Filmmakers Academy

Cable CartA Cable Cart is a cart that has 4 large rubber tires to navigate all types of terrain. It is used to load and disperse cable to the set.

CallCalling sequence used by the director of a film before beginning with the filming of a particular scene. Generally, the Call is somewhat like "Roll Sound!" "Rolling!" "Roll Camera!" "Rolling!" "ACTION!" with the director ordering each department to begin their work, and they answer in the affirmative.

Call SheetA Call Sheet is a type of schedule given out periodically during a film's production. It informs every department of when they are supposed to arrive and where they are to report.

CameoCameo, originally meaning "a small piece of artwork," refers to a bit part (usually a brief, non-speaking, or walk-on role that is uncredited or unbilled). A cameo consists of a special screen appearance by a famous actor, director, or prominent person. Cameo is in contrast to a bit part. Cameo also refers to a type of camera shot where the subject is filmed against a black or neutral background.

CameraA camera is the primary machine involved in film-making. Cameras come in all shapes and sizes, from handheld to portables to heavy studio cameras. Some of the parts of a camera include the aperture, lens, film magazine (for storage), viewfinder, etc. The camera operator positions the camera in what is known as a setup.

Camera AngleCamera Angle is the angle at which the camera is held/set up for a take.

Camera DistanceThe focal length of a camera lens determines the distance that the camera can "see." A Zoom lens allows the focal length to be changed gradually. With a Zoom, the frame may transition from a wide shot to a close-up without moving the camera.

Camera HeightCamera height is an important variable in effective camera placement. Yet it is a variable that is frequently neglected by the budding film director. Camera height is determined by the position given by the camera operator, often to create an interesting composition.

Camera LogA Camera Log is a small book that 2nd ACs keep in their tool belts to write down lens information, camera height, camera distances, settings, and scene numbers. So, if you need to go back and match you have all the essential information to get you in the right pocket.

Camera MovementCamera Movement is the use of the camera to obtain various camera angles and perspectives. See motion picture camera shots below, including the pan, tilt, track, and zoom; also boom/crane shots, Steadicam, or hand-held.

Camera OperatorA camera operator is the individual who is responsible for operating the camera. They serve under the direction of the film's director and director of photography (or cinematography).

Camera RollA Camera Roll is the roll used while filming. These are usually numbered according to a scene to avoid confusion.

CandlelightCandlelight refers to lighting that is provided by candlelight. It emits a warm hue or tone and implies intimacy, romance, and harmony.

Candle SticksCandle sticks are steel pipes that have a junior receiver that you mount in condors with chain vise grips to hold the large lights.

Can lightA can light refers to a round metal/plastic container that holds or stores film (reels) for transport or long-term storage. A completed film is known colloquially as "in the can."

Canted AngleA Canted Angle is a camera angle that is deliberately slanted to one side. It is sometimes used for dramatic effect to help portray unease, disorientation, frantic or desperate action, intoxication, madness, etc.

CastCast is a collective term for all of the actors/performers (or talent) appearing in a particular film. The cast typically consists of: The leads with speaking roles The seconds or supporting characters Background players or extras Bit players

Cast ShadowA subject that partially blocks out the light and casts a shadow on another object or subject. For instance, a character who is lit from the front and whose silhouette is then cast on the wall behind. Or it can be the light that shines through the slits of Venetian blinds thus casting shadows on any objects or the subject on the other side. For related information, read the entry concerning attached shadow.

CatchlightCatchlight is a photographic term that describes the reflection of a light source in a subject’s eye. A close examination of the catchlight can provide information about the lighting setting and the number of light sources.

Ceiling Clip/Scissor ClipA ceiling clip/scissor clip is a corporate video shooter's rig kit. This slides onto the rails of false ceilings in office spaces with a baby pin attached to its scissor clips and enables you to rig lights on a kind of grid set up. You will be amazed at how much weight they can hold. Also used to assist in cable rigging, they sometimes come with cable clips wrapped to the baby pin.

CellCell refers to each of the thousands of hand-drawn sheets (of clear, transparent material, either celluloid or Mylar). It represents a single animation frame to allow several layers of composition. Cells consist of character cells (containing only the foreground characters or objects) and background cels (static drawings of scenery that remain the same). Animators place the character cels against the background cels and film one frame (or picture) at a time to produce the effect of motion. Celluloid also refers to the thin strip of transparent plastic coating that forms the film's highly flammable, light-sensitive base layer (such as nitrate or acetate base). Celluloid also refers to an adjective related to some aspect of cinema (i.e., "the celluloid hero"). The light-sensitive substance coating on one side of the film base is termed emulsion. Celluloid is also a slang word for a movie.

Cello CucolorisCello Cucoloris is a device that comes in 4’ x 4’, 24” x 36” and 18” x 24”. It is a Cello screen that has been melted and burned to create different shaped shadows. A Cello Cucoloris is an amazing tool to use for moonlight on sheers. It breaks it up when you might not have tree branches hanging around.

Chain Vise GripChain Vise Grip is one of the most powerful rigging tools a grip possesses. It can wrap around almost anything and secure it. We use this for scaffolding, for rigging lights in condors and lifts.

Change-over cueChange-over cue is the small dot, oval, or mark on the top-right corner of a film frame. It signals to the projectionist to change over from one projector (or film reel) to another (about every 15-20 minutes). Nowadays, most film theatres have only one projector. They splice the reels together into one giant roll and feed it into a single projector from a horizontal revolving turntable called a platter.

Character StudyA character study is a film that uses strong characterizations, interactions, and the personalities of its characters to tell a story. The plot and narrative revolve around the experience of the characters and their dreams, plight, or life path.

Charlie BarA Charlie Bar (Charley Bar) is a small rectangular block used to block lighting. They come in varying widths of wood sticks that have a flag pin so that you can rig it into a C-stand. 1” 2” 3” 4” 5” 6” Typically, they're 40" in length. Charlie bars can also create patterns in shafts of light to create shadows on walls as well as on actors.

Cheat CutIn the continuity editing system, a cheat cut is a cut that presents continuous time from shot to shot. However, a cheat cut mismatches the positions of figures or objects.

ChiaroscuroEspecially strong contrasts between lit and shady areas are referred to as chiaroscuro (Italian for “light-dark”). The term derives from a painting style popular in the Baroque that had the same name. For related information, read the entries concerning low-key lighting and film noir.

China BallsChina Balls are soft circular paper lantern lights that have been used for decades. The French cinematographer, Phillip Rousselot brought them to the forefront in the motion picture industry. Many makers like Chimera have made their version more robust than paper lanterns that are not flame retardant. It is perfect for soft top light, eye lights, and lighting large party environments. You can add many different globes in the socket depending on what color temperature and quality you prefer.

Cine MagsCine Mags are the small drives that we record on during filming on a digital camera.

Cinema NoirCinema noir is a style of filmmaking. It's characterized by such elements as cynical heroes, stark lighting effects, frequent use of flashbacks, intricate plots, and an underlying existentialist philosophy. American crime dramas of the post-World War II era favored cinema noir.

CinemaScopeCinemaScope commonly refers to widescreen processes or anamorphic techniques. These use different magnifications in the horizontal and the vertical to fill the screen. It is also the specific trademark name for 20th Century Fox's commercially successful widescreen process. This uses an aspect ratio of 2.35:1 (originally it was as wide as 2:66:1) - to compete with Cinerama and 3-D processes in the 1950s.

CinematographerA cinematographer specifically refers to the art and technique of film photography, the capture of images, and lighting effects. It also refers to the person who is expert in and responsible for capturing or recording-photographing images for a film. They do so through the selection of visual recording devices, camera angles, film stock, lenses, framing, and arrangement of lighting. The chief cinematographer responsible for a movie is called the director of photography (or DP), or first cameraman. One of the earliest movie-picture machines, patented by the Lumiere brothers in 1895, was termed a Cinematographe.

CinematographyCinematography is the art and process of movie photography. For example, cinematography consists of selecting and using lighting, camera filters, and lenses when shooting a movie scene.

Cinema VeriteCinema Verite is a French word that literally means "true cinema" or "cinema truth." It's a method or style of documentary movie-making with long takes, no narration, and little or no directorial or editing control exerted over the finished product. It's usually made without actors, and often with minimum film equipment, film crew, and impromptu interview techniques. For example, a hand-held camera and portable sound equipment. Cinema verite is sometimes used to loosely refer to a documentary-style film or minimalist cinema. Cinema verité was popularized in the 1950s French New Wave movement. It is now widely used (often inappropriately) to refer to the popular, artsy trend of using hand-held camera techniques. Cinema verité is also termed free cinema (UK) or direct cinema (UK).

CineramaCinerama is a wide-screen filming process. It first used three cameras and three projectors to achieve an encompassing view of the subject matter. Cinerama was projected on a curved screen of about 160 degrees. This was the first commercially successful multiple-camera/multiple-screen process.

Cinevator / Road RunnerCinevator / Road Runner are large stands for HMI and Tungsten lights. They come with large rubber wheels that can navigate all sorts of terrain. They crank up to 12.5’ in height.

Circle BounceCircle Bounce is a bounce that is cut into a circle shape. It reflects a round shape in your actor’s eyes instead of a square. I use these in different sizes with all different bounce fabrics. 4’dia, 3’dia, 2’dia, and 1’dia.

Circle ShotCircle Shot is a shot where the camera circles its subject. Similar to an arc shot. In an arc shot, the subject is typically still and the camera provides the motion, tracking around the subject in at least a semi-circle of movement.

Clapper BoardA clapper board is a small black or white board or slate filmed at the beginning of a take. It has a hinged stick on top that displays identifying information for each shot in a movie. The board typically contains the following. Working title of the movie Names of the director Editor Director of photography Scene and take numbers Date and time On the top of the clapboard is a hinged wooden stick (called a clapstick or clapper) which is often clapped to provide audio/visual synchronization of the sound with the picture during editing. Modern filmmakers use electronic clappers and synchronization instead of the old-fashioned clapboard.

Classical Hollywood CinemaClassical Hollywood Cinema describes American mainstream cinema as practiced by the big Hollywood film production studios. It roughly ranged from the early 20th century until the late 1960s. The main purpose of a classical Hollywood film was to tell the viewer a certain kind of story. This involved one or more of the characters (usually played by big-name Hollywood stars) was/were facing a succession of problems while trying to reach their goals. Usually, the problems in such films were resolved in a way that emphasized formal closure – the so-called “Happy End.” The classical Hollywood style (often shortened to “classical style”) also did its best to hide the mechanisms of filmmaking by making the underlying filmic techniques as unobtrusive as possible. This is sometimes called “Invisible storytelling.” It was against this backdrop that the so-called style of continuity editing was developed and refined.

ClaycoatClaycoat is an ultrabounce fabric that is 10% gray. It takes the edge off of a large white source by using gray. It is excellent for night work and black skin tones.

Close UpA close up shot shows a small detail of the subject clearly. This notably includes the face to bring attention to the lightest and mildest of expressions. For example, a person's head from the shoulders or neck up is a commonly filmed close-up. A tight shot makes the subject fill almost the entire frame. Also, an extreme close-up (ECU or XCU) is a shot of a part of a character (i.e., face, head, hands) to emphasize detail. It is also known as a detail shot or close on; contrast to longshot (LS).

ClosureClosure is an ending that makes a story largely complete. A film that has closure leaves the viewers with no major unanswered questions regarding the main storyline elements and the characters. A happy ending is a form of closure in which almost everything turns out for the best for the hero or heroine.

ColorColor is a phenomenon of light or visual perception that enables one to differentiate otherwise identical objects caused by differing qualities of the light reflected or emitted. Contrast to black and white.

Color BrightnessLightening or darkening a color by adding black or white is related to a modification of color brightness. Adding black is referred to as shading a color while admixing white is termed as tinting a color. Shaded hues of red and orange change their appearance towards brown. Yellow moves towards a greenish tinge, while hues of green and blue simply appear darker. The tints of a color can also be referred to as pastel colors. For related information, read the entry concerning light-dark contrast.

Color ContrastsJohannes Itten distinguished between seven color contrasts based on the colors of his color wheel that describe varying subjective effects that different color contrasts and combinations have on the viewer. A systematical analysis of an excerpt regarding its color contrasts can be very useful for an artistic analysis of the color composition. The color contrasts that are particularly relevant for film analysis are the contrast of pure hue, the complementary contrast, the light-dark contrast, the cool-warm contrast, and the contrast of saturation.

Color Design (Color Palette)Color Design (Color Palette) is a purposeful color choice to emphasize something. Color can be used to create harmony or tension within a scene, or to bring attention to a key visual theme. Limited Palette: using a few colors in the same range. Monochromatic: extensive use of one color.

Color FilmColor film has been a possibility since the beginning of cinema. Technical problems and economic circumstances early on meant that it was not until the 1950s that color was viable in the film industry.

ColorizationColorization is the film-altering process whereby a black-and-white film is digitally changed to include color. Although popularized in the 1980s, it was controversial because it changed the filmmaker's original vision.

Color TemperatureColor temperature gauges the color of light to make it sensitive enough, and appropriate for the film.

Color WheelA color wheel is a circular arrangement of colors. The color wheel follows the approach of Johannes Itten and consists of three orders of colors. The first order encompasses the so-called primary colors – yellow, red, and blue – that all other colors can be mixed from. The second order is made up of the secondary colors. For example, those that are mixed from the primaries and include orange, purple, and green. The third order, the tertiary colors, are those that are mixed from one primary and one secondary color. They include yellow-orange, red-orange, red-purple, blue-purple, blue-green, and yellow-green. Together with his color theory, Itten developed a group of seven color contrasts based on the colors of his color wheel. They describe varying subjective effects that different color contrasts and combinations have on the viewer. A systematical analysis of an excerpt regarding its color contrasts can be very useful for an artistic analysis of the color(...)

CommentaryCommentary is a speech that accompanies a scene that does not require or contain dialogue.

Compilation FilmCompilation film is a film made up of shots, scenes, or sequences from other films.

Complementary ContrastColors arranged opposite to each other on the color wheel are called complementary colors. When mixed, each complementary reduces the saturation of the other towards grey. In other words, they desaturate each other. The term desaturation thus refers to the loss of luminosity as a result of the mixture of the complementary color. In contrast, when placed side by side, complementary colors make each other appear more bright. This is a complementary contrast. The contrast between them is one of the most powerful and is marked by a sense of contrast as well as unity.

CompositionComposition refers to the arrangement of different elements (i.e., colors, shapes, figures, lines, movement, and lighting) within a frame and in a scene.

Computer-Generated Imagery (CGI)Computer-Generated Imagery (CGI) term referring to the use of 3D computer graphics and technology (digital computers and specialized software) in film-making to create filmed images, special effects, and the illusion of motion; often used to cut down on the cost of hiring extras.

ContinuityContinuity refers to action moving through multiple locations without interruptions. It usually refers to the degree to which a film is self-consistent without errors, jump cuts, or mismatched shots and details. The final edited structure of a completed film includes events or scenes/sequences arranged as if they had occurred continuously, when, in fact, they were shot out of sequence. In the early 20th century, a system of editing was developed to provide a continuous and clear movement of events/images. A continuity cut refers to an editing cut that takes the viewer seamlessly, unobtrusively, and logically from one sequence or scene to another, to propel the narrative along. A blooper or flub is a continuity error.

Continuity EditingThrough the use of continuity editing, the action seems to flow smoothly and clearly from shot to shot. Continuity editing maintains the illusion of the continuity of time, space, action, and completeness, even though the shots have typically been filmed in a completely different order. The cuts between shots do not interrupt the scene, but instead create the illusion of ongoing action. The viewer is never distracted by awkward jumps between shots or by any confusion about the spatial and temporal layout of the scene. Some of the continuity editing conventions used to achieve this include: The 180° system The 30° rule system Establishing shots Cutting on action Shot/reverse shot Eyeline matches

Continuity ErrorsMost narrative films strive to maintain the illusion of the continuity of time, space, action, and completeness with the help of continuity editing. Continuity errors are mistakes in the narrative, visual, or sound continuity of a film that occurs during shooting or that arise as part of the post-production process (see editing). Continuity errors occur relatively frequently since films are rarely shot in the order in which they are presented. Most continuity errors are subtle. Examples include changes in the level of drink in a character’s glass or the length of a cigarette. Others can be more noticeable, such as sudden and drastic changes in the outer appearance of a character. For example, a change of clothing from one shot to another without explanation. Errors in continuity are highly problematic since they can significantly disturb the illusion of film as an ongoing continuous action.

Contract PlayerA contract player is an actor (both stars and bit players) who has a contractual commitment or agreement to a studio/producer/company.

ContrastContrast refers to the difference between light and shadow, or between maximum and minimum amounts of light in a particular film image. It may consist of either high contrast (with a sharp delineation between the bright and dark areas) or its opposite low contrast. Contrast can also occur in color. See also chiaroscuro.

Contrast of Pure HueContrast of pure hue is illustrated by undiluted colors in their most intense luminosity. Just as black-white represents the extreme of light-dark contrast, so yellow/red/blue is the extreme instance of contrast of hue.

Contrast of SaturationContrast of saturation is a technique widely used in filmmaking. It's the contrast between colors of a high saturation (or in more precise terms, of pure hue with strong luminosity) and desaturated colors with less luminosity. Recall that desaturation is achieved by adding the complementary color to pure hue of high luminosity or saturation. Often, a background is designed in desaturated, and therefore unobtrusive colors. Whereas, essential objects are set off from that background through the use of striking strong colors. In this way, the signal effect that colors of pure hue already have in themselves can be additionally strengthened.

ConventionsConventions are the expected elements in a type of film, without question, thought, or judgment.

CookieA cookie is a board with sporadic holes. It is used for creating various shadow effects when placed in front of a source of light.

Cool-Warm ContrastThe color wheel can be divided into two halves based on the effects of the colors in each half on the viewer’s feeling of warmth and coldness. The warm half ranges from yellow to red-purple. Whereas, the cold half ranges from yellow-green to purple. The contrast between cold and warm colors relates first and foremost to our overall feeling about the coldness or warmth of an image. However, on a second level, it also influences the viewer’s feeling of depth. When placed in front of warm colors, cold colors seem to merge into the background of an image. Meanwhile, the other way around, warm colors in front of a cool-colored background seem to move into the foreground. The most powerful depth effect of this type is achieved between the complementaries red-orange and blue-green.

Costume/Costume DesignCostume (Costume Design) refers to the garments or clothing worn by actors/performers in a film. A costume (or wardrobe) designer researches, designs, and selects the costumes to be appropriate to the film's time period, the characters, their location, and their occupations. Whereas, the costumer (or stylist) is responsible for acquiring, selecting, manufacturing, and/or handling the clothing and accessories. A costume drama is a film set in a particular historical time period, often with elaborate costuming.

CoverageCoverage refers to all the shots, including close-ups and reverse angles, that a director takes in addition to the master shot, to make up the final product. To have proper coverage means having all the proper scenes, angles, lighting, close-ups, and directions.

Crane ShotA crane shot is achieved by a camera mounted on a platform, which is connected to a mechanical arm. It can lift the platform up, bring it down, or move it laterally across space.

CrewA crew refers to those involved in the technical production of a film who are not actual performers.

Cross-Cutting (Cross-Cut)Cross-cutting (cross-cut) is a technique of cutting back and forth between different lines of action. It occurs at two or more different locations but takes place at the same time. This often creates suspense and increases the pace within a sequence, as generally, the viewer expects a resolution of both events in one space. A related technique is parallel editing.

C-StandA c-stand is a grip's most powerful tool. It is called a century stand because there are 100 things this stand can do. It is the foundation of all grip work. Here are some fundamental uses of c-stands: Rig lights Hold flags to shape light Rig fire and flame bars

Cup BlocksCup Blocks are 4” x 4” blocks that have a ¼ round circle cut out of the center of it. That way, it can secure rolling stands from not moving or office chairs. They also can be used to raise foreground elements you are shooting through.

CutA cut joins two separate shots together which creates a transition from one shot to the next.

Cutaway (shot)A cutaway (shot) is a brief shot that interrupts the action by briefly inserting another related action, object, or person, followed by a cutback to the original shot (or a slightly different shot showing the same subject, object, or scene). Cutaways show action not covered by the master shot. Cutaways are often used in a sequence to hide discontinuity, to emphasize something, or to show simultaneous events. However, cutaways may also serve purely aesthetic aims. Reaction shots are also usually cutaways.

CutterA cutter is a flag that comes in many sizes. They are usually used to put top cuts and bottom cuts on light sources.

Cutting on Action (cut on action)Cutting on Action (cut on action) is a film-editing technique in which the editor cuts from one view in one shot to another view in another shot that matches the action and energy of the first shot. Although the two shots may have actually been shot hours apart from each other and in completely different shooting locations (i.e. set vs. location), the convention of cutting on action helps to convey the impression of continuous time and space when watching the edited film. By having a subject begin an action in one shot and continue or complete it in the next, the editor creates a kind of visual bridge. This distracts the viewer’s attention from the cut or from noticing any slight continuity errors between the two shots.

Cutting on Sound (cut on sound)Cutting on sound (cut on sound) is a film editing technique in which an unexpected or loud sound or noise motivates or hides a cut.

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