Film_Speak
A and B ROLLS - The negative of an edited film, cut to picture, but built into 2 rolls, A and B, to allow for invisible splices, instant changes of the timing lights, fades and dissolves. A roll will have all the odd numbered shots, with black leader in place of any missing shots contained on the B roll. B roll has all the even numbered shots, with black leader in place of all the shots on the A roll. Negative is printed in 3 passes through the contact printer, one for each roll, and another for soundtrack.
ACADEMY APERTURE - In 35mm this is the full frame exposed by the camera, with an aspect ratio of 1:33.
A.D.R. - Automated Dialogue Recording. Very popular term. This is essentially Dubbing, done in addition to, or as replacement for Location Sound. The term A.D.R. has certain secrecy around it, probably because it obscures the fact that dubbing sound was involved when it appears on the credits of films.
ANAMORPHIC - Method of creating a wide screen image with standard film, using a special lens on the camera and projector, which compresses the width of the image exposed on the film and then expands it when projected.
ANSWER PRINT - First corrected print made from the A and B rolls, printed with the optical track. Married Print is another term, sometimes used, as this is the first time that picture and sound are wedded together on the same piece of print stock. There are corrections to the prints, leading to First Answer Print, Second Answer Print, and Third Answer Print.
APERTURE - Iris.
APPLE BOX - High Tech stuff. Wooden box, often used on the set to stand on or raise up equipment. Half Apples and Quarter Apples are half and one quarter as thick boxes. People just sit on them too!
ASPECT RATIO - The proportions of the frame. In 16mm and 35mm the camera photographs a slightly square image, with an aspect ratio of 1:33 to 1. In 35mm the image is generally shot with the Academy Aperture and then masked in the projector to produce a higher image: 1:85 in the USA, and 1:66 in Europe.
A.S.A. - Sensitivity to light of a particular type of film. It is the specific number used to measure Film Speed. Measured by ISO ASA.
ASSEMBLY - The version of the film that is first assembled to show the whole film.
BARNDOORS - Very useful blinders on the sides of lights that can be used to keep light from spreading out everywhere. Can also be used to clip lighting gel onto. Barndoors get very hot when a light is on, so best to wear gloves when adjusting them, and let them cool before removing or packing them.
BARNEY - A quilted cloth that fits around a camera to reduce camera noise. Term is believed to come from a horse blanket, "barney blanket".
BASE - Film has two basic elements and the Base is the clear, perforated strip. Emulsion is the thin, light-sensitive layer that is glued onto it.
BAYONET - A type of lens commonly used with heavier lenses, eg Zoom. Contrasts to screw-mount lenses as Bayonet attach with a locking system, and can typically be changed much faster than screw-mount.
BEST BOY - The first assistant to the gaffer (head electrician) of a film crew. (The term is apparently borrowed from sailing terminology.)
BOLEX - Workhorse of 16mm some decades ago, that many people learnt filmmaking on. Typically refers to reflex, spring-wound model.
BRACKETING - Filming of several takes of the same frame or shot at different F-Stops to experiment and achieve the required effect or result. Often used for Titles.
THE CALL - Directions that begin a take, eg "Roll Sound", "Roll Camera" etc.
CAMERA ASSISTANT - Person who assists the Camera Operator C
AMERA CREW or CAMERA DEPARTMENT - Led by the Director of Photography, and made up of Camera Operator, 1st Assistant Camera (Focus Puller), 2nd Assistant Camera (Clapper Loader), Assistants to those on major productions, and Camera Runners.
CAMERA NOISE - Noise a camera makes, and they all make some kind of noise, however slight.
CAMERA OPERATOR - Person who actually operates the camera.
CAMERA REPORTS - Paperwork used to log shots and takes, and put down any notes for the laboratory that will process the shots or for editor, director etc. during editing. Generally one camera report per camera roll.
CAMERA ROLL - Each roll that is shot becomes a camera roll, with its own number in the order of shooting. Normal notation is "C.R. No."
CAMERA STOCK - This is film, used to distinguish it from Print Stock.
CHANGING BAG - Doubled chambered black bag, with a zipper on one end and two elasticised arm holes at the other end, used for loading film into magazines "in the dark" and hence unexposed.
"CHEAT" - When the camera is set up for a second shot of a sequence / interview / shot at a different angle, it is possible to move actors, props etc. around a little to improve the new composition and look to make it cut with the first shot, thus hiding the difference in angle and perspective. "We're going to cheat you a little" is often said to the actor(s).
CLAPPER, CLAPPERBOARD - Sometimes known as The Slate. Used to mark a sync sound and picture take of a shot.
COMMERCIALS - For Glossary see COMMERCIALS
CORPORATE - For Glossary see CORPORATE PRODUCTION
CONTINUITY - Seamless element of film, ensuring by the placement of actors, props, movement etc. that the audience does not notice when a film cuts from one shot to another.
CROSSING THE LINE - Also known as the 180-degree rule, which states that if two people are filmed in a sequence then there is an invisible line between them. The camera should then only be positioned within the 180 degrees on one side of that line. "Crossing the line" results in a jump cut, where the people appear to change positions and eye line and ruins whatever effect is being sought.
CUE SHEETS - Used by the sound mixer in post-production as a guide or map to find the sounds on the various tracks. Laid out as a grid with each track like a column, and time moving ahead in rows measured in 35mm footage (even if you shot in 16mm).
CUT - standard way of moving from one shot to the next, with an instant "cut" to one shot away from the previous. Also can refer to the "first cut" of a film, or the "assembly", and second cut, third cut etc.
CUTAWAY - A shot, often a close-up or Wide Shot, that is used to break up a matching action sequence. Often vital in editing to rescue filmmaker from an impossible break in continuity.
DAILIES - Workprint, before editing. Called this more in the USA, but also in the UK, because most labs will have it ready the same day it was dropped off. Also known as the Rushes.
DEPTH OF FIELD - Lens focuses on a single plane of depth, there is usually an additional area in focus behind and in front of that plane. That is called the depth of field. Wider the lens the more depth of field; longer the lens, less depth of field. Deeper area in focus, the further away the lens is focussed. Smaller depth of field, when lens is focussed close. Depth of field is not an even spread, as rule of thumb, about one-third in front of plane, and two-thirds behind. Many think understanding and use of Depth of Field is core art of photography, and camerawork. To factor all the variety of factors in, many consult a depth of field table, of which there are several.
DIFFUSION - Filter used on camera to create a soft focus effect. It can also refer to a white sheet of material used on a movie light to soften the shadows.
DIRECTOR - Person who takes the screenplay and turns it into pictures and sounds, by directing the DoP and camera crew, Sound, Lighting, Art and Design, Wardrobe etc. and Actors, and the driving the Post-Production Process, as to what he or she wants on screen and looking to achieve that.
DISSOLVE - Transition between two shots, where one shot fades away and simultaneously another shot fades in.
DOLLY SHOT - Where the camera is placed on a dolly, and is moved while recording the shot.
DIRECTOR OF PHOTOGRAPHY - DoP. In overall charge of Camerawork, Lighting and Camera Crew / Department. Highly experienced cameraperson, ultimately makes all decisions relating to camera, composition etc., subject to Director approval.
DUBBING - Recording of dialogue in a sound studio, after the footage is shot, where the actors watch the film and match the lip movements whilst recording their dialogue.
DUTCH TILT - Composition with the camera viewing the scene at a diagonal. Same as Canted Angle. Much used in "The Third Man".
EDITING - The cutting and arranging of shots.
E.D.L. - Edit Decision List, used by the negative cutter when films are cut digitally. EDL is created from the non-linear edit systems used.
EMULSION - Thin layer of silver attached to the base of film, which when exposed and developed, creates the film image through the areas of silver, which block light, and the clear areas which have allowed light to pass through them.
EMULSION TYPE - A film's emulsion type refers to the composition of its emulsion, eg whether it was created to be fast, slow, grainy, fine-grained, pastel, black and white or colour, daylight balanced, tungsten balanced, colourful etc. Each emulsion type is represented by a number. Kodak, for instance, give a 4 number label to their different type of emulsions. Filmmakers chose the Emulsion type according to the conditions they will be shooting in, the atmosphere and effects they want etc.
EYE LINE - The direction an actor (or interviewee) should look off-screen to match the Point of View shot or Reverse Angle shot that may cut in before or after. Always best to give the character an actual spot or thing or person to look at.
FACILITIES - For Glossary see FACILITIES
FADE - Slow transition from one shot to black. Fade Out is where the image becomes black. Fade In or Fade Up is where the image fades up from black.
FILM SPEED - Sensitivity to light for proper exposure of a given film stock. Larger the grain of silver on the emulsion, the less light is needed for exposure. Film Stocks are spoken of as Fast or Slow, fast film having large grains and needing less light; and Slow smaller grains and more light.
FILTER - Tinted glass or plastic sheet placed in front of the lens or behind it, used to change the colour of the entire shot. Can be used to convert tungsten balanced film for use in daylight or vice versa. Also used for effects, eg to make blue sky red or black.
FOCAL LENGTH - How wide or how narrow a view the lens will provide. Smaller focal length numbers mean wider; larger numbers mean narrower.
FOG - Light has got in and exposed all or part of the film.
FOLEY - Recording of customised sound effects during post-production in the same way that dialogue is dubbed. The inventor of the system was Foley.
FRAME - Single image on a piece of film. 24 fps (frames per second) on 16mm film.
FRENCH FLAG - Small black piece of metal, attached to camera with an arm that can be manipulated, to shade the lens from light and avoid Flare in the shot.
F-STOP - Scale used to measure the size of the opening of the iris on a lens.
GAFFER TAPE - Cloth tape specifically used for film shoots, usually 2 inches wide, black or silver. Very strong and does not leave any sticky residue behind.
GATE - Opening of a camera or projector just behind the lens, through which a single frame is exposed or projected.
GAUGE - The size, specifically the width, of a film format: 16mm, 35mm, 70mm.
GEL - Large sheet of transparent tinted plastic, used as filter for lights or to cover a window. Two types: one will convert one colour temperature to another; another that will come in variety of colours.
GOBO - Flat board, like a flag, but full of holes or shapes, used for creating a pattern of light or shadows when placed in front of a light. Also known as A Cookie at times.
HAND HELD - Shooting without a tripod. Unusual in Film.
HAIR IN THE GATE - Disaster strikes if and when a hair is in the gate of the camera, is not noticed and a roll or number of shots has the hair dancing around across it. Camera Assistants constantly check the lens for such hair or dust, using small torches and delicate brushes and touches.
HEADROOM - Space between the top of a subject's head and the top of the frame. Headroom needs care so there is not too much, and not too little. Audience attention is easily distracted if this is wrong. Thought must also be given to Headroom if the production is to go to video or for blow-up.
HMI - Type of light, standing for Halogen Metal Incandescence. Bright, power efficient lights, balanced for colour temperature daylight which means they are useful in mixed lighting situations. Expensive, large and heavy.
INFINITY - The furthest distance on the focussing ring of a lens.
IRIS - A valve within the lens to control the amount of light that passes through. Opening the Iris permits more light through, closing the Iris permits less. The degree to which the Iris is opened is measured in F-Stops.
LIP SYNCH - Synch Sound.
LOCATION SOUND - Synch Sound, recorded on location, plus any other sort of wild track such as atmos or room tone.
LOCKED DOWN SHOT - Shot taken with the pan and tilt releases locked so that the camera will not move during the duration of the shot. Usually used for definite effects, e.g. one shot with character in it; cut to next shot, locked down to same frame with no character in it, creating the illusion the character has just disappeared in an instant.
MAGAZINE - The attachment to the film camera with one or two light-proof chambers, that hold 400 or 1,000 feet of film. Typically cameras have two or three magazines, which can be loaded ahead of time needed, and then just attached as previous magazine runs out of film.
MARK - Clapping of Clapperboard to create a Synch Mark for the shot. This term is also used to refer to piece of tape on floor, which is an Actor's Mark for standing or moving to.
MARK IT - Direction to Clapperboard Operator to mark the shot.
MASTER SHOT - A single shot, usually a wide shot that incorporates the whole scene from beginning to end. Usually filmed first, and then all the close-ups and other shots are done afterwards.
MATTE BOX - A square metal frame, that goes in front of the lens, usually held there by two small rods. Holds filters and various matte masks.
MATTE SHOT - Double exposure that takes two images one on top of another, but masks off part of the frame of one exposure and perhaps the other area of frame for the other. Split screen is another name for this.
M&E - Music and Effects. Productions will have an M&E track made in Post-Production, which is used when the film is dubbed into other languages so that all the Music and Effects do not have to be re-created and re-done each time. Only essential if production plans on going into different languages.
MIX - Process of combining all soundtracks into one mixed whole, with the sounds blended together with the right quality and volumes per sound, to give the desired and intended result.
NEGATIVE - Original film that is used in the camera.
NEG CUTTER - Person who cuts and assembles the original negative to match the edited film work print or works from the EDL from the non-linear editing to create the final film from the neg, which then goes to the lab for the Answer Print.
180 degree rule - States that if two people are filmed in a sequence then there is an invisible line between them. The camera should then only be positioned within the 180 degrees on one side of that line. "Crossing the line" results in a jump cut, where the people appear to change positions and eye line and ruins whatever effect is being sought.
OUT TAKES - Footage from rushes that is not used.
PAN - Horizontal camera on an axis, moving from left to right or vice versa. Camera is turning on own axis, not across space as in Dolly or Tracking shot.
PARALLEL EDITING - Inter-cutting between two simultaneous stories or scenes.
PERFS - Sprocket holes in a piece of film.
P.O.V. - Camera gives a Point of View shot of a character, as though the camera and hence the audience can see what the character can see.
PRIME LENS - One with a single focal length, whether wide, normal or telephoto. Different to zoom lens, which has a variable focal length. Prime tend to be sharper, faster and will often focus more closely.
PRODUCER - Person(s) who deal with and oversee every areas of a film that is not essentially within the Director's purview. This includes: finance, legal, administration, marketing, personnel, a watching brief on editorial and creative etc. The Producer may have originated the project, pitched and financed it and then attached talent such as writer, director, actors etc. or it may have come to the Producer or Studio from a writer, director, agency etc.
PRODUCTION SOUND - Synch sound, or any other sort of wild track.
RADIO - For Glossary on Radio see RADIO
REACTION SHOT - Shot of someone looking off screen and showing their reaction to something that has gone before, or which follows.
REEL - Metal or plastic spool used for holding film, either for projection or editing.
ROOM TONE - May be called "atmos", recording the "silence" of a room or any location.
ROUGH CUT - Edited film, the stages after first assembly but prior to Fine Cut.
RUSHES - Work print, from the material when it is back from the Lab. Called the Rushes because of the urgency to see that everything came out ok. Can be called Dailies.
SAFETY - An additional take, done after what may or may not be a good one, just as a safety net.
SHORTENDS - The unexposed part of a roll of film in a magazine that is clipped off and placed back in the can for later use. Less than normal roll length.
SHOT - Basic element of shooting and post-production, representing the film exposed from the time the camera is started to the time it is stopped.
SKILLSET - Sector Skills Council for the Audio Visual Industry, with offices in London, the Nations and Regions.
SLATE - Clapperboard used to record a scene number, take number, and with synch point at the beginning (or end) of a shot.
STAGES OF FILM PRODUCTION - Films go through 5 common stages:
- Research and Development, including Writing, Pitching, Finding Finance
- Pre-Production: Production is definitely on and preparations are made
- Production or Shoot: Filming
- Post-Production or Post: Editing of Sound and Vision
- Distribution and Exhibition, which may be the crucial part of the process -marketing the film; getting it shown and watched.
STEENBECK - Popular brand of film editing machinery, now very outmoded and replaced by non-linear editing.
SYNCHING or SYNCING - Lining up of sound and picture before editing a synch sound film.
SYNCH SOUND - Sound recorded while shooting picture.
TAIL SLATE or TAIL CLAPPER - Marking shot at end rather than the beginning, which may be necessary through nature of the shot or circumstances.
TELECINE - Machine for transferring film to video. Much used in modern Film as images can go from Neg to Video and thence to non-linear for editing.
TELEVISION - For Glossary on Television see MEDIASPEAK - TV
TILT - Vertical camera movement on its axis, up or down. Not to be called and Up or Down Pan, but Tilt Up and Tilt Down.
TONE - A 1,000 Hz sine wave at the beginning of a sound recording tape to provide consistent volume when transferring sound. Word is also used to describe Room Tone.
TRACKING - Involves the camera itself being moved smoothly towards or away from the subject in order to draw the viewer into the action, into a closer, more intimate relations with the subject. Tracking out tends to create emotional distance. The speed of tracking may also affect the viewer's mood. Rapid tracking is exciting; slow tracking relaxes interest. Camera movement parallel to the moving subject creates an idea of speed without revealing that the camera exists or is there. Tracking is done with the camera on a trolley, which runs on "tracks" like a mini-train track, hence the name tracking.
TRIMS - Outtakes of a few frames.
TUNGSTEN - Colour temperature of artificial light.
WIDE LENS - Lens with focal length smaller than 25mm in 16mm or 50mm in 35mm.
WILD SOUND - Not synch, recorded without the camera running.
A WRAP or "IT'S A WRAP" - Golden words, said when filming is finished for the day, or for that particular set, or for the entire film. Usually "Wrap for the Day" is the phrase if it is not the absolute final day of shooting.