horizontal frame line is not parallel to the horizon. A slightly canted frame dynamically charges the composition, while extreme angling has become a conventional way of conveying disorder and mayhem.

Answer 42

The process of selecting actors for a film. Casting usually takes place during pre-production. Casting often involves sorting through mass amounts of actors' headshots and lengthy negotiations.

Answer 43

The person responsible for casting a movie. This includes generating casting suggestion lists, auditioning actors, and making offers to potential cast members on behalf of the producers and their "aspiring-actor" relatives.

Answer 44

A wooden walkway suspended above the stage set to accommodate personnel handling lighting and other equipment. Another term for scaffold.

Answer 45

Personal change in a character over the course of a story. If a character has no arc, he or she is described as being a 2-D, flat, or a "cartoon" character.

Answer 46

Motivation is what guides the actions of the characters--that element within their characterization that compels them to act in the way the part is written.

Answer 47

The gate is a piece of metal in the shape of a film frame on a camera. Once you have final set up you look in the gate to check for hair in the frame. This must happen often since a piece of hair showing up in post on the perfect shot could lead to great frustration.

Answer 48

The frame holds a face from the neck up.

Answer 49

The DP is responsible for the look of the film, and often shoots the picture. He/she helps the Director translate the written word into the visual in dose cooperation supervising and operating the lighting and camera crews in the most efficient manner possible. Selecting the type and quantity of camera equipment for the production and the film stock for the overall photographic "look" of the picture. Determines the quantity and type of lights to be used in the production. Supervises and works with the gaffer to control the intensity, color balance and placement of all lighting. Supervises the gelling of windows areas and lights for proper color balance and/or effect. Works closely with the Director in setting up the shots to create continuity of action, screen direction, energy level lighting and effects, etc. Works closely with the Director in selecting angles, camera height and movement, whether on a tripod, dolly, panaglide, crane, skycam, vehicle (land, air or water) or hand held.

Answer 50

The frame holds the subject's figure from ribs to top of head.

Answer 51

A shot taken very close to the subject or with the subject of the shot very large within the frame, revealing a detail only, i.e. hands, face, etc.

Answer 52

A Co-Producer is to Producer like co-pilot is to pilot. Works with the other producer(s) to oversee all aspects of a film's production and development. Co-producer often implies hands-on work on the set.

Answer 53

A document prepared by the Script Supervisor that monitors consistency throughout a script in terms of scenery, lighting, costumes and characters.

Answer 54

The photographic and editorial style that creates the illusion of a spatial/temporal continuum so that a sequence of shots appears to present events as they happened. The continuity style is the predominant style of narrative films, sometimes called the Hollywood classical style or in France, decoupage classique.

Answer 55

The narrative growth of a film created through a combination of visuals and sound. Consistency of physical detail between shots intended to match (i.e. making sure drink and cigarette butt levels match from scene to scene). Also the illusion of a real or logical sequence of events across cuts or other edits between different shots.

Answer 56

Creates the style and personality of the garments worn by the performers as depicted in the script.

Answer 57

Camera movement that is in the opposite direction of a moving subject.

Answer 58

Often shortened to "cover." This is a location kept in reserve to serve as an alternate shooting site in case the chosen shooting site is unusable. It is most commonly used in the context of a shoot planned for an exterior location. Generally the days are scheduled so interiors can be shot when weather threatens exterior locations. Not to be confused with coverage.

Answer 59

An extra shot made to use in case it becomes necessary to cut out a questionable piece of film or to cover up a mismatch in continuity. See MASTER SHOT.

Answer 60

(1) After a script sits on an executive's desk for a few weeks, or gets toted around in the executive's script bag, the coverage, drafted up by some lowly reader. Comes back. The coverage usually talks about how the script is nothing more than a failed attempt at a tired genre and falls short as a screenplay in nearly every important aspect. The executive's assistant, at the request of his or her boss, will call up a form letter on the computer which conveys something to the effect that, "while I enjoyed reading [insert catchy title here], it is not the kind of project we are interested in pursuing at this time." (2) Coverage can also refer to what was "covered" in a particular shot. The goal is usually to get lots of coverage (several angles on each shot) so that the editor has some options when cutting the film together.

Answer 61

A small vehicle equipped with special wheels designed to move in all directions--forward, backward, and sideways (like a crab, from which its name is derived). During filming, the camera and operator are stationed on the dolly, and the camera is mounted on a hydraulically operated apparatus (see BOOM CAMERA). The combination of adjustable wheels and the camera's flexibility facilitates the shooting of multiple actions within a scene.

Answer 62

The individuals whose job it is to supply the food on set.

Answer 63

A scene filmed from an extreme height. The camera is mounted on a large, specially constructed vehicle known as a crane. A hydraulically operated apparatus permits the raising of the camera for filming. A camera mounted on a crane has extraordinary maneuverability and is capable of panning 360°.

Answer 64

The list of names acknowledging the persons and craftspeople involved in the production of a motion picture or television film. The list appears either before or after the presentation.

Answer 65

The frame holds two or more subjects, with the camera focused on (shooting past) the profiles at either camera left (CL) or camera right (CR).

Answer 66

A method of editing wherein two or more scenes that occur at different locales are assembled alternately (intercut) to show that the different actions are taking place simultaneously, or wherein scenes that occur in different time frames are intercut.

Answer 67

Movements of subjects from one place to another in a scene, crossing the screen left to right or right to left.

Answer 68

The invisible line in a scene representing the scene's dramatic polarization. Coverage is shot from one side of this line to preserve consistent screen directions for all participants. Complex scenes involving multiple characters and physical regrouping may have more' than one axis. Script Supervisor Linda Leifer explains crossing the line in laymen's terms: "There is a physics to film making. The pieces have to work together. The way the camera is and the way your body is. If you end up crossing the line, two characters talking to each other look like they're not talking to each other. It makes for very bad cutting. It may make so bad of a cut that an editor won't use it."

Answer 69

Large cardboard sheets from which actors read written dialogue and/or directions (sometimes referred to, humorously, as idiot cards). Another device used for this purpose is the mechanical TelePrompter.

Answer 70

Tracks sound recordings that are synchronized with the rolling of the camera but are used only as guide tracks. Often, when shooting outdoors, atmospheric interferences (overhead airplanes, background disturbances) render a scene's dialogue unusable. Subsequently, the actors rerecord the dialogue onto a clean sound track, and the off-screen (OS) noises are edited in perspective.

Answer 71

A piece of plywood or plastic with cutout patterns of varying shapes and sizes that casts surface shadows onto the set when placed in front of a light source.

Answer 72

In editing: (a) to sever a segment of film and join it to another segment of film (to splice); (b) to immediately change from one shot to another; (c) to delete (cut out) a portion of a shot.

Answer 73

In directing: the order that the director gives to stop the action of a performance or the operation of any camera or sound equipment.

Answer 74

In the script: to delete any action or dialogue from the written page.

Answer 75

A single shot inserted into a sequence that momentarily interrupts the general flow of action. The inserted shot may introduce a pertinent detail or a new location related to the action.

Answer 76

(1) An assistant film editor who assembles the dailies and prepares the film for viewing. (2) The device used to cut down a shaft of light.

Answer 77

The room that houses the equipment used in assembling and editing the processed film. The film is viewed on an apparatus called the Moviola. There are also contemporary machines that expedite film editing, manufactured under various trade names. The latest editing process uses laser technology.

Answer 78

The first positive prints made by the laboratory from the negative photographed on the previous day. What you watch each day. Studios watch rushes to make sure the director is doing a good job. This film is viewed by the director, the producer, and other concerned personnel.

Answer 79

Denotes the filming of an exterior nighttime scene during the daytime. Special filters are attached to the lens to create darkness. See also NIGHT-FOR-DAY.

Answer 80

A style of cinematography and staging that uses wide-angle lenses and small lens apertures to emphasize depth by keeping objects in the extreme foreground and background in focus simultaneously.

Answer 81

The range of distance in subject space within which a lens provides an image that reproduces detail with an acceptably small circle of confusion usually small enough for subjective evaluation as a "point." Larger f-numbers give greater depth of field. (The more the iris is stopped down the greater the 'depth of field'). Shorter focal lengths give greater 'depth of field'. Greater subject distances gives greater 'depth of field'. Depth of field is greater behind the subject than the front.

Answer 82

A tighter, more highly magnified version of the close-up used to show a fragment of a whole subject or a small object in its entirety.

Answer 83

Also known as development hell. From the writer's point of view, this is when the producers rape their vision. From the studios POV, development is where a good script is made better and more production friendly (a.k.a cheaper).

Answer 84

Abbreviation for Directors Guild of America.

Answer 85

A type of acting coach who specializes in training actors to speak in specific dialects. Actors may request a Dialect Coach to help prepare for a role.

Answer 86

All the words spoken by actors during filming.

Answer 87

In charge of the production activities of the cast and crew in the undertaking of translating the concepts, actions and ideas in the script into cinematic images in such a way that an entertaining and viable result is accomplished on the screen; is responsible for creating all the dramatic and technical components that transform a script into a motion picture: participates with the actors in interpreting their roles; is the ultimate authority on the set.

Answer 88

Studio or production company executive who is involved with reading scripts, coverage, giving notes, making writers and directors lists and meeting with agents. Shepherds ideas, books and scripts into better scripts ready for production.

Answer 89

The process whereby an image on the screen begins to disappear as another image takes its place. The term denotes the transition from one scene to another, or the end of a sequence. The process is executed at an optical laboratory. Some cameras have the technical capability to affect a dissolve.

Answer 90

A dolly is a small, heavy unit that moves along a track carrying the camera, the camera operator and sometimes the director. The dolly can carry the camera backward and forward, as well as carry the boom and raise the camera up or down.

Answer 91

The camera is pulled backward, away from the subjects or objects, and thus moves from a closer to a wider angle. This makes the images appear smaller on the screen.

Answer 92

The person who pushes the wheeled platform on which the camera is mounted; makes directional moves called for by the action in a scene.

Answer 93

The camera is pushed forward, toward the subjects, and thus moves from a wider to a closer angle. This makes the images appear larger on the screen.

Answer 94

Any shot made from a moving dolly. These may also be called tracking or traveling shots.

Answer 95

Rails that are laid down to accommodate the wheels of a dolly used for a moving shot.

Answer 96

(1) The person who substitutes for a principal actor (stunts). (2) Duplication of an article of props or wardrobe.

Answer 97

Shooting downward on a scene. See BOOM CAMERA; CRANE SHOT.

Answer 98

The area closest to the camera. Moving downstage means moving toward the foreground (FG) of the shot.

Answer 99

The term applies to different editing procedures: (1) The re-recording of dialogue in a film when only a cue track was running during the original shooting. The technical term is ELECTRONIC LIM REPLACEMENT (ELR). (2) Coordinating and synchronizing into a master track all the dialogue and sound tracks from a finished shoot and integrating that track with the film footage. (3) Recording voices in a foreign language that will replace the original dialogue in a film. (Speaking in a foreign language while creating the impression that the speeches are coming from the mouths of the original actors in the film is a highly specialized skill) Also see ADR

Answer 100

The film or video cutter. This person, along with the director, determines the narrative structure of a film. The Editor splices the shots of a film together into final form. Editors must figure out which scenes to include and omit in order to convey the passage of time and clean up any mistakes that occurred during the filming process.

Answer 101

Works for the gaffer and assists him in the performances of his duties. May assist the best boy. Provides power to the set and controls the lighting instruments.

Answer 102

The achievement award statuette given by the Academy of Television

Answer 103

The slate photographed at the end of a take if, for some reason, a slate was not photographed at the beginning, or if there was a mistake on the beginning slate. An end slate is held upside-down to be photographed.

Answer 104

The list of names acknowledging the participants in a film or television production, shown at the END of the presentation. See CREDITS for variation).

Answer 105

(a) Subjects coming into a shot through a door or coming into the frame from off-camera (OC). (b) Subject makes an entrance when they come into a shot.

Answer 106

A wide-angle, long, or full shot that is made to introduce a particular locale by showing the geography, environment, or atmosphere of a scene.

Answer 107

The person who has brought together all the elements in the making of a motion picture or television film. This executive represents the finances, is the finances, or is the Production or Development Executive connected with the company that is financing production. Most often, an Executive Producer supplies the capital needed to produce a film. Executive Producers supply their money in exchange for part of the film’s profits.

Answer 108

Designation for scenes that take place out of doors.

Answer 109

Actors or industry professionals who work in scenes without speaking: they appear in crowds, in street scenes, as diners in a restaurant, as dancers in a ballroom, as soldiers on a battlefield, as audience members in a theatre.

Answer 110

In charge of "wrangling," taking care of, and controlling the extras, their paperwork, costuming, props, etc. This involves getting them in position and readying them for their respective scenes.

Answer 111

A shot taken very close to the subject, closer than would be necessary for a close-up, revealing extreme detail, like a tear dropping from an eye or the dilation of a pupil.

Answer 112

The frame holds subjects or objects that appear in the distant background of a shot.

Answer 113

(1) The process whereby a clear image emerges onto the screen from blackness. The process is executed at an optical laboratory. (2) In a script, the term is customarily used to indicate the start of a screenplay or teleplay, and/or the start of a new sequence.

Answer 114

(1) The reverse of FADE IN: the image on the screen disappears into blackness. The process is executed at an optical laboratory. (2) In a script, the term is customarily used to indicate the end of a screenplay or teleplay, and/or the end of a sequence.

Answer 115

Action seen moving at a faster-than-normal pace. The effect is created by undercranking the camera speed (i.e., rolling at less than 24 frames per second (FPS)).

Answer 116

The term used to indicate that a character or an object is to be given a position of prominence in a shot.

Answer 117

Each state has a film commission to ensure all production and filmmaking needs are met. It can help accompany filmmakers to desired locations, arrange accommodations, secure clearances and issue permits, manage insensitive programs, research talent agencies and help with casting extras. Film Commissions may also help network with appropriate community organizations and business associations, enlist the aid of city departments and serve as a liaison between film production companies and police and fire departments regarding safety and traffic concerns.

Answer 118

DPs use different filters on their cameras to add or take away certain aspects of a given shot (light, color. etc.).

Answer 119

The ultimate edit of a finished film.

Answer 120

The person who keeps everything moving forward, on time and on schedule. The 1st AD is responsible for scheduling the shoot each day as well as managing the set during production. Good communication skills are key. Shot lists are crucial to the 1st AD performing his or her job efficiently.

Answer 121

Refers to the principal performers in a scene to differentiate them from the stand-ins who were in the set during the lighting.

Answer 122

A pipe with holes cut into the top through which gas runs. Think of it as a giant pilot light: the gas comes out of the holes, provoking a convenient place to ignite a large, controlled blaze.

Answer 123

An extremely brief shot, as short as one frame, which is nearly subliminal in effect. Also, a series of short staccato shots that create a rhythmic effect.

Answer 124

The camera moves very swiftly from one image to another, blurring the former and focusing on the latter.

Answer 125

Scenes that relate to something in the past, interjected (intercut) between scenes of the contemporary exposition of the story.

Answer 126

A reversed piece of film. Sometimes a shot is reversed during editing to correct its screen direction. This does not always work, however, particularly when the background is recognizable and numbers and objects are seen backward.

Answer 127

The term for an inadvertent error in dialogue or action made by a performer.

Answer 128

The distance between the optical center of a lens and the subject being filmed.

Answer 129

A transition effect by which an incoming shot comes into focus or an outgoing shot goes out of focus.

Answer 130

The point at which a lens produces a sharp image.

Answer 131

The technique of augmenting and creating sound effects to synchronize with the action in a film during post- production (e.g., footsteps, slaps, punches, heavy breathing). Foley is the surname of the man who invented this technique.

Answer 132

The adjustment of lens sizes, made according to the changes in distances as a subject, or the camera, moves within a shot. The Camera First Assistant handles the operation.

Answer 133

A tracking shot, pan or zoom move that follows a moving subject.

Answer 134

(1) The space that is closest to the camera. | (2) Any area or activity that is in front of the subjects or objects being filmed.

Answer 135

Styles of graphic composition: OPEN FORMS tend to emphasize looser, less controlled positioning of elements in the frame as if they were unplanned, extending beyond the boundaries of the frame as though the camera just discovered them. Open form compositions are characteristic of documentary films, accounting for their reputation as being more realistic. CLOSED FORMS tend toward self-contained compositions carefully arranged to include everything of importance within the frame.

Answer 136

Relates to the measurement of motion picture film. The 35mm camera runs at the speed of 24 fps; it exposes 16 frames per foot, which translates to 1 1⁄2 feet of film per second, or 90 feet of film per minute. The 16mm camera running at 24 fps exposes 40 frames per foot, which translates to 3/5 of a foot of film per second, or 36 feet of film per minute.

Answer 137

An individual measure of motion picture film on which an image is projected.

Answer 138

The act of positioning the camera and adjusting the lens to achieve the desired dimension of the subject or area being filmed.

Answer 139

The holding of an image on a single frame of film that runs as long as required. This gives the impression of suddenly stopped action.

Answer 140

An expression that mandates the repeating of a scene from its starting point or from the first word of an actor's speech.

Answer 141

A style of figure placement in composition, popular in Western art, in which the subject of a painting or drawing faces the general direction of the viewer.

Answer 142

The frame holds subjects from head to toe and the screen is filled with some foreground and/or background activity (see LONG SHOT).

Answer 143

The frame holds two or three subjects in full figure.

Answer 144

In charge of the electrical department and works with the Cinematographer to light the set. He or she is responsible for all major electrical installations on the set including lighting and power.

Answer 145

A piece of black wood or opaque fabric mounted on a stand, used to prevent rays of light from hitting the camera lens. Gobos come in various shapes and sizes.

Answer 146

Greeking is the process of masking or concealing trademarks that the production has not received legal clearance to use in the film. Usually Greeked with coloured gaff tape.

Answer 147

Used in Hollywood to describe when the studio commits to making a film. When a film gets the "Greenlight" from the studio brass, the production team sets a start date and the studio begins allocating resources (i.e. money) to kick off pre-production.

Answer 148

Does most of the rigging of light support equipment and mounting of cameras.

Answer 149

The frame holds four or more subjects. The projected image may be in a long shot, a medium shot, or a close shot. The size of the lens determines the size of the image.

Answer 150

Is responsible for grooming actresses' and actors' hair during filming: styles and dresses the coiffures as specified in the script (e.g., wigs and hairdos for period pictures.)

Answer 151

Black and white 8x10 photographs of an actors or actresses, most often just of their head, with an acting resume attached to the back. Agents send head shots out to casting agents, and actors and actresses bring them to auditions. This is the equivalent of a resume for actors.

Answer 152

A shot in which the action advances directly toward the camera.

Answer 153

The camera is shooting from a height, focusing downward on a scene. See BOOM CAMERA; CRANE SHOT.

Answer 154

A very low tripod on which a camera head is mounted for shooting scenes from below eye level. (Low Angle) Sometimes the equipment is placed in a dugout in the ground to achieve the desired filmic effect. The device acquired its name because it resembles a man's evening top hat.

Answer 155

A high-intensity, lightweight lamp whose rays simulate daylight brightness. See ARC LIGHT; BRUTE.

Answer 156

A director's instruction to the continuity supervisor and the camera assistant not to circle a particular take number for printing but to mark it as a "hold" until further notice.

Answer 157

A trailer equipped with washroom facilities.

Answer 158

The murmuring sounds emanating from a crowd in a scene, on instruction from the AD.

Answer 159

Denotes that camera film and sound track are running at coordinated speed.

Answer 160

An automobile, truck, or improvised vehicle in which the camera and select personnel ride when filming a scene that depicts a traveling vehicle.

Answer 161

(1) A separate close-up shot that focuses attention on an object within the context of a scene (e.g., a letter, a picture, the time on a dock, a book title, a diamond ring on a finger or in an open box). (2) A shot used as a cutaway during editing.

Answer 162

Designation for scenes that take place indoors.

Answer 163

The measurement of sound track (audio tape). Tape runs at the speed of 7 ft inches per second. That rate corresponds to the camera's rate of speed of 24 frames per second (fps). When camera and sound record simultaneously at those rates of speed, they are synchronized (in sync).

Answer 164

The effect of making images emerge from a speck of light on a black screen (a tiny aperture in the camera) to a fully lit picture. The process is executed at an optical laboratory.

Answer 165

The opposite of IRIS IN. A fully lit picture is gradually diminished until the screen is in total blackness. The process is executed at an optical laboratory.

Answer 166

A mechanical arm supported on a dolly and counterweighted to hold the camera for an increased range of motion, usually vertical.

Answer 167

A form of crane with a remote controlled camera head. It looks like a sailboat mast on a swiveling base with a counterweight to support the camera and it is very heavy (about 1000 pounds).

Answer 168

An electrician who connects electrical currents (juice) to lamps and equipment.

Answer 169

A linkage of shots in a scene in which the appearance of real continuous time has been interrupted by omission. In certain situations jump cuts are an accepted convention for compressing time. They can also be used as a deliberately disruptive device to make the viewer aware of film technique as in the work of Godard. Recent trends have seen the use of the staccato jump cut in music videos and commercials for purely rhythmic effect.

Answer 170

The chief grip who works directly with the Gaffer for set lighting and who supervises camera cranes, dollies and other platforms or supporting structures according to the requirements of the Director of Photography.

Answer 171

The principal source of light that illuminates a subject in the set, around which auxiliary lamps are affixed to create the desired ambience of the set.

Answer 172

Abbreviation for International Alliance of Theatrical and Stage Employees--the trade union that embraces all the personnel working in film and television production.

Answer 173

A camera direction that denotes movement from the left side to the right side of the screen.

Answer 174

An optical device in the camera, through which light passes and projects an image onto film.

Answer 175

The relative degree of sound transmitted to the recording panel.

Answer 176

The person responsible for keeping physical production on time and budget, as well as allocating resources and supervising the production on a day-to-day basis to make sure production targets are met. The Line Producer works with the Unit Production Manager, First Assistant Director, Director, Art Director, Editor and Composer in preparing the budget and production schedule. All final budgets and schedules have to be approved by the Line Producer before going to the studio for ultimate approval.

Answer 177

A live video performance projected on a television screen within a scene being filmed with a motion-picture camera.

Answer 178

A place outside the studio where a picture or part of it is filmed. Not to be confused with "setting" and often referred to as "on-location." Scouted in advance by the Location Manager.

Answer 179

Person in charge of finding and securing locations where the non-studio filming takes place. Involves dealing with owners and neighbors (kissing a lot of ass) and knowing how to pay people off.

Answer 180

Scouts out locations for the film to be shot. Most start by making a list and getting feedback from the director on the size, feel and dynamics of each location. The scout will then photograph the different possibilities and report back to the director who in turn chooses the ones he or she likes and goes to visit them.

Answer 181

A get ready signal shouted out by the AD, when shooting is about to begin. Because there must be quiet on the set, the phrase suggests that any open doors, cabinets or moving parts on any equipment must be closed, taped, locked or otherwise made immobile in order to ensure silence.

Answer 182

When the camera is on a tripod or other stable support, the mechanism that controls the movement of the camera, such as a fluid or geared head, can be locked in position for a static shot.

Answer 183

A shot of subjects or objects that are distant from the camera, embracing a comprehensive view of the scene. The images in long shots look small to the audience.

Answer 184

The device for running film during lip-syncing recordings. See DUBBING and ADR.

Answer 185

Refers to the composition of a shot. Loose framing includes a great deal of space around a subject.

Answer 186

A shot in which the frame holds subjects and objects with space at both sides of the image, as opposed to a tight shot, wherein the image fills the frame from side to side.

Answer 187

SAG defines Low Budget as costing between one and two million dollars. Generally, from $2 to $10 million is a low budget studio movie. From $10 million to $40 million is a regular budgeted studio movie. $40 million to $70 million is a big budget studio movie $70 million and beyond is a blockbuster.

Answer 188

Nothing beautiful lasts forever and magic hour is no different. This is the time of day when the sun sets or rises the light is perfect. The sky is purplish blue or reddish pink (or both), and everything looks amazing for approximately 35 minutes.

Answer 189

Attends to the general cosmetic needs of the actors and actresses during filming: creates distinctive makeup as called for in the script (e.g., period images and science fiction character illusions.)

Answer 190

Finishing the shooting schedule shot list for the day. Very important, because on a low budget film you often won’t be able to pick up what you missed at a later date. See "SCREWED."

Answer 191

The last shot of the day. Preceded by ABBY SINGER (the second to last shot of the day) and followed by the first drink of the evening.

Answer 192

The film that comprises the continuous performance of a scene, which includes dialogue and camera moves. Any portion of a scene, or any subject matter related to a scene that is being filmed for the first time is in the category of master shot. The viewpoint of a scene in which the relationships between subjects are clear and the entire dramatic action could be understood if no other shots were used (as opposed to the wider establishing shot).

Answer 193

A transition effect between shots in a scene, or as a transition: (1) Two shots of the same action joined so that continuous motion is preserved. (2) Two or more shots of the same subject joined to preserve continuous placement and motion in each shot to indicate the passage of time. (3) Two shots of different subjects that share graphic elements or motion with precisely registered contours. For example, an image of the moon in a first shot lines up exactly with a circular mirror in a second shot. In Bob Fosse's All That Jazz, several dancers in a rehearsal hall are seen from one angle executing the same steps. Match cuts connect the actions as if one dancer in an unbroken movement performed them.

Answer 194

A meal penalty is a fee paid by the production for the failure to provide meals or meal breaks as specified by the contract. Usually charged in 15-minute increments.

Answer 195

Something actors request, usually meaning that if the studio, producer or director is going to change the script or hire an actor, the star must be notified and asked what they think.

Answer 196

Same as Medium Close-up, but with space (air) surrounding the figures.

Answer 197

The frame holds the figures from the ankles or calves up, and also holds activity in front of and behind the principal action.

Answer 198

A shot in which a human figure (or other subject) is shot at a medium distance, usually from the waist up.

Answer 199

A shot of a subject's reflection in a mirror. Care must be taken to ensure that no incongruous room reflections intrude.

Answer 200

In French, "putting in the scene." Originally the term described the physical production of a play: the sets, props and staging of a scene. Over the years the term has been adapted to the description of filmic space--that is, the manipulation of staging and action within a shot during filming as supposed to the manipulation of space afterwards in the editorial process.

Answer 201

An error in continuity caused by action that was not performed consistently in two consecutive shots within the same scene: action that was filmed from two different angles.

Answer 202

(1) A replica made of a structure or an object featured in a scene, particularly when the script calls for its destruction (e.g., a building that burns). (2) A replica made of a section of an automobile, airplane, theatre, or the like, for the purpose of shooting close-up angles for the dialogue or reactions of the characters occupying the seats.

Answer 203

From the French term "to assemble." A filmic effect used to convey a story point: a series of shots, scenes, images (cuts or dissolves) that indicate a passage of time or a dramatic succession of events, usually without dialogue, that represent the passage of time. In European film montage is a description of the editorial process.

Answer 204

The shooting of film without recording sound (silent).

Answer 205

A shot in which the camera is moved to follow a moving subject.

Answer 206

The trade name for the machine that the editor uses to view film.

Answer 207

Composes or selects the music for scoring the completed film; supervises staging of musical productions.

Answer 208

Fits the music to the completed film.

Answer 209

The abbreviation for the National Alliance of Broadcast Engineers and Technicians. This organization has expanded to include the motion picture craftspeople in independent production and is an alternative labor organization to IATSE.

Answer 210

The brand name for a portable tape recorder.

Answer 211

Applied to anything that is unacceptable for any reason.

Answer 212

(1) Denotes the filming of outdoor scenes that take place in the daytime but are filmed at night to expedite the schedule. The sets are illuminated by special lamps that emit rays that simulate daylight. See ARC LIGHT; HMI. (2) You have run out of sunlight but need to shoot an interior daytime scene, so you set up bright lights outside the windows and shoot Night-for Day. See also DAY-FOR-NIGHT

Answer 213

The comment made by the director to indicate that the last recorded take is not to be printed at the laboratory; it is so marked by the continuity supervisor, the camera assistant, and the sound mixer.

Answer 214

Direction in a screenplay when a subject or sound is outside of the camera frame.

Answer 215

Refers to a voice or sound that is out of the range of the boom microphone.

Answer 216

To make a money offer to talent. In terms of casting, an offer can come after a reading, audition and/or screen test--or the actor is so famous and desirable that they are "offer-only" and you don’t ask them to audition you just send them the script, the offer and pray.

Answer 217

Refers to the time period after a single bell warns that all stirring within the sound stage or shooting area must cease for the duration of filming a take. When the take is finished, a double bell signals that activity may resume.

Answer 218

Refers to subjects or objects that are in front of the camera, being filmed.

Answer 219

A written agreement between a producer and a writer in which the writer signs over all of the rights to his or her screenplay for a specific period of time and price.

Answer 220

Refers to subjects, objects, or parts thereof that are not within the picture projected by the camera lens.

Answer 221

Means that the running speeds of the camera and the sound track do not coincide (the sight and sound do not match).

Answer 222

(1) A shot not printed (see "B" NEGATIVE). | (2) A piece of film that was deleted in the course of editing.

Answer 223

A filmic composition wherein the frame holds two subjects, one facing the camera and the other with back to the camera and only one shoulder tipped in at the foreground of the frame, either at camera right or camera left.

Answer 224

To run a camera at a speed of more than the normal 24 fps. This creates slow motion on the screen.

Answer 225

(1) The portion of action that is carried over (repeated) from the end of one shot to the beginning of another shot for editing continuity (see MATCH CUT). (2) What occurs when a voice or any off-camera sound intrudes on the dialogue of on-camera subjects.

Answer 226

(1) The horizontal movement of the camera head on its axis, from left to right (pan right) or right to left (pan left). (2) A panning shot reveals a panoramic view of a scene. (3) The term also denotes a negative opinion of a theatrical production (a bad review).

Answer 227

Freelance photographers (of the bloodsucking variety) who hide out in bushes for days (often forgoing food and sleep) to capture that million dollar shot of Brad Pitt decked out in his birthday suit.

Answer 228

To decline an offered role as an actor/actress, director, producer, etc on a particular film.

Answer 229

In the graphic arts and film, the illusion of depth on a two dimensional surface.

Answer 230

A wizened executive who calls bulls*** on a filmmaker's expensive vision and ensures the production comes in on budget.

Answer 231

The actual filming of the script. Physical production can span a number of days/weeks depending on the film's budget and time restraints.

Answer 232

PICKUP The term applies: (1) When an incomplete shot is printed and the continuation of that scene begins at the point where the previous shot ended. (2) When only a portion of a shot is repeated to correct a flaw. (3) When a significant change is desired in a portion of the dialogue or action after a shot has been printed.

Answer 233

Warning shouted out by the AD that the sequence of cues to shoot a scene is about to begin. Also, a final warning to everyone on set to shut-up.

Answer 234

Any car you see in a movie used as a prop. Some period piece filmmakers can’t afford the cost of filling scenes with prop cars from the pertinent era, so they simply avoid filming a moving car covering multiple streets to cut down on costs.

Answer 235

The actual number of minutes and seconds of picture footage that remain after the final editing of a film.

Answer 236

A short speech given to Studio Executives and/or Production companies (read: buyers) in an attempt to promote or sell an idea for a movie or television show.

Answer 237

A panel of plywood or other material, placed over an area of ground or stage floor that is uneven. This device makes it possible for the wheels of a camera dolly to roll smoothly during shooting.

Answer 238

The prerecorded singing and/or music played during the filming of musical productions.

Answer 239

A subjective viewpoint, one that is understood to represent an individual's vision.

Answer 240

The phase of film production that takes place after shooting has been completed. Post- Production involves editing, the addition of titles, the creation of special effects and the final soundtrack.

Answer 241

Studio executive responsible for overseeing Post.

Answer 242

The phase of film production following the securing of financial backing but preceding shooting. It includes reworking the script, budgeting, casting, hiring crews, location scouting, set construction, organizing schedules, arranging catering, etc.

Answer 243

(1) In audio recording, the ambient sound characteristic of a room or location. (2) The term used by Andre Bazin to identify the illusion of real third-dimensional space that the viewer experiences when watching a film. Bazin regarded this as a further development of Renaissance linear perspective.

Answer 244

An event involving the media where members of the press go into rooms (mini-sets usually with a poster of the film in the background) and ask questions of the actors and director. Often held in a hotel. Generally organized by entertainment companies to help build awareness around a project that is being prepared for release to the public.

Answer 245

The row of reporters and photographers generally located along the red carpet at the entrance of a premiere or other entertainment event, jockeying to get interviews and photographs.

Answer 246

The main photography of a film and the period of time during which it takes place.

Answer 247

A process trailer is a truck with a camera on the trunk. A trailer pulls a car that is low enough to the ground so that it actually looks like it's driving along. One can shoot in the car while it's moving around and the actors don't have to worry about actually driving. Problem is, it's a complicated and time consuming process to get everything rigged up properly. Also, by shooting with the process trailer you've six more variables other than people remembering their lines, the camera working, and the light being right.

Answer 248

Adam Gelvan was one of the production assistants on the set of Project Greenlight's first film, Stolen Summer. We think his definition of a PA is spot-on: "Think of the ideal movie set as a well-oiled machine. While the large gears perform larger, 'more important' tasks, the smaller gears must perform theirs as well. If one small gear stops working, it would be disastrous for the rest of the machine. I would liken a PA to a small gear. We take care of all of the things that allow the large gears (Director, AD. Producer, etc.) to function smoothly and properly." Very diplomatically stated, Adam.

Answer 249

A contrivance devised and used by the AD. It consists of a number of strips of colored cardboard that contain information on all the essential elements for the film and that are arranged in the order of shooting. This device helps the AD to expedite the shooting schedule on a day-by-day basis.

Answer 250

The production designer creates the visual environment of the film, designs the sets and works with the director to decide on the look and feel of the sets. He consults with the producer and director in developing the artistic concept for the production; prepares blueprints; employs personnel for the art department.

Answer 251

Is in charge of all business affairs concerning preparation, preproduction, production, and post-production operations of the company: oversees the budget and hires the crew.

Answer 252

Meetings usually occurring in pre-production and having to do with budget, casting or script notes. May also relate to meetings having to do with physical production.

Answer 253

Usually refers to principal photography, but can cover the period in time from when a script gets a Greenlight through shooting.

Answer 254

Responsible for making sure that all props used in the film are ready to go and look as they should. A prop is anything an actor uses in a scene bicycle, coffee cup, etc. Do not confuse props with set dressing or wardrobe (it's a fine line).

Answer 255

The frame holds subjects or objects positioned in a row. The camera angle is from either screen right or screen left and focuses on the line of profiles, shooting past the character or object closest to the camera.

Answer 256

Film that has not been exposed.

Answer 257

A screenwriter almost always has to make alterations to his or her script after the film project has been optioned or purchased in order to satisfy the needs of the studio, producers, actors and the director. A writer will generally use script notes to help re-write his or her screenplay.

Answer 258

In a dialogue scene the shot of a player listening while another player's voice continues on the sound track. Most reaction shots are close-ups.

Answer 259

A print of the film ready for distribution and screening.

Answer 260

A take that was done over (reshot) after it had been processed at the laboratory.

Answer 261

The backward movement of the camera on a dolly (on or off track) along a path that it has already covered in the same shot or in a previous shot in the same scene.

Answer 262

A shot that is turned approximately 180 degrees in relation to the preceding shot.

Answer 263

To mount an object such as a light or a camera onto another object in a way that insures its stability.

Answer 264

A camera direction that denotes movement from the right side to the left side of the screen.

Answer 265

The order given by the AD to the camera operator and the sound mixer to activate their equipment for the making of a shot.

Answer 266

The AD's order to activate the camera without the corresponding sound track.

Answer 267

A call made by the director or 1st AD to cue the sound guy in anticipation of shooting a take. The command always precedes "Action!" so as to allow sufficient lead-time for the audiotape to begin in front of the rolling film. Can also be the AD's order to activate the recorder without the rolling of the camera.

Answer 268

The first stage of editing a film, wherein film footage and sound track are assembled in proper continuity but without precise timing or editorial refinements.

Answer 269

Abbreviation for Screen Actors Guild-American Federation of Radio and Television Artists

Answer 270

The Guilds dictate scale: the legal minimum union members can receive for working on a film. The WGA, DGA, and Screen Actors Guild, all determine scale. This is Hollywood's term for minimum wage.

Answer 271

(1) Another word for screenplay or teleplay. | (2) A synopsis of a script giving essential details of the plot, scenes, and characters.

Answer 272

A segment of a script that describes the activity within a single time period in a given locale.

Answer 273

The identification applied to a scene within a script.

Answer 274

(1) The decor of a film set, reflecting an authentic locale or environment. (2) Natural vistas that are pictorialized on film.

Answer 275

Paints the walls and scenery background (murals) in a set.

Answer 276

Hired through the public education system to teach the prescribed curriculum to underage performers. Classrooms are provided on the sound stages or at the locations where filming takes place.

Answer 277

The music that accompanies a film. It may be music that was produced independently from the film (public domain) or music written especially for it.

Answer 278

The indication of movement within a frame of film: right to left, left to right, toward background, toward foreground.

Answer 279

Traditionally, a filmed audition to determine whether an actor suits a particular role in a film. These days, in the interest of economics, screen tests are recorded on videotape.

Answer 280

Usually a private showing of a completed film; sometimes before its theatrical release.

Answer 281

The basic blueprint of a film, the screenplay includes descriptions of scenes, character action and of course dialogue.

Answer 282

What one might be if they don't "Make the day" on a low budget film. See MAKING THE DAY. Screwed can also apply to many other on-set situations.

Answer 283

A piece of special gauze mounted on a stand and placed between the camera and the characters being filmed. This diffuses the light and lessens the sharpness of the image, so that subjects' blemishes may be diminished or erased.

Answer 284

Any material written for dramatization. The "Shooting Script" is the script with all it's revisions that's used in production. See SCENARIO; SCREENPLAY; TELEPLAY.

Answer 285

This person works for the writers’ room of a TV series. His/her job is to support the show’s writing staff and is responsible for tracking script changes, archiving scripts, distributing drafts and organizing scripts to be printed for the writers when needed. This is often a great starter position to get into a writers room.

Answer 286

The cause of much strife, controversy and arguing for everyone involved. These are notes (that usually come to the writer from Studio Executives. Producers or the Director) involving opinions on how to improve a screenplay. The writer may (or may not) utilize certain script notes to assist him or her during re-writes depending on how influential the note submitter is in helping to get the movie made.

Answer 287

This person treats the script as the Bible, taking great care to ensure that what is written in the script is shot on film.

Answer 288

Responsibilities may include but are not limited to: ensuring the actors are ready with hair and make-up and wardrobe at the right time, keeping everyone on set happy, letting everyone know what is happening on set, completing required paperwork (i.e. actor's contracts, production reports, call sheets, time cards, injury and accident reports, etc) and ensuring that everybody on the cast and crew hits their respective call times.

Answer 289

Splits various tasks with the 2nd Assistant Director. Typically helps to manage the production assistants, directs or coordinates background, and performs various other catch-all vehicle and communication tasks.

Answer 290

An auxiliary production crew that films scenes in which the principal actors are not featured or are portrayed by substitute performers (DOUBLES).

Answer 291

The abbreviation for Screen Extras Guild.

Answer 292

Refers to a segment of a script that depicts a continuance of interrelated scenes or shots. Sometimes the term is used synonymously with scene.

Answer 293

A traveling camera shot in which choreographed action and camera movement replace the need for individual shots to describe complex action.

Answer 294

Detail items of decoration that are designated in the script or by the director as a part of the scene.

Answer 295

Physical location where the chaos, shouting, fits, fights, power plays, backstabbing, disasters, and personality clashes occur. Actual shooting of the film and small mirades have been known to take place here as well.

Answer 296

Scene involving a large set. Often the plot points of an action film, since the action is more important than the story.

Answer 297

The number of players in a shot: A two-shot, over-the-shoulder shot, and close-up are all typical setups.

Answer 298

A shallow depth of field. Shallow focus is sometimes used to isolate a subject in focus from the indistinct background and foreground.

Answer 299

A piece of grip equipment used to direct light (sunlight) onto the screen (a.k.a. reflector boards). If an actor has stayed out all night partying the night before a shoot, shiny boards might help to reduce the severity of the black circles under his eyes.

Answer 300

(1) The operation of camera and sound that transfers a performance or a setting onto film. (2) The whole process of filming a script ("What's the schedule for this shoot?").

Answer 301

Literally, a day when the movie is being shot. Example: a week of six shooting days and one day off or five shooting days and two days off. Sometimes, actors will negotiate less aggressive shooting schedules to give the director more creative space or to give themselves more leisure time.

Answer 302

With the help of the director and producer, the 1st AD puts together the shooting schedule which contains the locations, times, equipment, length of shooting and personnel required for a day's shoot. The schedule itself may be complied for a single day but is usually planned ahead for a number of days if not for an entire week. In order for the AD to compile this schedule, he or she must have the shot list.

Answer 303

The script, after all revisions of action and dialogue have been finalized and the pages put into acceptable form to proceed with the shooting of the film.

Answer 304

The operation of the camera in filming performances or scenery or both. The term applies also to the operation of sound equipment.

Answer 305

The raw stock (unexposed film) that remains at the tail end of a magazine of film. These pieces of film proved too short for use in making another take.

Answer 306

Describes an image that has been satisfactorily recorded by the camera on a continuous length of film (with or without sound). The term applies to the gamut of angles and perspectives that are fashioned by the camera.

Answer 307

The list of intended shots created by the DP and the director; a descriptive list of shots in the order in which they will occur for that day. Includes camera positions and footage relating to these shots. The shot list is used to produce a detailed record of the contents of a film, for ease of finding particular footage or scenes.

Answer 308

(1) Audition material, pages of scenes from the script that the actor reads while auditioning. (2) Also, can be enlarged text from a script held off to the side of the set (out of range of camera) to assist actors in remembering lines.

Answer 309

An imaginary line that is drawn between a subject and the object he or she is looking at. When individual CUs of two subjects in conversation are joined together in a sequence their sight lines must match. In order that they appear to be looking at each other.

Answer 310

A shot in which the frame holds only one subject, the angle being either a full, a medium, or a close shot.

Answer 311

The small blackboard that is photographed at the start of every take. It serves to identify the shot numbers of film and sound required by the editor and the laboratory.

Answer 312

A focus used so that an image is not sharply defined on the screen. Sometimes soft-focus shots are made for filmic effect.

Answer 313

(1) Sounds that are indicated in the script but not recorded during shooting. These sounds are recorded subsequently and included in the final editing of the film. (2) The audio components in a film that are made to imitate real sounds. See FOLEY.

Answer 314

Responsible for sound. This person determines microphone types and placement as well as consistently and smoothly capturing sound as it plays out live.

Answer 315

The announcement made by the sound recorder indicating to the director that sound is ready and recording.

Answer 316

The soundproof studio in which the shooting of film and sound takes place.

Answer 317

(1) A length of film carrying sound only. (2) The portion of motion-picture film that is reserved for sound. One or more bands of sound, such as stereophonic recordings, are channeled along one side of the film and thus embody the audio component of the film. The process is executed in a laboratory.

Answer 318

The illusions that are seen on the screen, which have been created by special-effects personnel with the help of mechanical devices. Special effects include visual simulations of fires, explosions, lightning, rain, and supernatural creatures.

Answer 319

The term used by the sound mixer to announce that the speed of the recorder is synchronized with the speed of the camera.

Answer 320

In editing, to join together two pieces of cut film.

Answer 321

Two or more separate scenes projected onto one frame of film.

Answer 322

A person who "stands in" for a principal performer while lights and equipment are being adjusted after a scene has been staged by the director.

Answer 323

Any shot in which the camera does not move.

Answer 324

The trade name for a contemporary hand-held camera. It affords greater mobility and steadiness in shooting because it is firmly affixed to the body of the operator. See ARRIFLEX.

Answer 325

When the Director and DP decide on the fly to shoot something that was not on the original shooting schedule and shot list. They might not be mentally prepared for a scheduled shot, or they might see something and decide in the moment they want it in the movie. Some advice: don't do it (especially not on a low-budget).

Answer 326

A person who shoots still photographs of the sets and actors for use by the makeup, wardrobe, and property departments; also for publicity.

Answer 327

A length of film obtained from a film library.

Answer 328

A pictorial layout of scenes or shots for a film, rendered by an artist, to help the director visualize written descriptions in a script. In special-effects films, the storyboard is an essential part of the operation.

Answer 329

The plot of a story or movie.

Answer 330

In continuity editing, two shots joined directly to each other without any optical effect between them.

Answer 331

Stunt Coordinator Rick Lefevour describes: "As a stunt coordinator, part of my job is to work with the director to get the action sequences to work for the scenes he wants to shoot. I also work with all the departments from special effects to wardrobe. This includes preparing the budget, hiring the stunt people, checking all the rigging and setting up the shots for the scene."

Answer 332

A camera technique that presents the viewpoint of a character in the scene. See POINT OF VIEW (POV) SHOT.

Answer 333

The camera moves slowly and methodically across a scene, creating the sense that eyes are scanning the tableau. The technique is used to evoke suspense, shock, surprise, or a sense of danger.

Answer 334

The printed words, superimposed on the lower pan of a screen, that are translations of a foreign language.

Answer 335

The process of placing one image on top of another without obliterating the first image. The filmic technique of superimposing an image on an actor's face to depict what the actor is subliminally visualizing is known as stream of consciousness. The effect is a transparent double image that lets the audience see what the actor is thinking.

Answer 336

This process is used in both TV and film where the producer and director will gather all the actors in a room (usually sitting around a table) and read through the script with each actor saying their respective lines. There will usually be a designated individual (ie the writers assistant) who reads the descriptions and sluglines. The purpose of the table read is for the actors to practice their lines with each other and for the writer(s) to determine what dialogue needs to be reworked. It’s one thing to read the words on a script, but to have the actor use his/her voice and convey the lines out loud provides the writer(s) with so much more insight to help them figure out what lines work and what ones don’t.

Answer 337

A brief scene that marks the finish of a film. It ties up the loose ends of the story. Such scenes are most prevalent in films for television.

Answer 338

One version of a shot. The director has the cast and crew repeat the action of the shot in successive takes until he or she is satisfied it is correct.

Answer 339

A brief, enticing scene or a series of intriguing shots at the start of a television film, intended to capture the audience's attention.

Answer 340

The talent is technically available to work (i.e. they are not booked on another project during the time requested) but the agent or agent's assistant doesn't want to tell you that they are free, either because they don't like your project or because they are snooty or because the talent is negotiating another deal that hasn't closed yet.

Answer 341

A script written especially for a television production. See SCREENPLAY.

Answer 342

The industry's periodicals, particularly Daily Hollywood Reporter, Daily Variety, and Dramalogue.

Answer 343

The date when a new film is scheduled to come out in theaters, usually preceded by a myriad of internet banners, TV commercials, billboards and hype and accompanied by the obligatory red carpet premiere. Plenty of fan fair and paparazzi.

Answer 344

A shot in which the frame holds subjects or objects that fill the space to the left and right sides of the screen.

Answer 345

The vertical movement of the camera head on its axis as it pans upward and downward (see PAN/PANNING). The tilting of the camera head produces a movement that is distinct from the vertical movement of the boom camera (see BOOM CAMERA).

Answer 346

The historical period in which a story is set.

Answer 347

The name and any inscription that appear at the beginning or end of a film or television presentation (known as opening and closing titles).

Answer 348

The expression of a script, scene, movie that reveals the attitudes, voice and feelings of the author. Also, an element of the script that producers throw out as something to be modified when there is something wrong with a scene that they can't quite put their finger on.

Answer 349

A shot made when the camera is mounted on a dolly and moved on tracks to follow actors as they walk or run. See DOLLY TRACKS. EXAMPLE: A script may read, "Camera trucks along with John and Mary as they walk." Make note of: (a) Camera Preceding, to indicate that the camera is focused on the subjects' faces, which are moving toward the camera. (b) Camera Following, to indicate that the camera is focused on the subjects' hicks, which are moving away from the camera. (c) Side Angle, to indicate that the camera is focused on the subjects' profiles, which are moving either left to right or right to left.

Answer 350

A shot in which the camera is filming a traveling vehicle (see INSERT CAR). Another modus operandi is to mount one or two cameras on the principal vehicle--attached to the outside of the doors or the hood--and film the passengers riding in the car.

Answer 351

A written synopsis of a story, delineating the main scenes and some dialogue. A treatment is prepared with the intention of developing it into a screenplay or teleplay.

Answer 352

A three-legged adjustable stand on which a camera is affixed.

Answer 353

The time allowed after a company has been shooting night-for-night so that the actors and craftspeople can get sufficient rest before daytime shooting resumes.

Answer 354

When the talent is booked on another project during the time period requested, and therefore unavailable to work.

Answer 355

To run the camera at a speed of less than the normal 24 fps. This creates fast motion on the screen.

Answer 356

In a nutshell, the administrator of the production; hires the crew and manages the resources.

Answer 357

The technique of synchronizing voice with filmed lip movement in order to replace faulty sound track in scenes shot previously. The procedure takes place in a dubbing room, where the picture is projected on a screen. The actors, wearing earphones, listen as they watch themselves in the film. They then speak the dialogue at the same pace and with the same inflection as in the original performance. The dialogue is recorded impeccably, and the sound track of the dubbed voices then supersedes the original cue tracks when the final footage is edited. Sometimes the editor may have to resort to the tactic of cutting away from the on-camera character and laying in the sound track of the clear dialogue over another character's face.

Answer 358

The area farthest from the camera. Moving upstage means moving toward the rear (BG) of the setup.

Answer 359

The visual components in film and television.

Answer 360

During production, this is the area where a portable grouping of TV monitors are located. These monitors are connected to the camera(s) that are being used to film on set and they allow the director, production staff and crew to see what the camera sees.

Answer 361

(1) The optical instrument through which the director of photography (DP) peers to ascertain the depth of field (view) of a setup. (2) A component of the camera through which the operator looks to see how the image will be recorded on film.

Answer 362

The announcement of slate and take numbers by voicing them into the recording panel when it is inexpedient to simultaneously photograph the corresponding slate.

Answer 363

The voice of an unseen narrator. Voice-over may also be used to indicate the thoughts of a character in a scene when the character is not speaking.

Answer 364

Hand-radio communication between the director, the AD, and the second assistant director when shooting far-spread action.

Answer 365

This document is prepared by the costume designer and details every piece of clothing worn on a body in every scene of a movie.

Answer 366

A camera angle in which the frame holds a large area, with a crowd of people and/or objects positioned at a distance from the camera. The lens' focal length makes the full figures appear small on the screen, or the composition may be with the principal players positioned in the center or foreground of the scene, while the shot encompasses the activity behind and at both sides of the principals. The latter composition is described as shooting past the principals.

Answer 367

A phrase or a word from a speech that needs to be repeated because of poor enunciation in the original shot. Rather than do a retake with film, a wild line is recorded on tape only, to be laid in by the editor during editing.

Answer 368

A transition from one scene to another. The image on the screen is virtually wiped off as it reveals another image behind it. The process is executed at an optical laboratory.

Answer 369

Describes a sound erased from a tape recorder.

Answer 370

On film sets the IFB system supplies audio from the sound cart to directors and other management to monitor program audio during production via headsets. Producers and directors can interrupt the mix to deliver instructions to the crew or, less commonly, to cue talent as well.

Answer 371

The person who handles the horses that work in films. The name is sometimes applied facetiously to the handlers of any other species in the animal kingdom (e.g., pigs, cats, canaries, tarantulas.)

Answer 372

A party held at the end of production for all persons involved in the making of a film to celebrate the completion of production. (a.k.a a time for cast and crew to get drunk and relieve the sexual tension that has been building after weeks of grueling work together).

Answer 373

Refers to the daily completion of shooting at a particular set or location; the end of principal photography: "That's a wrap."

Answer 374

The same as DOLLY IN; PUSH IN; but done with the zoom lens.

Answer 375

The same as DOLLY BACK; PULL BACK; but done with the zoom lens.

Answer 376

When the DP moves in on an object from a wider shot to a closer shot or zooms out to include more of the setting using the lens. Allows cinematographer to take a variety of different kinds of camera shots including (but not limited to): Long, Medium, Close-up and Extreme Close-up. Physically moving the camera closer and farther away from the object being filmed could create the same effect but will alter the perspective.