Film Terminology Flashcards
A-PAGE and A-SCENE
A page or scene added to the script. Letters are appended to the page/scene number (e.g., 21A comes between 21 and 22, but A21 precedes 21).
“A” Negative
“B” Negative
“A” Negative: Film that has been processed at the laboratory (i.e., the printed takes).
“B” Negative: Refers to takes on film that have not been printed.
ABBY SINGER
Shouted out by the Assistant Director to indicate second-to-last shot of the day: Named in honor of former first A.D., Abby Singer, who used to call the last shot of the day one shot too early. Followed by the “martini.”
ABOVE THE LINE “ATL”
refers to the creative elements of a production such as the writer, producer, director and actors. Literally, these are the names that appeared above a bold line that divides standard production budget sheets. This term is used to describe money spent on things that don’t actually show up “on the screen.” For example, giving Tom Cruise $25 Million as opposed to $20 Million doesn’t make the movie look any better–though Tom is probably happier on set. See also ATL’s opposite, BELOW THE LINE.
ACADEMY
The term refers to the standard aperture size for framing a picture to be viewed via a 35mm camera in a movie theatre. The ratio is the standard guideline set by the Academy of Motion Picture Arts and Sciences. Pictures for television viewing are held at a slightly reduced ratio (known as the TV cutoff). You will hear the operator say, “It’s in the Academy.” This calls for a small adjustment in the framing (e.g. repositioning the camera, changing the lens focal length, or adjusting the lighting).
ACADEMY OF MOTION PICTURE ARTS AND SCIENCES (AMPAS)
The organization of professionals in the motion picture industry. Membership is by invitation only. The members vote annually for the current year’s highest achievements in the crafts, for which the Oscar statuette is awarded.
ACTION
2 Meanings
1) The director’s command for the performance to begin. 2) Any movement in a scene being filmed.
ADR (AUTOMATED DIALOGUE REPLACEMENT)
Also known as “looping.” This is a process of rerecording dialog in the studio in synchronization with the picture. It is not uncommon to notice actors’ mouths moving completely out of synch with the words–bad ADR. ADR can take place off screen to make creative changes. For example, cutting to a reaction shot and adding a line by the off screen character to fix a story problem.
AERIAL SHOT
An extremely high-angle view of a subject, usually taken from a plane, helicopter, crane or stationary elevated camera position.
AFI
The abbreviation for the American Film Institute, a special school that was founded for the establishment of an educational program for professional filmmakers.
AMBIENT (ATMOSPHERE) SOUND TRACK aka ROOM TONE
The recording of the nebulous natural background and atmospheric sounds inherent in a scene. This recording is made for indoor as well as outdoor sets. After a scene has been filmed, the sound mixer has the assistant director (AD) call for absolute silence on the stage, then turns on the recorder to capture the atmospheric substance that permeates the set. This special track provides the editor with sound continuity in cases where sound variances occur during filming, or sound gaps occur between match cuts. These gaps create unnatural silences in portions of the film. Therefore the editor lays in pieces of ambient track to complement the shots.
AMBIENT LIGHT
General, non-directional, available room light as a style.
AMERICAN SOCIETY OF CINEMATOGRAPHERS (ASC)
A nonprofit craft organization of cinematographers with headquarters in Hollywood, California. This organization publishes both the American Cinematographer Manual and The American Cinematographer, a monthly magazine.
AMPTP
The abbreviation for American Motion Picture and Television Producers. The membership comprises motion picture and television producers who establish programs and codes for industry employees.
ANGLE OF VIEW
The size of the field covered by a lens measured in degrees. A wide-angle lens has a wide angle of view while a telephoto lens has a narrow angle of view. Because a rectangular aperture masks the film, the angle of view for any given lens is described according to the height and width of the lens.
ANGLE aka FIELD OF VIEW
The field of view (perspective of a lens) from the position of the camera when filming. Normal angle places the camera at eye level. Low angle places the camera in a lowered position, shooting upward. High angle (also called Down angle) places the camera in an elevated position, shooting downward. Wide angle encompasses a large area and holds full figures. Medium angle encompasses a smaller area and holds figures approximately from the waist up. Close angle (or Close-up) holds a magnified portion of a figure or an object.
ANIMAL TRAINER
The person who trains the animals for appearances in films.
ANIMAL HANDLER
The person who takes charge of the handling of any animals used in the film.
ANSWER PRINT
The laboratory’s first composite print of the film footage and sound track for critical viewing by the powers that be.
APPLE BOX aka RISER
A wooden four-sided object of varying size that is used to elevate a person or an object to required height for camera angles. When upended, the box serves as a seat.
ARC LIGHT
A special lamp of high intensity. It is often used to simulate daylight when shooting a scene at night that takes place in the daytime (called night-for-day shooting).
ARC OUT / BANANA WALK
The instruction to an actor to walk in a curved line rather than a straight line. The former makes for better camera composition.
The term Banana Walk means the same and was inspired by the shape of a banana.
ARRIFLEX
The trade name for a portable hand-held camera; also called Arri.
ART DIRECTOR
The person who works along side the Production Designer to design the set. Sometimes the Art Director has to build the sets or will use an existing location and decorate it to look like the set the Director has envisioned. Works with the prop master to manage set properties or props.
ART FILM
Implies a film that is non-commercial, avant-garde, often foreign, obscure, and in general not a big money maker for a studio.
ART HOUSE
The one movie theater in town in which art films are shown, oftentimes the clearing-house for obscure films to barely break even.
ASPECT RATIO
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.
ASSOCIATE PRODUCER
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).
ATMOSPHERE
2 Meanings
(1) The subtle aura pervading a scene.
2) People in a scene other than the principal actors (extras
AUDIO
Any element of sound in film and television.
AVAILABLE
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.
AXIS OF ACTION aka 180-DEGREE LINE*
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.
BACKDROP/BACKING
2 Meanings
(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.
BACKEND
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.
BARN DOORS
Flaps that are hinged to camera lights. Adjustment of the flaps regulates the amount and the shapes of light that falls onto the set.
BARNEY or BLIMP
A special cover over the camera that insulates the camera noise.
BEAT
A deliberate slight pause in the flow of dialogue or action.
BELOW THE LINE “BTL”
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.
BEST BOY
Chief Electrician in charge of all power distribution and the lighting equipment on the truck; he is the first assistant to the gaffer.
BEST BOY (GRIP DEPT.)
He is the first assistant to the key grip.
BIG HEAD CLOSE-UP
The frame holds the subject’s face from chin to top of head.
BIT
A conspicuous minor part in a film.
BLOCKING (BLOCKING REHEARSAL)
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.
BLOCKING THE SCENE
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.
BLOOP
2 Meanings
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.
BLOOPER
A mistake or a fluff made in dialogue or action during filming.
BOOM: CAMERA
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.
BOOM: MICROPHONE
A telescoping arm that supports a microphone. The sound man positions the microphone just outside the camera frame while recording sound within the scene.
BREAKAWAY PROPS
Articles made of special material that can be shattered or broken apart without injuring the participants in a scene.
BRIDGE SHOT
Any extraneous shot that connects two pieces of cut film.
BROAD COMEDY
Ribald humor–e.g. American Pie, and Dumb and Dumber.
BRUTE
An extra large camera light. See ARC LIGHT.
BUY A SCRIPT
When a studio or production company purchases a script outright.
CALLING GRACE (GRACE)
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.
CALL SHEET*
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.
CALLING THE SHOT
The Assistant Director’s job of calling out “lock it up, quiet, roll sound, roll camera” in advance of each shot.
CAMEO
A small part in a film, performed by a distinguished actor.
CAMERA ANGLE PROJECTION
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.
CAMERA ANGLE
The viewpoint chosen by the director or cinematographer to photograph a subject.
CAMERA DEPARTMENT–CAMERA OPERATOR
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).
CAMERA FIRST ASSISTANT (1ST AC OR FOCUS PULLER)
Installs (threads) the magazine of film into the camera and also removes it after the footage had been shot; focuses the lenses during filming.
CAMERA SECOND ASSISTANT (2ND AC)
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.
CAMERA LEFT
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.
CAMERA RUN OUT
Signifies that the magazine of film is empty before the finish of a shot.
CANTED FRAME
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.
CASTING
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.
CASTING DIRECTOR
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.
CATWALK
A wooden walkway suspended above the stage set to accommodate personnel handling lighting and other equipment. Another term for scaffold.
CHARACTER ARC
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.
CHARACTER MOTIVATION
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.
CHECK THE GATE
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.
CHOKER SHOT
The frame holds a face from the neck up.
CINEMATOGRAPHER OR DIRECTOR OF PHOTOGRAPHY Also known as the “DP” (or “DOP” in England).
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.
CLOSE SHOT
The frame holds the subject’s figure from ribs to top of head.
CLOSE UP (CU)
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.
CO-PRODUCER
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.
CONTINUITY BREAKDOWN
A document prepared by the Script Supervisor that monitors consistency throughout a script in terms of scenery, lighting, costumes and characters.
CONTINUITY STYLE
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.
CONTINUITY
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.
COSTUME DESIGNER
Creates the style and personality of the garments worn by the performers as depicted in the script.
COUNTERING
Camera movement that is in the opposite direction of a moving subject.
COVER SET
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.
COVER SHOT aka PROTECTION SHOT
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.
COVERAGE
2 Meanings
(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.
CRAB DOLLY
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.
CRAFT SERVICES
The individuals whose job it is to supply the food on set.
CRANE SHOT
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°.
CREDITS aka SCREEN CREDITS
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.
CROSS ANGLE
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).
CROSS CUTTING aka PARALLEL ACTION aka INTERCUT
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.
CROSSES
Movements of subjects from one place to another in a scene, crossing the screen left to right or right to left.
CROSSING THE LINE
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.”
CUE CARDS
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.
CUE
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.
CUKALORIS aka COOKIE
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.
CUT (IN EDITING)
3 Meanings
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.
CUT (IN DIRECTING)
In directing: the order that the director gives to stop the action of a performance or the operation of any camera or sound equipment.
CUT ( IN THE SCRIPT)
In the script: to delete any action or dialogue from the written page.
CUTAWAY
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.
CUTTER
2 Meanings
(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.
CUTTING ROOM aka EDITING ROOM
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.
DAILIES (RUSHES)
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.
DAY-FOR-NIGHT
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.
DEEP FOCUS
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.
DEPTH OF FIELD
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.
DETAIL SHOT
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.
“DEVELOPMENT OF A SCRIPT”
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).
DGA
Abbreviation for Directors Guild of America.
DIALECT COACH
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.
DIALOGUE
All the words spoken by actors during filming.
DIRECTOR
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.
DIRECTOR OF DEVELOPMENT
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.
DISSOLVE
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.
DOLLY
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.
DOLLY BACK aka PULL BACK
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.
DOLLY GRIP
The person who pushes the wheeled platform on which the camera is mounted; makes directional moves called for by the action in a scene.
DOLLY IN aka PUSH IN
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.
DOLLY SHOT
Any shot made from a moving dolly. These may also be called tracking or traveling shots.
DOLLY TRACKS
Rails that are laid down to accommodate the wheels of a dolly used for a moving shot.
DOUBLE
2 Meanings
(1) The person who substitutes for a principal actor (stunts).
(2) Duplication of an article of props or wardrobe.
DOWN ANGLE
Shooting downward on a scene. See BOOM CAMERA; CRANE SHOT.
DOWNSTAGE
The area closest to the camera. Moving downstage means moving toward the foreground (FG) of the shot.
DUBBING aka LOOPING
3 Meanings
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
EDITOR
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.
ELECTRICIAN
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.
EMMY
The achievement award statuette given by the Academy of Television
END MARKER aka END SLATE aka TAIL SLATE
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.
END TIDES
The list of names acknowledging the participants in a film or television production, shown at the END of the presentation. See CREDITS for variation).
(a) ENTERS
(b) ENTRANCE
(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.
ESTABLISHING SHOT
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.
EXECUTIVE PRODUCER
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.
EXTERIOR
Designation for scenes that take place out of doors.
EXTRAS
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.
EXTRAS COORDINATOR
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.
EXTREME CLOSE UP (ECU)
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.
EXTREME LONG SHOT
The frame holds subjects or objects that appear in the distant background of a shot.
FADE IN
2 Meanings
(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.
FADE OUT
2 Meanings
(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.
FAST MOTION
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)).
FAVOR aka FAVOUR :)
The term used to indicate that a character or an object is to be given a position of prominence in a shot.
FILM COMMISSION
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.
FILTER
DPs use different filters on their cameras to add or take away certain aspects of a given shot (light, color. etc.).
FINAL CUT
The ultimate edit of a finished film.
FIRST ASSISTANT DIRECTOR (1ST AD)
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.
FIRST TEAM
Refers to the principal performers in a scene to differentiate them from the stand-ins who were in the set during the lighting.
FLAME BAR
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.
FLASH CUT
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.
FLASH PAN aka SWISH PAN aka WHIP PAN aka ZIP PAN
The camera moves very swiftly from one image to another, blurring the former and focusing on the latter.
FLASHBACK
Scenes that relate to something in the past, interjected (intercut) between scenes of the contemporary exposition of the story.
FLOPPED FILM
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.
FLUB
The term for an inadvertent error in dialogue or action made by a performer.
FOCAL LENGTH
The distance between the optical center of a lens and the subject being filmed.
FOCUS IN/OUT
A transition effect by which an incoming shot comes into focus or an outgoing shot goes out of focus.
FOCUS
The point at which a lens produces a sharp image.
FOLEY
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.
FOLLOW FOCUS
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.
FOLLOW SHOT
A tracking shot, pan or zoom move that follows a moving subject.
FOREGROUND
2 Meanings
(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.
FORMS, OPENED AND CLOSED
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.
FPS (FRAMES PER SECOND)
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.
