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Filmmaking Terms
- 3-D3-D (3D) is a film that has a three-dimensional, stereoscopic form or appearance, giving a life-like illusion of depth. It's often achieved by viewers donning special red/blue (or green) or polarized lens glasses. This is when 3-D images are made interactive so that users feel involved with the scene. The experience is called virtual reality. 3-D experienced a heyday in the early 1950s; aka 3D, three-D, Stereoscopic 3D, Natural Vision 3D, or three-dimensional.
- 30 degree ruleThe 30-degree rule is a basic film editing guideline that states the camera should move at least 30 degrees relative to the subject between successive shots of the same subject. If the camera moves less than 30 degrees, the transition between shots can look like a jump cut—which could jar the audience and take them out of the story. The audience might focus on the film technique rather than the narrative itself.
- 90-degree ruleFor the 90-degree rule, the camera may never be placed 90 degrees facing the subject. Rather, it should be set off the center to give an illusion of depth.
- 1-1-4" Aluminum Piping1 1/4" Aluminum Piping Rail is a term for an aluminum pipe that usually comes in 1 ¼” diameter or 1 ½” diameter. It is an essential rigging tool for car mounts, lights, overheads, goalposts, etc. A grip truck will have all lengths varying from 6” up to 20’.
- 180-degree ruleThe 180-degree rule is a cinematography guideline. It states that two characters in a scene should maintain the same left/right relationship with one another. When the camera passes over the invisible axis connecting the two subjects, it is called crossing the line. At this point, the shot becomes what is called a reverse angle.
- 360-degree pan360-degree pan, also known as a Circular Pan, is a shot in which the camera rotates 360 degrees around a fixed axis.
- Above The LineAbove The Line usually refers to that part of a film's budget that covers the costs associated with major creative talent: Stars Director Producer(s) Writer(s) Although films with expensive special effects (and few stars) have more 'above the line' budget costs for technical aspects. The term's opposite is below the line.
- A & B RollsA & B Rolls are the negatives of an edited film that is cut to correspond to the picture. They are built into two rolls (A and B).
- Abstract FilmAbstract film is a subgenre of experimental film. It is a non-narrative visual/sound experience with no story and no acting. They rely on the unique qualities of motion, rhythm, light, and composition inherent in the technical medium of cinema to create emotional experiences.
- AccompanimentAccompaniment is the effects and/or music that is an accessory to the projection of a silent film.
- ActAn act is a main division within the plot of a film. A film is often divided by 'plot points' (places of dramatic change) rather than acts. Long films are divided mid-way with an intermission.
- ActionAction is any movement or series of events (usually rehearsed) that take place before the camera. It propels the story forward toward its conclusion. The word is called out (by a megaphone) at the start of the current take during filming to alert actors to begin performing. Also refers to the main component of action films - which often contain significant amounts of violence.
- Action SketchAction Sketch is a rough sketch/drawing that implies the series or sequence of an action. It's mainly used during animated productions.
- ActorAn actor is a person whose profession is acting on the stage, in movies, or on television.
- ActualityActuality is the recording of actual events without using actors or any other external effects.
- Actual SoundActual Sound uses the sound of actual events or actions that are displayed on screen.
- ADRADR is the technical term for 'dubbing', which is an addition or substitute to the existing location sound. A.D.R stands for Automated Dialog Recording.
- Aerial ShotAn aerial shot is any shot taken from a device that is capable of flying. This can be an airplane, a helicopter, a kite, etc. Lighter and smaller cameras can also be carried by a variety of model aircraft. The maneuverability of a camera attached to some kind of flying device depends on the size and movability of the device in question. In rare cases an aerial shot may be static (e.g. from a helicopter “hovering in a fixed position in the air”). It is more commonly identified with dynamic movement. Aerial shots are often used with an extreme long shot framing to provide an overview of outside scenery.
- AllusionAllusion is an expression designed to call something to mind without saying it explicitly. An indirect or passing reference.
- AmbianceAmbiance is the feeling or mood of a particular scene or setting.
- Ambient soundAmbient sound (AKA: ambient audio, ambience, atmosphere, atmos, or background noise) means the background sounds that are present in a scene or location. Common ambient sounds include wind, water, birds, and crowds.
- AmbiguityAmbiguity is a situation, storyline, scene, character, etc. in which there are apparent contradictions. An event (and its outcome) is deliberately left unclear, and there may exist more than one meaning or interpretation. Can be either intentional or unintentional, to deliberately provoke imaginative thinking or confusion.
- Ambiguous SpaceTo create the idea of depth, you usually have to relate it to something. Ambiguous space is the removal of those cues so the viewer doesn't know what they're looking at. A normal place at an odd angle or a close-up of a part of an object is 2 examples.
- AmplifierAn amplifier is equipment used to boost the power of electric signals from a small sound apparatus. For example, a tape recorder played on a higher sound device like a loudspeaker.
- AnachronismAnachronism is an element or artifact in a film that belongs to another time or place. Often anachronistic elements are called film flubs.
- Analogous ColorAnalogous color is any one of a group of related colors near each other on the color wheel, a circular chart that shows gradations of color. For example, red, orange, and yellow are analogous colors.
- Anamorphic LensesAnamorphic Lenses are lenses that affect how images project onto the camera sensor. They were primarily created so that a wider range of aspect ratios could fit within a standard film frame. But since then, cinematographers have become accustomed to their unique look. Related to different optical imaging effects. It refers to a method of intentionally distorting and creating a widescreen image with standard film, using a conversion process or a special lens on the camera and projector to produce different magnifications in the vertical and horizontal dimensions of the picture. An anamorphic image usually appears "squished" horizontally, while retaining its full vertical resolution See also aspect ratio and the trade name CinemaScope. Many studios produced anamorphic lenses, using other trade names such as Panavision, Technovision, and Technirama.
- Anchor Spikes/Ford Axle/Bull PrickAnchor Spikes/Ford Axle/Bull Prick is a tool for securing overhead frames in the wind, scaffolding towers, etc. This is essential for driving into the ground and tying equipment off.
- Animated ViewerAnimated Viewer is equipment that offers a larger moving picture than a normal projector, which enables easier examination of a film while editing.
- AnimationAnimation is a form or process of filmmaking in which inanimate, static objects or individual drawings (hand-drawn or CGI) are filmed "frame by frame." Or, it's one frame at a time (as opposed to being shot "live"). Each one differs slightly from the previous frame to create the illusion of motion in a sequence. This is as opposed to filming naturally occurring action or live objects at a regular frame rate. Often used as a synonym for cartoons (or toons for short). Although, animation includes other media such as claymation and computer animation. See also CGI, claymation, stop-motion, time-lapse.
- Animation BoardAnimation board is a board used to display photographs or drawings quickly one after the other when making an animation film.
- AnimeAnime is a distinctive style of animated film that has its roots in Japanese comic books (known as manga). It covers a wide range of genres, such as: Romance Action/Adventure Drama Gothic Historical Horror Mystery Erotica (hentai) Children's stories Sci-fi Fantasy themes Originally called 'Japanimation' this term is not used anymore. Anime is found in a wide variety of storylines and settings but is usually recognizable and often characterized by heavily stylized backgrounds, colorful images, and graphics, highly exaggerated facial expressions with limited facial movement, simulation of motion through varying the background behind a static character, or other foreground element and frequently, big-headed characters with child-like, large eyes.
- Answer PrintAnswer Print is a corrected print made from the A & B Rolls that contains both picture and sound together.
- AntagonistThe main character, person, group, society, nature, force, spirit world, bad guy, or villain of a film or script who is in adversarial conflict with the film's hero, lead character, or protagonist; also sometimes termed the heavy.
- Anthology FilmA multi-part or multi-segmented film with a collection or series of various tales or short stories sometimes linked together by some theme or by a 'wrap-around' tale. Typically, anthology films are developed by various directors and screenwriters. Also known as an episode film or omnibus film. This term may also refer to a full-length, compilation-documentary film of excerpted segments or clips from other films.
- Anti-Gravity RigAn Anti-Gravity Rig is a device created to support the handheld gimbal system. It uses a nylon-based vest and 24 different pulleys that attach to arms that fly over your head to then suspend the gimbal. This system is the GOLD STANDARD for gimbal movement. It also takes all of your steps out, you can run in place and the gimbal will not move.
- ApertureThe aperture is a small opening in the camera lens which controls the amount of light that passes through. The aperture size regulates the film’s degree of exposure to light. Reducing the aperture size increases the depth of field; increasing it respectively results in a decrease in the depth of field.
- Apple BoxAn Apple Box is a box that comes in 4 sizes. A Pancake is 1” tall ¼ apple box is 2 inches high Half apple box is 4 inches tall Full apple box is 8” tall These are a staple for a grip crew. Using them to build risers, slide under seats to boost people up, and add to an actor's coverage to give them extra height to make the over-the-shoulder coverage more cinematic. You can also screw them together. They float since they are made out of wood.
- ArchetypeA character, place, or thing, repeatedly presented in films with a particular style or characterization. An archetype usually applies to a specific genre or type classification.
- Arc shotAn arc shot is a camera move around the subject, somewhat like a tracking shot. In mathematics, an arc is a segment of the circumference of a circle. A camera arc is similar — the camera moves in a rough semi-circle around the subject. Some definitions of the arc shot describe it as being tracking and dollying at the same time, i.e. simultaneous side-to-side and in-and-out movement.
- ArretArret is a French word meaning 'halt' or 'stop'. It refers to the in-camera technique of stopping the camera, then removing or inserting an object, and then restarting the camera to have an object magically disappear or appear. Arret was one of the earliest techniques of silent film.
- Arri M Series HMI Par LightThe Arri M Series HMI Par Light is a daylight-balanced HMI Par light source. These lights have a dimpled reflector that spots and floods. The light is not good for hard shadows. They are amazing for bouncing lights or projecting them through diffusion frames. They are also great for hot spots in the background and amazing for room tone into ceilings.
- Art DirectorArt Director refers to the individual responsible for the design, look, and feel of a film's set. This includes the number and type of props, furniture, windows, floors, ceiling dressings, and all other set materials. They are a member of the film's art department (responsible for set construction, interior design, and prop placement).
- Art House FilmAn art house film is typically independently-produced, outside of the major film studio system. Major studios are reluctant to pour money into projects that are unlikely to return a profit. This is due to the limited – often niche market – appeal of the material.
- AsideAside occurs when a character in a film breaks the 'fourth wall' and directly addresses the audience with a comment.
- Aspect RatioAspect Ratio describes the width and height of a cinema or television screen. It also describes the size in which a film has been shot and should be projected. The size is not standard, so an aspect ratio may be defined in centimeters, inches, yards, etc.
- AssemblyThe assembly is the first stage of editing, in which all the shots are arranged in script order.
- AtmosphereAtmosphere (Atmo) refers to any concrete or nebulous quality or feeling that contributes a dimensional tone to a film's action.
- Attached ShadowAttached Shadow is a shadow that is connected to its source.
- AudienceAudience refers to spectators, viewers, and participants — those who serve as a measure of a film's success. Although, usually audiences are viewed in universal terms. They can also be segmented or categorized as... Art-film audiences Chick film audiences
- Audio BridgeAudio Bridge refers to an outgoing sound (either dialogue or sound effects) in one scene that continues over into a new image or shot. In this case, the soundtrack, not a visual image, connects the two shots or scenes. AKA, lightning mix.
- Auteur TheoryAuteur Theory is literally the French word for "author." In film criticism, used in the terms auteurism or auteur theory, denoting a critical theory (originally known as la politique des auteurs or "the policy of authors"). Popular in France in the late 1940s and early 1950s, Francois Truffaut introduced Auteur Theory along with editors (including legendary film critic and theorist Andre Bazin) of the celebrated French film journal Cahiers du Cinéma (literally 'cinema notebooks'), arguably the most influential film magazine in film history. Their ideas subsequently grew in the 1960s by American critic Andrew Sarris, among others. The theory ascribed overall responsibility for the creation of a film and its personal vision, identifiable style, thematic aspects, and techniques to its filmmaker or director, rather than to the collaborative efforts of all involved (actors, producer, production designer, special effects supervisor, etc). The theory posited that we consider(...)
- Available LightAvailable Light is a photography and cinematography term. It refers to available light or ambient light of any light source not explicitly supplied by the photographer for the purpose of taking photos.
- Avant-garde filmAvant-garde film is also known as experimental film, experimental cinema, or avant-garde cinema. It is a mode of filmmaking that rigorously re-evaluates cinematic conventions. Avant-garde film explores non-narrative forms and alternatives to traditional narratives or methods of working.
- Average Shot Length (ASL)ASL (Average Shot Length) indicates the average duration of a shot between cuts in a film. (The total film run time divided by number of shots.) It's data used to compare films from their editing style: how often do they cut, how long do the shots last. A long ASL means the film uses, on average, longer shots and fewer cuts.
- Average Shot Length of Selected Films Film Year Director ASL Babel 2006 Iñárritu, Alejandro González 3,3 Lady in the Water 2006 Shyamalan, M. Night 12,1 Broken Flowers 2005 Jarmusch, Jim 7,5 Don’t come knocking 2005 Wenders, Wim 7,3 Bourne Supremacy, The 2004 Greengrass, Paul 2,4 Eternal sunshine of a spotless mind 2004 Gondry, Michel 4,7 Lost in Translation 2003 Coppola, Sofia 6,6 Dead Man 199 5 Jarmusch, Jim 7,4 Pulp Fiction 1994 Tarantino, Quentin 7,9 Paris, Texas 1984 Wenders, Wim 12,6 Shining, The 1980 Kubrick, Stanley 12,9 1900 1976 Bertolucci, Bernardo 8 Barry Lyndon 1975 Kubrick, Stanley 13,3 Don’t look now 1973 Roeg, Nicolas 5,8 Godfather 1972 Coppola, Francis Ford 8,4 Clockwork Orange 1971 Kubrick, Stanley 11,6 2001: A Space Odyssey 1968 Kubrick, Stanley 13 Blowup 1966 Antonioni, Michelangelo 11 8 ½ 1963 Fellini,(...)
- Axial CutAn Axial Cut is a type of jump cut, where the camera suddenly moves closer to or further away from its subject, along an invisible line drawn straight between the camera and the subject. A plain jump cut typically involves a temporal discontinuity (an apparent jump in time). Whereas, an axial cut is a way of maintaining the illusion of continuity. Filmmakers rarely use axial cuts in contemporary cinema. However, they were fairly common in the cinema of the 1910s and 1920s.
- Axis Of ActionCommonly referred to as the "180° line," Axis of Action is an imaginary line. It defines the spatial relations of all the elements of a scene, correlating them to the right or left. The camera is not supposed to cross the axis at a cut, as that would reverse those specific spatial relations.
- Baby and Jr. C-ClampsBaby and Jr. C-Clamps are essential rigging for grips. On location, these clamps can clamp onto wooden, steel, beams to rig lights, secure flags, etc. Baby and Junior C-Clamps enable us to clamp lights on set walls and even have channels to secure onto metal and aluminum pipes. Remember when clamping onto wood make sure you put 1 x 3 cribbing in between the clamp and the wood. That way, you won't damage the location.
- Baby/Jr. Nail OnBaby/Jr. Nail On is a baby or junior pin welded to a steel plate. Use these for Beaver boards/skid plates which is a Pancake apple box on which you can screw a baby nail. These can be used for architectural lighting on columns, etc. You can also use these in rigging soft boxes, screw them onto set walls to hang lights, and rig flags.
- Baby/Jr. OffsetBaby/Jr. Offset is a baby or junior pin that is offset 12” away from the stand. This enables you to under sling lights so you can tilt them down more extremely than if they were on a normal stand. A Baby/Junior Offset enables you to rig monitors on your carts so that they can be offset. They also reach out from the top of a set wall to get the perfect angle on a light.
- Baby/Jr. Triple HeaderBaby/Jr. Triple Header enables you to rig 3 lights in a row. Used for TV and Fire EFX’s gags, it is great for headlight gags as well. It is also perfect for rigging onto your monitor carts to rig Wireless video transmitters and receivers.
- Baby LegsBaby legs are tripod legs that start at around 18” high and can go up to 4’. They can either have a Mitchell mount or a ball receiver.
- BackdropBackdrop refers to a large photographic backing or painting for the background of a scene (i.e., a view seen outside a window, a landscape scene, mountains, etc.). It's usually painted on flats (composed of plywood or cloth). A large curved backdrop (often illustrating the sky) is known as a cyclorama. Backdrops were more common before the current trend toward on-location shooting and the use of bluescreens.
- Backlight (Rim Light)The backlight (also called rimlight) is one part of the basic lighting arrangements known as three-point lighting. It is placed behind the subject opposite the camera, though high above it. That way, the light won't glare directly into the camera. Its main function is to help set the subject off from the background by highlighting the edges of it. A backlight with a comparatively high intensity also creates the particularly striking effect of a halo around the object. For related information, read the entries concerning three-point lighting, key light, and fill light.
- Back LotA Back Lot is an area on studio property in an open-air, outdoor space away from the studio stages. It's where real-life situations with backgrounds are filmed. Back Lot contrasts with more expensive on-location shoots. Various studios in the Los Angeles area offer backlot tours.
- Back ProjectionBack Projection is a photographic technique whereby live action is filmed in front of a transparent screen onto which background action is projected. Back projection was often used to provide the special effect of motion in vehicles during dialogue scenes. It has since become outmoded and replaced by bluescreen (or greenscreen) processing and traveling mattes. It's also known as rear projection or process photography (or shot). It contrasts with a matte shot.
- Backward TakeA backward take involves shooting a scene with the camera held upside down. Or, the camera records in reverse to display normal motion as reversed.
- BackwindBackwind is the process of rewinding the film in the camera itself.
- BalanceBalance is found within a film's visual frame. It refers to the composition, aesthetic quality, or working together of the figures, light, sound, and movement.
- BallastA Ballast is a piece of gear that is used with HMIs, LEDs, and Fluorescents. Ballasts convert power so the light has the correct current. Plus, it acts to convert voltage from AC to DC as well.
- Balloon LightsBalloon Lights come in many shapes and sizes. They can be inflated with helium or air. Use helium if you want to suspend them over a set with wires. However, this method is not great in conditions that involve wind. To save on the budget, fill them with air and suspend them with a condor so that they can be clamped into the condor with a net. They come in LED and tungsten for HMI color temperatures. They also come with side flaps that can help control their light. My favorites are the tube-shaped balloon lights because of the light control options and the size.
- Barn DoorsBarn Doors are metal flaps that extend out past the light source to help control the light from spilling everywhere. You can spin them to deliver horizontal, vertical, or diagonal light control patterns. Never fly barn doors on 18Ks or 20Ks. They become a sail very fast and are heavy and can fall out easily.
- BarneyA Barney is a kind of blanket. It's used to cover up the camera to avoid or reduce noise made by the camera.
- BeatA beat refers to an actor's term for how long to wait before doing an action. A beat is usually about one second.
- Below AngleBelow Angle is a shot taken from an extremely low angle or directly from the bottom. In rare cases, it's also used directly from below the subject. This type of angle exaggerates the volume and importance of the shown object or subject. It reduces the importance of the surroundings almost entirely. Typically, this angle emphasizes the subject’s power and dominance, in some cases even to an unnatural extent. This is why the worm’s-eye view if emphasized to the extreme can have an abstract or highly expressive effect.
- Best-boyIn a film crew, there are two kinds of best boy: best boy electric and best boy grip. They are assistants to their department heads, the gaffer and key grip, respectively. In short, the best boy acts as the foreman for his department; a gender-neutral term that came from whaling.
- BetaBeta is a 1/2 inch videotape that was originally called Betamax.
- Bird’s eye viewA Bird's Eye View is an elevated view of an object from above, like a bird's perspective. It's often used in the making of blueprints, floor plans, and maps. It can be an aerial photograph, but also a drawing.
- Bit-partA small acting role (usually only one scene, such as a waiter) with very few lines or acting. It contrasts with a cameo, extra, or walk-on role.
- Black and WhiteSimply Black and White means without color. Before the invention of color film stock, all films were black and white. Monochrome (literally meaning "one color") usually refers to a film shot in black and white. Although, it can refer to a film shot in shades of one color. Grainy B&W is often used to convey authenticity; abbreviated as BW, B/W, and B&W; contrast to color.
- Bleached & Unbleached MuslinBleached & Unbleached Muslin is a fabric that has been around since the silent film days. It is a favorite bounce source. It is softer but can get dirty quickly and brown which then changes the color temp. So, you want to make sure it remains clean. Unbleached is a warmer tone bounce (about 500 degrees Kelvin warmer than Bleached). You can also push light through this fabric; they are super soft.
- BlimpA Blimp is a fiberglass case designed for holding a camera.
- Blind ShotBlind Shot is a shot of sound effects taken in a manner that excludes portraying the source of those sounds.
- Block BatteryA Block Battery is a very large battery that will supply your camera with many hours of operation. This usually sits on the dolly.
- BlockingBlocking is the process of figuring out the camera's placement, the arrangement of lights, and the position and movement of the actors. The blocking takes into account the movement moment by moment for each shot and take. The specific staging of a film's movements is worked out by the director. Typically, this involves stand-ins and the lighting crew before actual shooting.
- BlooperA Blooper is an actual error or mistake (misplaced action, or misspoken dialogue by a performer). It's usually embarrassing or humorous, made by a performer during filming; also known as a goof.
- Blow UpBlow Up is an optical process. With the enlargement of a photographic image or film frame, filmmakers often "blow up" films. That way, they create 70mm release prints from the original 35mm.
- Blue ScreenBlue screen is a special effects process whereby actors work in front of an evenly-lit, monochromatic (usually blue or green) background or screen. The background is then replaced (or matted) in post-production by chroma-keying or an optical printer. This allows other footage or computer-generated images to form the image. Since 1992, most films have used a green screen.
- BNC CableBNC Cable is the cable that has become the industry standard for connecting your camera to your monitoring system.
- Body DoubleA Body Double is a performer who takes the place of an actor. They are typically employed in scenes that require a close-up of body parts without the face visible. Body doubles are often for nude scenes requiring exposed close-ups (considered distasteful by some actors), or scenes requiring physical fitness. They are not to be confused with a stunt double or stand-in.
- BokehBokeh (/ˈboʊkə/ BOH-kə or /ˈboʊkeɪ/ BOH-kay; Japanese: [boke]) is the aesthetic quality of the blur. Bokeh is produced by the out-of-focus areas of a lens. What defines bokeh is "the way the lens renders out-of-focus points of light."
- BollywoodBollywood refers to the burgeoning film industry of India, the world's biggest film industry, centered in Bombay (now Mumbai). The etymology of the word: from Bo(mbay) + (Ho)plywood. Unlike Hollywood, however, Bollywood is a non-existent place.
- BookendsBookends is a term denoting scenes at the beginning and end of a film that complement each other. They help tie a film together; aka framing device.
- BoomA Boom is a traveling or moveable counter-balanced pole (also called fishpole or fishing rod), arm, or telescoped extension device. Upon which a microphone, light, or camera can be suspended overhead above a scene and outside the frame during filming (by a boom operator or boom man). For example, a microphone (mic) boom, a camera boom, or a light boom. The most common film mistake is the appearance of the boom mike (or its shadow) in the frame. A mechanical boom mic is known as a 'giraffe.'
- Boom ShotA Boom Shot is a continuous single shot made from a moving boom. It's assembled like a montage and incorporates any number of camera levels and angles.
- Boom Up/DownBoom Up/Down is a technical term that describes the changing of the camera’s height above ground. The increase in the camera’s height is called a boom up and the decrease is a boom down. Boom up and boom down are similar to panning and tilting. But in contrast to those movements, booming does not change the camera angle.
- BounceBounce can be a piece of fabric like muslin, a white showcard, or brown butcher paper. Most bounces are either fomecore, bead board, showcard, or muslin. See also How to Use Bounce Light.
- BracketingBracketing involves taking one shot from several angles for the desired effect.
- Bridging ShotA Bridging Shot is a transitional type of shot. It's used to cover or 'bridge' a jump in time or place or other discontinuity. See also audio bridge and match cut.
- Building A SceneBuilding a Scene employs dramatic devices such as increased tempo, volume, and emphasis to bring a scene to a climax.
- Bump In/OutBump In/Bump Out is the immediate appearance and disappearance of a subject or an object in a film, for special effect.
- Buzz TrackA Buzz Track is a soundtrack of natural, atmospheric, on-location background noise. Added to the re-recorded (or looped) track of actors' dialogue and other sound effects recordings, a buzz track creates a more realistic sound. Also, a buzz track refers to room tone or matching ambient sound. A wild track or sound refers to a soundtrack without any synchronized picture accompanying it. For example, the sounds of a playground.
- 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.
- Dance FloorDance Floor is either ¼” luan wood or ¼” ABS plastic. It is laid down on surfaces that are not smooth enough for a dolly to roll on. They are cut in many different sizes so that you can overlap seams to create a smooth surface for dollies. That way, they can move around effortlessly for wide-moving masters and complex coverage.
- Day-for-Night ShootingDay-for-night shooting is a historical cinematographic technique. It simulates night scenes by using special filters that allow shooting during daytime. Also known as nuit américaine (“American night”).
- Daylight SpoolDaylight spool is a container made to hold the camera film. It keeps the film from being completely exposed while changing during an outdoor shoot.
- Deep FocusDeep focus is a technique that allows both objects that are very near as well as very far away to stay in focus simultaneously.
- Deep Space (deep staging)Deep Space (deep staging) is a cinematic style in which several significant elements of an image are positioned at various points both near to and distant from the camera. This means that the characters in the shot have a large spatial scope. So, they sometimes even seem to disappear within the wide area. Deep space can be achieved by establishing a very long z-axis that opens the available stage. More often than not, it is combined with deep focus, which requires that elements placed along very different depth planes of the image (i.e. foreground, middle ground, and background) be in focus at the same time. However, for deep staging, these objects do not necessarily have to be in focus. Staging in a deep space is the opposite of staging in a flat space.
- Depth of FieldDepth of Field (DOF) is the distance in front of a camera in which all elements are in sharp focus. Bright light and a narrow lens aperture tend to produce a larger DOF, as does using a wide-angle lens rather than a lens with a long focal length (telephoto lens). Depth of field is directly connected, but not to be confused with, “focus,” which refers to the quality (i.e. the “sharpness”) of an object in the image. Whereas, DOF refers to the extent to which the space that is presented is in focus. For related information, see the entries on shallow focus and deep focus.
- Desaturated ColorDesaturated Color refers to colors of less luminosity and vividness. Desaturated colors have a reduced amount of the initial color (hue) due to the addition of their complementary color. Complementary colors are colors that face each other on the color wheel. When mixed, two complementaries reduce each other’s saturation towards grey. In other words, they desaturate each other. For related information, read the entry concerning contrast of saturation.
- DiegeticDiegetic refers to everything belonging to the fictional world of a film that the characters themselves experience and encounter. It means the implied world of the story, which includes: Settings Events Sounds Spaces The characters that inhabit the world Also, actions and attitudes that are not explicitly shown in the film but are inferred by the audience as belonging to it are known as the diegesis. Moreover, any sound (voice, music, or sound effect) presented as originating from a source within the film’s world is referred to as diegetic sound. In contrast, background music, a narrator’s commentary, or sound effects that do not seem to originate from within the film’s world, are considered to be non-diegetic sound. The audience constructs a diegetic world from the material presented in a narrative film. All elements that exist outside this diegesis are then labeled as non-diegetic.
- Diffuser A diffuser is a special effect camera filter or lens that softens the appearance of subjects and generates a kind of dreamy haze.
- Diffusion GelDiffusion Gel is an opaque plastic sheet. It is used as a filter that diffuses and changes the quality of the light source.
- Direct CinemaDirect cinema is a form of mainly documentary-style filmmaking developed in the United States in the 1960s. It combines naturalistic techniques with stylized cinematic devices of editing and cinematography. The direct cinema filmmakers made use of newly-developed, unobtrusive lightweight equipment for filming on location. A similar movement arose in France at approximately the same time under the label of cinéma vérité (French for “truthful cinema”). However, direct cinema aimed to be more observational and to avoid influencing the recorded event. Aspects of direct cinema and cinéma vérité later also influenced the work of fictional filmmakers.
- DirectionalityDirectionality describes movements of subjects or objects (or the camera itself) within the frame and can be implemented in accordance with the various axes and vectors within a frame such as: Vertical directions Horizontal directions Diagonal directions Directions along the z-axis Every object within the frame that is not static has a certain directional property. Directionality is obviously a very important element within the language of visual design. It often has a dramatic value in itself or carries a certain message.
- Direct Sound RecordingDirect Sound Recording is dialogue recorded as spoken during a scene.
- DissolveDissolve is a transition when one shot fades out and the next shot fades in immediately.
- Dogme 95Dogme 95 is a Danish film movement and style. It began in 1995 by the Danish directors Lars von Trier and Thomas Vinterberg with the signing of the Dogme 95 Manifesto and the so-called “Vow of Chastity.” Above all, the Dogme directors rejected the expensive filmmaking techniques used in most commercial films (especially those from Hollywood), genre conventions, spectacular special effects, and too much editing. Instead, they aimed to place emphasis on the actual story and the actors’ performances. Their mission was to capture more “truthful,” “non-Hollywood” cinematic storytelling.
- Dolly ShotA Dolly Shot is a shot taken from a camera placed on equipment with wheels, used mainly for moving shots.
- Dolly ZoomA dolly zoom combines a track-in or track-out movement with the apparent movement of a zoom in the opposite direction. Depending on whether it is a dolly out/zoom in, or a dolly in/zoom out, either the background shifts towards the foreground or away from it. The respective zooming direction and additional perspective changes caused by the camera movement produce either a special dizzying or oppressive effect. A dolly zoom is also variously known as: Dolly counter zoom Reverse tracking shot The Hitchcock zoom Vertigo effect Trombone effect
- Dope SheetA Dope Sheet is a list of all the shots taken during a specified time period.
- DovetailA Dovetail is the universal camera plate in which all cameras are mounted. The camera mounting system slides onto the Dovetail which secures it with a locking mechanism.
- DubateenDubateen is a black fabric that is fireproof. It is a grip essential for rigging skirts to go around soft boxes to control light, create bottom cuts on lights, hide cables in the background, use for negative fill, throw down on floors to increase contrast, and help shape light sources.
- Dub (dubbing)Dub (or dubbing) is the process of adding or replacing sound after the film has been shot. For example, recording sound in the post-production stage of production. Most typically, the term refers to the substitution of the voices of the actors shown on the screen by those of different performers. They may be speaking a different language since many films are dubbed into the local language of a foreign market. Music is also usually dubbed into a film after editing is completed.
- Dutch AngleA Dutch Angle is a camera that is tilted at an angle for a slanted shot. This was used in the Batman TV series and caught on. I have used it in many music videos back in the 90’s.
- Easy RigEasy Rig is a camera rig system developed for handheld work. It suspends the camera from a centralized arm that is mounted to a waist belt for support.
- EditingEditing is the assembling and cutting of final shots to the required length to achieve the desired results.
- Elliptical CutAn Elliptical Cut is a cut between two shots that omits parts of an event, thus causing an ellipsis in the plot and story duration. Often, an elliptical cut is used to create the impression that time has elapsed. The respective editing technique is called elliptical editing. A jump cut is a special type of elliptical cut.
- Establishing ShotAn Establishing Shot is a long shot used to establish a new scene, subject, or object that is important to the film.
- EVFAn Electronic Viewfinder (EVF) is an electronic viewfinder that attaches to your digital camera so that you can see the frame.
- ExpositionExposition conveys the important background information for the events of a story (i.e. details about the characters, setting, initial problem, theme, etc.) via the dialogue and/or the action. Or, in simpler terms, exposition provides context for the audience to understand the story.
- Exposure IndexExposure Index is the sensitivity of light to a specific film. It is used to measure film speed.
- ExtendersExtenders are devices that clamp onto your lens giving it extra magnification to extend its focal range. Most used are 1.4X and 2X extenders. The 1.4X only magnifies it to half the focal length. If you put it on a 50mm, it would turn it into a 75mm. The 2X doubles the focal length.
- Exterior LightExterior Light is the additional non-diegetic light sources that reinforce the available light sources in the mise en scène. Exterior light sources ensure better control of the lighting conditions and have no importance for the content of a shot or scene. In some cases, they can be seen as extra light sources in contrast to the available light. For related information, see the entries concerning available light, diegetic, and non-diegetic.
- Extreme Close-Up (ECU)Extreme Close-Up (ECU) consists of zooming in completely on a single detail. That way, it fills the entire screen. On a face, it is described as the frame lines. It should be just above the eyebrows and holding the chin.
- Extreme Long Shot (ELS)Extreme Long Shot (ELS) can serve as an establishing shot, taken from quite some distance. This can create a voyeuristic feel, like someone is watching, spying, or observing.
- Eye Level ShotEye Level Shot is a shot that portrays a subject's view of another subject or object in the film, taken at the subject's eye level.
- Eyeline MatchEyeline Match is a cinematic editing practice aimed at conveying the intrinsic logic of a look or gaze. Ultimately, it shows what a character is looking at. Most commonly, the technique is used when a character looks at something offscreen (gaze shot). Then, the next shot shows what is being looked at (typically a point-of-view shot). They help to establish and stabilize spatial continuity, as successive shots correspond to the spatial layout of characters and objects established in earlier shots. As it does it also obeys the 180° rule. A point-of-view shot is a special type of eyeline match as the audience is shown the perspective of the character.
- Fade-InA Fade-In starts from a plain-colored state. Then, the screen gradually regains full contrast and luminosity. In continuity editing, fade-ins and fade-outs are mainly used to flag a temporal discontinuity (i.e. the passage of time).
- Fade-OutA Fade-Out occurs when the screen gradually loses contrast and luminosity until it is completely black. Or, in rare cases, it fades to another color. In continuity editing, fade-outs and fade-ins are mainly used to flag a temporal discontinuity (i.e. the passage of time).
- Fade-out, Fade-inFade-Out, Fade-In is a transition in which the first shot gradually fades out to black. Or, in rare cases, it fades to a white screen. This is then often followed by a short pause showing the monocolored screen before the second shot gradually fades in.
- Fading SolutionFading Solution is a liquid solution used for fading on film.
- Fast CuttingFast Cutting is the process of cutting together several shots of brief duration. Fast cutting is an effective way to convey a lot of information in a brief time. It is often used to add urgency or energy, to intensify suspense, to lead to a climax, or to indicate a character’s loss of control. The opposite of fast cutting is slow cutting.
- Fast MotionFast Motion is a technique that produces the appearance of faster action on the screen. The ability to capture fast motion involves shooting at a slower speed and then projecting it at normal speed.
- Fill LightThe fill light is one part of the basic lighting arrangement known as three-point lighting. The fill light fills in, softens, or eliminates the shadows caused by the key light. For this reason, it's placed on the opposite side of the key. For related information, read the entries concerning three-point lighting, key light, and backlight.
- Film CementFilm Cement is a solution used for joining two pieces of film together.
- Film HorseFilm Horse is a frame used during editing to hang separate shots in a decided order.
- Film NoirFilm Noir is French for "black film." It adopted many of the stylistic devices used in films of the German Expressionism movement of the 1920s and 1930s. The films of this genre formed a gloomy counterbalance to the almost exclusively optimistic world of musicals and films of the same time. In particular, the film noir genre was a reflection of the growing critical discussion about the constrained optimism relating to the American Dream during the time after World War II. In keeping with some of the somber detective novels published at this time, the settings of these films are especially gloomy and pessimistic. Often, the story takes place in an urban moloch, featuring an anti-hero struggling with their inner conflicts.
- Film StockFilm Stock is the light-sensitive ( = photographic) film strip on which films are shot and reproduced.
- FilterFilter is a tinted sheet of glass placed in front of or behind the lens. It is used to change the color of the shot, diffuse the shot, or add Neutral density to decrease your depth of field for aesthetic purposes.
- Final CutThe final cut is the final version of an edited film. It is usually the version that is screened in cinemas or distributed in the form of a storage or streaming medium.
- Fisheye LensA fisheye lens is an extreme wide-angle lens that is capable of showing an angle of view close to 180°. Shots taken with a fisheye lens are always considerably distorted. It produces images that appear obviously artificial. In some films, fisheye lenses (or reflective decoration elements and props that produce a similar effect) are part of the mise en scène, i.e. door peepholes, curved mirrors, etc.
- Flash-ForwardFlash-forward is a shot, or a series of shots, that breaks the normal chronological order. It shifts directly to an event depicting the future. The flash-forward is less frequently used than its opposite, the flashback.
- Flat SpaceFlat Space describes a certain form of mise en scène, which severely limits the available space within the frame in a striking way. It results in a very small spatial scope for the characters within it. For creating this effect, limitation along the z-axis is most effective. For example, this can be achieved by filming a character standing in front of a wall. The opposite of flat space is deep space.
- FlickerFlicker is an uneven brightness in the film, sometimes deliberately created for effects.
- Floppy FlagsFloppy flags come in many sizes, the most common is the 4’x4’ floppy flag. It flops down and creates a 4’x8’ flag. These are used to control light sources, create negative fill, create shadows, etc.
- Fluid HeadA fluid head is a device that enables the camera operator/DP to pan and tilt to capture the shot. This head has different tensions within the head to adjust depending on your operation preferences. It also has locks so you secure the camera.
- FlyswaterFlyswater is a term for a Condor or Pettibone forklift that you rig a 12 x 20 or 20 x 20 to control and diffuse sunlight or to bounce light into at night.
- Focal LengthFocal Length is the length of the view provided by a particular kind of lens.
- Focus(1) The term “focus” refers to the degree of sharpness or distinctness of a particular area in an image (such as a person, object, etc.). If something is “in focus”, it appears sharp and clear. In contrast, if an object or an area is “out of focus,” it appears blurred and indistinct. This area is also referred to as bokeh. Technical terms related to “focus” include deep focus, shallow focus (very common in close-ups), soft focus, and rack focus. (2) Focusing is the act of adjusting a lens system in such a way as to achieve a sharp image along the focal plane.
- Following ShotFollowing Shot is a shot in which the camera itself follows behind or alongside a moving subject. Thus, it accompanies the movement of the subject during the shot. The following movement can be achieved by tracking, dollying, or shooting with a handheld camera. Although, in many cases, a Steadicam is the most practical option. In such shots, the following distance is usually kept more or less constant.
- FootageFootage is the length of the film running through the camera. A shot or a series of shots, measured in feet.
- Four by Four CartFour by Four Cart is a grip cart. It includes channels to hold 4 x 4 Flags, diffusion and gel frames, bounces, showcards, etc.
- Fragmented Framing (or Partial Framing)Fragmented Framing is a kind of framing in which important objects or subjects are only partially shown for a significant length of time. For example, a character's body is shown without the head. It often evokes an uneasy feeling since the audience is used to classical Hollywood cinema storytelling conventions that normally direct their attention to the important parts of a subject or a scene. Fragmented framing can also be used to let shots appear experimental, documentary-style, or amateurish.
- FrameFrame refers to a single image captured by the camera on a strip of film and represents the smallest compositional unit of a film’s structure. Several frames make up a shot, and a series of frames juxtaposed and shown in rapid succession make up a motion (or moving) picture. It refers to the rectangular area within which the film image is composed by the filmmaker, or in simpler terms – what we see within the area of the screen.
- Frame Enlargement Frame Enlargement is a magnification of a single frame of film. It is usually to illustrate certain features and aspects of cinematography or the mise en scène within the context of film studies and film analysis. Also often referred to as motion still (although this is not necessarily enlarged).
- FramingFraming is the selection and composition of the onscreen contents of a shot with respect to the edges of the screen (see the entry on the frame). Important cinematographic aspects of framing include the choice of camera distance, camera angle, and lens type. An unusual form of framing is the so-called fragmented framing, in which important objects or subjects are only partially shown for a significant length of time (i.e. a character’s body is shown without the head).
- Freeze FrameA freeze frame is a special effect in a shot. It creates the impression of a pause in the action or a still photograph. This effect is accomplished by reprinting one frame many times, usually with an optical printer or through digital editing. As such, it differs from the “freeze frame” or still frame option found on DVD players to individually pause the playback of a film. A freeze frame in a film is often used in combination with voice-over narration to situate the plot in time or to comment on a character’s thoughts and feelings.
- Furniture PadFurniture Pads are also called sound blankets because the sound department tends to steal them for dampening sound. For a grip they are a powerful tool to raise actors up in chairs and in cars. They are great for throwing down on the ground for the camera crew to sit on when operating the camera. Furniture pads also work well when rolled up in what we call a Burrito wrap for handheld work inside cars. Particularly when capturing that special shot means you will be uncomfortable. You will need that Burrito wrap to keep your hand held at its very best.
- GafferA Gaffer is the chief or head electrician or supervisory lighting technician in the film/photography crew. They are responsible for the design and execution of a production's lighting plan on the set. The gaffer's right-hand assistant is known as the best boy. See also: Gaffer Tape refers to multi-purpose, sticky, and wide black cloth tape, used to mark studio floors, to hold things together, etc.
- Gag-Based ComediesGag-based Comedies are comedy films that are often nonsensical and filled with multiple gags (i.e., jokes, one-liners, pratfalls, slapstick, etc.). They are designed to produce laughter in any way possible, and often with comic or spoofing references to other films.
- GateA gate is an opening behind the lens of a camera or projector for exposing/projecting a single frame.
- GaugeGuage is the literal width of the film's format that determines its quality. It's the film strip and is measured in millimeters.
- Gaze ShotA gaze shot shows a character staring at something or someone who is typically outside of the frame (offscreen). Gaze shots are often used in combination with a following point-of-view shot. This has the effect of putting the viewer into the position of a character for a short moment: i.e., we see a character suddenly looking up into the sky (gaze shot). Then, after a cut, the next shot (point-of-view shot) shows a passing aircraft.
- GelA gel is a transparent plastic sheet used as a filter that changes the color of the light.
- Gel HoldersGel Holders are wire or metal frames that hold the gel in place. That way, it does not touch the hot surface of the globe or the lens.
- GimbalA gimbal is a remote head that can be operated in handheld mode or mounted to a dolly or crane. It stabilizes the image, keeps the perfect horizon, and enables the camera to move in ways never really achieved before. The most common Gimbals are MōVi Pro and the Ronin 2.
- Gold MountGold Mount is an Anton/Bauer proprietary mount. It enables the battery to be mounted to the camera with 3 mounting posts. This is the industry standard in the U.S.
- Grip ClipsGrip Clips are often called spring clips. They come in 4 sizes, #.5, #1, #2 and #3. They are an absolutely essential tool for everything a grip has to do.
- Handheld CameraHandheld camera is a technique where the operator operates by hand without a tripod. It's often used to show a moving, shaky scenario, especially in horror movies.
- HandlineA handline is a rope or synthetic climbing rope. It is used to secure overhead frames, tie-down rigs, hang teasers, etc.
- Hard LightThe term “hard light” refers to the quality of the light. A hard light quality creates harsh borders (as if drawn with a ruler) between lit and shady areas. Overall, it produces a bright illumination and thus reveals many details. For this reason, people tend to look rather unflattering and less attractive because this bright and harsh light accents wrinkles and imperfections of the skin. For related information, read the entries concerning soft light and light quality.
- Head ExtensionHead Extension works in conjunction with the ballast and usually two come with every light. You can couple up to three 50’ head extensions together with HMIs but not anymore than that. Sometimes two is all you can get depending on the manufacturer. Many times when a light does not work, it is because of the head extension going bad in some way.
- Head RoomHead Room is the room between the frame top and the top of a subject's head.
- Hidden CutA hidden cut is a cut intended to be imperceptible. At the end of the first shot, the camera moves closer or zooms in on a plain, typically dark-colored object that fills the whole frame. Thus, it provides the chance to implement an unobtrusive cut. The following shot shows the camera zooming out or moving away from the previous or another similarly-colored object. Instead of using camera movement or a zoom, this kind of cut can also be affected by a moving subject or object that temporarily covers the whole frame. In a sense, the hidden cut is a special form of a fade-out, fade-in transition. The fading simply serves as part of the shot (rather than achieved through editing).
- High Angle ShotA High Angle Shot is a shot taken from above the subject.
- High ContrastIn photography and cinematography “contrast” refers to the difference in brightness between lit and shady areas of an image. In this respect, an image in high contrast has a high amount of alternating deep dark shadows and very brightly lit areas giving a rather uneasy or harsh impression. See also chiaroscuro. Opposite of low contrast. A lighting style that is marked by high-contrast lighting is called low-key lighting.
- High-Key LightingOne of the main lighting styles used in filmmaking and often associated with the bright overall lighting. It is best known for sitcoms and ballroom scenes. High-key lighting is characterized by a small ratio between the key light and fill light. Normally, it is used in combination with soft light to create a pleasant atmosphere. This produces low contrasts between lit and shady areas. High-key lighting can also be useful for creating positive moods at night. It's also used in combination with hard light sources to create a cold and sterile atmosphere. For related information, read the entry concerning low-key lighting.
- Hitchcock’s RuleThe "Hitchcock’s Rule" is a cinematographic principle that was coined by Alfred Hitchcock in his famous discussions with François Truffaut. The rule states that the size of an object in the frame should equal its importance in the story at that moment.
- HMI Fresnel LightsHMI Fresnel Lights is a daylight-balanced fixture. The Fresnel lens was developed by the French to project light for long distances. Hence the Fresnel lens is in every Light House in the world. Its lens delivers beautiful hard shadows, it delivers a very even spread while in flood and spot. This light gives great shafts of light, awesome for bounces and projecting through diffusion frames. A fresnel will give you less output than a Par light with the same wattage.
- Horizon LineA Horizon Line is a straight line drawn across one or two vanishing points that mark the height at which the camera is positioned. Depending on the camera angle, the horizon line moves up or down within the frame. This is why it can be used to help to deduce the type of camera angle. If the horizon line slopes to one side, the camera is in a canted angle position. Change positions of the horizon line and optical distortions depending on different camera angles and heights.
- ImbalanceImbalance is an aspect of the mise en scène which describes a state of compositional unevenness or disproportion. Imbalance can be achieved in various forms, i.e. asymmetrical presence of subjects/objects, color, light, and form. Opposite of balance.
- Insert ShotsInsert Shots are close-ups of significant as well as insignificant details of the film, and usually do not include any actors. Insert shots are mainly of objects.
- IntercuttingIntercutting is the technique to show more than one event taking place at the same time.
- Interior ShotsInterior Shots are shots filmed indoors and most often in a controlled environment. They are not typically affected by the outside environment.
- InternegativeInternegative is a copy of the film made to make a large number of prints.
- IntertextualityIntertextuality references and interconnects between “texts” of all kinds (including films, articles, paintings, etc.). Examples of types of intertextuality in film include film adaptations of literature, homages, parodies, prequels, sequels, and remakes.
- InvertersInverters convert battery DC power to AC power so you can run lights from a car battery. I use them on driving shots with different lights that need to be powered while the car is driving.
- IrisAn Iris is an opening in the lens that controls the amount of light passing through (very similar to Aperture.)
- Iris ShotAn iris shot was a technique frequently used in silent films where the black circle of the iris partly masks the frame. More often than not, the iris shot was used to convey the passage of time. It's similar to a fade-out, fade-in transition. In some cases, post-silent-era films have employed (or imitated) this technique as an homage to the silent film era. It's used to make a film sequence appear as though it might have been filmed in the silent film era.
- ISOISO (International Standards Organization) is a film or digital sensor's sensitivity to light. It is also a number used to measure the speed of the film.
- Joker HMI LightJoker HMI Light is a daylight-balanced small compact fixture that is par-based. It uses lenses to control its size of beam. They are lightweight and can be used for bounces and projecting through diffusion frames. They can be altered to fit in china balls and pancakes with its BUG Lite feature. It can also be altered with a LEKO back so that it fits in the back of a theatrical Leko light which turns it into a powerful HMI like that has all the features of a Leko light.
- Jump CutA Jump Cut is a sudden cut between two unmatched shots that draws all attention to itself. It gives the effect of bad editing.
- Junior Low ComboJunior Low Combo is a stand that has two risers and will take up to a 18K if need be. It has a Junior receiver. Its top height is head height and its lowest point is 3’ off the ground.
- Junior Low Roller Turtle StandThe Junior Low Roller Turtle stand is 3” off the ground. It's great for moving large lights around in bounces. And it's great for hiding under windows to bounce up into overheads to create day ambience.
- KelvinKelvin is a scale that determines the color temperature of a light source. The scale runs from yellow to white to blue light. The most common Kelvin temperatures in film are 5600 K (daylight) and 3200 K (tungsten).
- Key LightThe key light is the brightest and the first light set in each shot and is the main part of the basic lighting arrangement known as three-point lighting. The key light is the most directional of the three lights. As such, it strongly directs the viewer’s attention. When used on its own, it also casts the strongest shadows. For related information, read the entries concerning three-point lighting, fill light, and backlight.
- Kitchen Sink Realism (or Kitchen Sink Drama)A term to describe a British art and film movement that deals with the domestic conditions of British working-class people. The characters are often angry young people living in rented flats, particularly in the poor industrial areas in Northern England. The name “kitchen sink realism” can be traced back to a painting of a kitchen sink by John Bratby. Kitchen sink realism is a form of social realism.
- Klassen SlingShotKlassen SlingShot is a device created to support the handheld gimbal system. It uses a carbon fiber vest to mount the pulley system. It flies over your head to then suspend the gimbal.
- Kuleshov EffectKuleshov Effect is a film editing (montage) effect or phenomenon demonstrated in an experiment by Russian filmmaker Lev Kuleshov in 1918. Kuleshov shot a single long close-up of an actor, sitting still without facial expression. He then cut away to various shots with different content such as a bowl of soup, a woman in a coffin, and a child with a toy bear. When the film was shown to an audience, it (connecting the “dots”) “marveled at the sensitivity of the actor’s range.” Kuleshov recognized the importance of editing techniques to guide the audiences’ perceptions and enhance the emotional impact of a shot or a scene.
- Lab RoleA Lab Role is a very large roll made by the lab for printing, by joining together several camera rolls.
- Lambda / Weaver Steadman Fluid HeadLambda (Weaver Steadman Fluid Head) is a head that underslungs the camera. It does so to achieve low angles and enables you to float over foreground objects.
- Lap Dissolve With a Lap Dissolve transition, the first shot ends with a fade out, as simultaneously, the second shot fades in. Thus, it gradually overlaps with the first shot as it fades out. The lap dissolve is thus similar to a fade-out, fade-in. However, the main difference is that the middle sequence of briefly showing a plain-colored screen is left out. That way, the end of the first and the beginning of the second shot are briefly superimposed. In continuity editing, lap dissolves are mainly used to flag a temporal discontinuity (i.e. the passage of time).
- LED Light MatAn LED Light Mat is a lightweight bendable fixture that comes in varying lengths and widths. They come Bi Color and have changed the way I light with their ability to hang in places where other lights would be too heavy or too deep in size. Uses of LED Light Mats: Taped to walls Hidden in corners Wrapped in a circle so the light emulates from all directions
- LED Panel LightsLED Panel Lights are an amazing technology that gives the filmmaker endless possibilities with color temps from 2000K to 10,000K. They give you the ability to: Create lighting effects Match gel colors Dim down to .1 Put them into a dimmer board I use them for bounce, for pushing through diffusion frames, and to create room tone in a room by bouncing them into the ceiling. I use honeycombs that control the light so that it does not fly all over the place. They have changed the way I light.
- LED TubesLED Tubes are an amazing new technology that gives the filmmaker endless possibilities with Tube length sources with color temps from 2000K to 10,000K. They give you the ability to: Create lighting effects Match gel colors Dim down to .1 You can put them into a dimmer board to control everything or on an iPhone or Android app. They are lightweight and can be powered by an internal battery which opens up huge options. I use them for eyelights, background bokeh, ring perimeters of buildings, etc.
- LED Variable Contrast FilterLED Variable Contrast Filter is an LED filter tray that pushes light onto a glass filter. It has dots on it and when you are not able to use smoke, lowers the contrast. It can push colors into the black areas of your frame.
- Leko Theatrical LightA Leko Theatrical Light is a projection light that uses lenses to create the desired spread of your circle of light. 5 degrees will give you a very focused tight beam like a follow spot. A 50 degree lens will give you a very wide circle of light. Inside the light, it has leaves that shape your circle of light. You can make them a sliver, or a square, etc. You can also add an iris so you can expand and contract the size of your circle of light easily. I use them in bars, stage productions, for bounces so I only hit the bounce exactly where I want to. They are in every movie or commercial I shoot. I never leave home without 6 of these Leko’s. They make them also in LED tech so you can have a wide range of color temp, gel matching, and dimming controls. The LEDs do not have the output of a 750 Watt Tungsten fixture, around 2 stops less.
- Lens TypeFilms are shot with three different basic Lens Types: Normal lens Wide-angle lens Telephoto lens Each type of lens has its own characteristics and creates different images. The three types of lenses are usually classified by their focal length. This is the distance from the plane of the film or sensor to the lens.
- Letterbox FormatLetterbox Format is a technical method that adjusts the width of a film with a widescreen aspect ratio. It does so to be able to show it on a narrower screen. This is done by shrinking it to the width of the replay screen. The original aspect ratio of the material is preserved at the cost of a reduced replay size and characteristic black bars at the top and bottom of the screen. An alternative method is pan and scan.
- Light-Dark ContrastThe brightness of a color can be changed by adding black or white. Adding black is referred to as shading a color while admixing white is termed tinting a color. Light-dark contrasts affect both the contrast between different shades and tints of one color. In this case, it is referred to as monochromatic design. It also affects the contrast between different pure hues which differ in their subjective brightness, such as the primaries yellow and blue. In any image, it is always the brightest color which is the first to attract the viewer’s attention.
- LightingFilm Lighting is the intentional use of light to achieve certain aesthetic and/or practical effects. A distinction is made between light sources located within the mise en scène as decorative objects (available light) and additional light sources (exterior light). This reinforces available light sources to ensure better control over lighting conditions. Film Lighting is also of particular importance for the creation of moods, adding further layers of meaning and emphasizing elements of the filmic space. In addition, the use of light and shade often acts as a graphic element itself or sometimes functions as a motion vector to create a harmonic or disharmonic impression or to direct the audience’s attention. For related information, read the entries concerning: Light quality Cast shadow Attached shadow Three-point lighting High-key lighting Low-key lighting
- Lighting RatioLighting Ratio is the light and shadow ratio, or the relationship between the key light and fill light.
- Light LeakLight Leak is an erratic and accidental light penetrating into the camera, creating little fog-impressions in the film.
- Light QualityLight Quality refers to the relative intensity of light. It is most commonly used in connection with the distinction between hard and soft light. Hard light produces harsh borders between lit and shady areas. Whereas, soft light has a wide scattering and shows a smooth transition from the deepest shadow via partial shade to the bright areas. For related information, read the entries concerning hard light and soft light.
- Light VectorA Light Vector is a distinctive light ray that leads our eyes from one point to another in a picture or a shot. Light vectors are mainly graphic vectors but can also be motion or index vectors.
- LimboLimbo is a type of setting consisting of an indistinct or blank background. A limbo set naturally draws the attention of the viewers to the characters since there is nothing else to look at. Also called a limbo background or limbo set.
- LocationLocation is a place used for filming during production, usually outdoors and in natural surroundings.
- Locked CutThe Locked Cut is the final cut of the movie, after which no changes are to be made.
- Lock It BoxLock It Box is a box that syncs the time code signal coming from the camera to the sound recording system. This box is essential for all RED cameras because they inherently lose sync throughout the day.
- Lollipop (or 4.5” Grip Head)Lollipop (or 4.5" Grip Head) is a larger version of the grip head that is on a C-stand. It functions the same way just larger to hold heavier flags and rig heavier lights. You can find them at the top of all Hi Hi Roller stands as well as Mombo Combo stands.
- Long John Silvers / Black BirdsLong John Silvers (Black Birds) is for large HMI and Tungsten light stands that come with large rubber wheels that can navigate all sorts of terrain. They crank up to 18’ in height. I find that since these stands have come out I have at least 2 if not 4 on the truck. The reason is that the sun is not always at 12 feet. You need that extra 6 feet to make the sun look realistic.
- Long LensLong Lens is a lens that provides a magnified view of an object far away.
- Long Shot / Head to Toe ShotLong Shot (Head to Toe Shot) is a complete or full-body shot of the subject along with their surroundings.
- Loose FramingLoose framing refers to a shot in which there is plenty of visible space around the main subject(s). Loose framing emphasizes a subject’s freedom of movement, which depending on context, can be used to evoke a feeling of freedom. Alternatively, it conveys a sense of forlornness. The opposite of loose framing is tight framing.
- Low Angle ShotA low angle shot is a shot taken from below the subject.
- Low Baby StandA low baby stand is a stand that has two risers and a baby pin for its mounting apparatus. The top height is head height and its lowest point is 3’ off the ground.
- Low ContrastIn photography and cinematography the term “contrast” refers to the difference in brightness between the lit and shady areas of an image. Low contrast images have neither very deep shadows nor strong highlights which could direct the viewer’s eye to a particular detail. Instead, shadows tend to be transparent and soft. Due to the lack of deeper shadows which could set the subjects off from one another to create depth, low contrast images often look flat and pale. Opposite of high contrast. A lighting style that is characterized by low contrast lighting is called high-key lighting.
- Low C-StandLow C-Stand is only 20” high instead of the 48” high standard C-stand. This enables you to control and rig lights while they are on the ground or on a low stand.
- Low-Key LightingLow-key lighting is one of the main lighting styles used in filmmaking. It is illustrated by strong contrasts between well-lit and shady areas. In low-key lighting, contrasts of this type are typically done by using a strong key light with accompanying hard light quality. In addition, little or no fill light is set to create a dramatic or mysterious effect. Low-key lighting is often associated with the film noir genre. For related information, read the entries concerning high-key lighting, chiaroscuro, and film noir.
- Macro LensMacro Lens is a lens used for filming extreme close-ups of the subject/any other object in the film. For example, a macro lens is used to capture a flower, a butterfly, etc. This lens usually requires much more light so make sure you are prepared.
- Magic ArmA magic arm is an arm that has two mafer clamps at each end. It can be used to secure rigged cameras on camera cars, hold bounces, rig lights on camera, etc.
- Magic GadgetA Magic Gadget is a dimmer and flicker control box that can take up to three 2K sources. It delivers effects to simulate fire, candles, TV, etc. This is my go-to device for fire effect work. You can adjust the highs and lows as well as the frequency.
- Manual Follow FocusManual Follow Focus is a focus system that clamps onto the camera rods. It uses gears and knobs to pull focus which extends to the lens.
- MaskingMasking is a technique used to block out parts of an image. Masking can be achieved on the level of cinematography (i.e. masking the lens). Or, masking can be done through the mise en scène (i.e. a subject or object masking the background). Masking is often used to suggest a point-of-view shot as seen through an optical device (i.e. binoculars, telescope, etc.).
- Master ShotA master shot is a long shot of an entire scene, generally filmed in the beginning. I always start with the master shot so that all light motivations, color, etc. can be designed. It then informs all of the coverage for the scene.
- MatchMatch means checking the quality of two shots for smooth and flawless transitioning of one shot to the other.
- Match CutA match cut is a transition between two shots that typically draws attention to itself. That's because it highlights one or several elements in both connected shots that are very similar to each other. The similarities between the shots can involve the shape, color, or movement of the featured elements (graphic match) and/or a metaphorical relation between the two shots when certain highlighted elements are comparable or analogous (metaphorical match).
- Matte BoxA Matte Box is a box that mounts to the exterior circumference of the lens to house filters, polarizers, etc. They can have 2, 3, 4, 5, 6, 8 stages if needed.
- Matte ShotA Matte Shot is a special effects shot in filmmaking combining two or more image elements into a single, final image. It does so by masking out part of an image and superimposing another image with the rest of the original. Most typically, mattes are used to combine a foreground image (such as actors on a set) with a background image (i.e. a scenic vista). In this case, the matte is the background image of the scenic vista. Matte shooting is one of the most common techniques used in studio filmmaking, either for economic reasons. For example, it is much cheaper to shoot a picture of the Eiffel Tower. Then, you can use it as a matte background rather than travel to Paris and shoot on location. It would also be unlikely or too dangerous to try to shoot at the real location. In more recent films, similar effects are now usually created digitally with computer-generated imagery (CGI). In this case, it is called digital matte.
- Maxibrute LightsMaxibrute lights have a cluster of par lights in 4 light banks that pan horizontally. I use these lights for moonlight ambient bounces as well as putting them in condors for moonlight backlights. They project incredibly far. With narrow globes in the maxibrute in a Condor, they deliver beautifully balanced light from 30 feet from the Condor’s base to your actor in the foreground of your camera. They are incredibly efficient and I take 4-12 maxibrutes on every movie I shoot.
- Medium Close-UpA Medium Close-Up shot is a shot where less than half of the subject fills most of the frame and seems relatively large. People are normally shown from the chest or shoulder up to their head. This corresponds to the view one would have when standing face-to-face with a person. It also approximates to the half-length portrait in painting and photography.
- Medium Long ShotIn Medium Long Shot, the subject is usually shown from the knees up. The subject and surroundings thus have roughly equal importance. A special form of this shot is called the “plain américain.” In Westerns, the cowboys are often shown from the thighs up to show the weapons on their belts.
- Medium ShotA Medium Shot is a shot that's somewhere in between a long shot and a close-up. It is typically taken from the waist up.
- MindscreenMindscreen is a subjective shot or scene. It aims to show the viewer what a character is thinking or dreaming about. For this reason, the latter variant is often referred to as a dream scene or dream sequence. The advantage of the mindscreen is that it allows the viewer to adopt the perspective of a character in the film, which is obviously not the same as their own visual point-of-view. Usually, a mindscreen is clearly marked with various stylistic devices such as: Dissolves Fades Superimpositions Use of different color schemes or black-and-white appearance Use of background music or sound effects
- Mise en ScèneMise en Scéne refers to everything visible within the frame of the film. Key aspects of the mise en scène include: the representation of space within the frame the overall composition in general aspects of color lighting set and location decoration and props, costumes, and movements of actors Mise en scène is French for “placement on stage.” It originally derives from the theatre world, referring to the arrangement of all visual elements of a theatrical production. In filmmaking, it describes how visual materials are staged, framed, and captured on film. Where editing is mainly about the structuring of time, mise en scène is largely about the structuring of space. In line with this, the mise en scène is of particular importance in films that prefer long takes and do not use much editing. Aspects associated with the camera itself, such as camera lenses, camera movements, camera angles, or camera distances are not counted as part of the mise en scène(...)
- MixA mix fuses all soundtracks of the film into one with their appropriate volumes and after complete editing.
- MixerA mixer is a machine or device used to fuse all soundtracks. It could also refer to a 'sound' mixer who is a member of a film crew responsible for recording sound.
- Mole BeamA Mole Beam is a tungsten version of the Xenon light, but it does not have the dancing heat feature. These lights started in the silent film days when we had 2 ASA Kodak film stocks and it required this super focused light to even expose the negative. It has a flood and spot function that gives you a beautiful circle of light, but when you flood it out it gives you a donut shape pattern because of the globe being in the center of the parabolic mirror reflector. They create the most realistic-looking SUN LIGHT source on the planet. I use them for shafts and different water effects.
- Mombo Combo StandA Mombo Combo Stand is a high stand that has 4 risers and extends to 25’. It does not have wheels, but you can get wheel kits that slide onto the base of the stand. These stands are usually used to rig overhead frames and to send lights or flags higher in the air.
- MonochromacyMonochromacy is a color scheme using only the nuances of a single color. In many films, color filters are used to produce a purely monochromatic look. However, more commonly, a few analogous colors and their different shades and tints can also be found in these images. It is also possible to create a monochromatic look using well-planned set decoration.
- MontageMontage is French for “putting together.” In general, three different definitions are associated with this term: (1) A series of brief shots. Mainly used to suggest the passing of time or the occurrence of different events. Montage sequences of this type often make use of dissolves and superimpositions as transitions. (2) A theory and associated style and a theory of editing. It was developed by Soviet filmmakers (particularly Sergei Eisenstein) in the 1920s. Among other things, the theory states that “each sequential element is perceived not next to the other, but on top of the other,” thus expressing the idea that meaning accumulates. In keeping with this, this kind of editing juxtaposes shots to create symbolic meaning and to build up dramatic tension. In contrast to the style of montage found in the classical Hollywood continuity system, however, Soviet montage is not concerned with creating comprehensible spatial or temporal continuity. (3) In European(...)
- MotifA motif is any element of a film that takes on symbolic significance through systematic repetition. Filmmakers can develop a motif out of almost any film element. Examples include gestures, costumes, locations, decoration, props, music, sound effects, color, lighting, and composition. Even aspects of cinematography like camera distance, camera angle, and focus can also be used to develop motifs. Or, they may take on a character of a motif (i.e. a character being consistently shown from a low angle).
- Motion StillMotion Still is a photograph or screenshot produced from an original film frame. Motion stills have to be distinguished from production stills or publicity stills (both also called film stills). These are photographs taken on the set for publicity purposes, and which therefore are not part of the film.
- NegativeA negative is the photographic film used in the camera for shooting. When processed, the colors of the negatives are reversed. So, bright parts of the negative turn dark in the process. Conversely, the dark parts turn bright when processed.
- Negative SpaceThe negative space is the parts of the frame or an area within the frame left blank. Or it could serve as the objects missing in the frame in a striking way. By leaving part(s) of the frame empty, other areas of the screen can be emphasized. So, in this respect, even negative space has a certain weight and importance in the composition of a frame. The opposite of negative space is positive space.
- Neutral Density FilterNeutral Density Filter is used for controlling light passing through the camera lens without affecting the color.
- Noga / Ultralight ArmNoga/Ultralight Arm is an arm that mounts on your camera cage or handle system so that you can mount monitors or other accessories needed for the operation of the camera.
- Non-DiegeticNon-diegetic doesn't belong to the fictional world of the film (opposite of diegetic). Examples include: Background music Narrator’s commentary Sound effects added that do not seem to originate from the film’s world
- Normal LensFor cameras that use 35mm film (or an equivalent digital sensor), a focal length between 35mm and 50mm is considered “normal.” As indicated by its name, this kind of lens is the prime choice for cinematographers. That is because it produces the least distortion of any type. The normal lens best approximates the way the human visual system experiences a scene since lenses in the normal range reproduce the depth relationships of objects in a way close to human vision. Lenses with longer focal lengths are called telephoto lenses. Whereas, lenses with shorter focal lengths are designated as wide-angle lenses. Both types of lenses have certain characteristics regarding depth relationships, perspective distortions, depth of field, and angle of view. These set them apart from normal lenses.
- Number BoardA number board is a board held in front of the camera before every shot. It inlcudes the film title, scene number, and number of takes.
- Objective CameraAn objective camera tries to avoid attracting the viewer’s attention to itself and aims to give an objective view of the action. An objective camera often remains still (see static shot) and shows characters from a certain distance in order not to manipulate the viewer’s perception of the scene. For this reason, the viewer does not get the impression of directly participating in the action. The objective camera in filmmaking corresponds with the third-person narrator in literature. Opposite of subjective camera.
- OffscreenOffscreen is the space that is not visible in the frame at a certain moment. However, it exists in the diegetic world of a narrative film. Offscreen space becomes significant when the viewer’s attention is drawn to something in the diegesis that is not visible in the frame. Examples include: Someone looking offscreen at someone else Light ray Shadow entering the frame from offscreen Sound heard from offscreen Offscreen space is often later revealed through camera movement and is commonly used for suspense in horror and thriller films.
- Offscreen SoundOffscreen sound is emitted by a source that is not visible in the frame. However, it is part of the diegetic world of the film. For example, a character shouting from offscreen with the next shot revealing this character. Another example is the sound of an explosion that is not (yet) visible in the frame.
- Omniscient CameraOmniscient camera is a concept in which the camera (as the visual narrator) has an omniscient point of view. Thus, it “knows” (and sees) everything occurring in a story, including character thoughts, as well as actions, places, conversations, and events. An omniscient camera often “anticipates” what is going to happen by making changes in camera distance, camera angle, camera movement, or focus adjustment. The omniscient point of view stands in contrast to the subjective point of view.
- On-Board monitorsOn-board monitors are mounted to the camera to help the operator operate the shot. It also gives the 1st AC the view of the shot.
- OnscreenOnscreen is the space that is visible in the frame at a certain moment. The space that is not visible but exists in the diegetic world of a narrative film is called offscreen space.
- On Screen SoundOn Screen sound is emitted by a source that is visible in the frame. One such example is two characters talking to each other shown in a two-shot. Another is the ticking of a clock shown in close-up.
- Optical EffectAn optical effect is a special effect achieved by optical means, i.e. an optical printer, in contrast to effects created digitally using a computer. Examples of optical effects are: Fade-outs Fade-ins Lap dissolves Slow motion Fast motion Matte work Freeze frames However, it should be pointed out that, nowadays, many of what were formerly optical effects are now also achieved digitally using computers.
- Optical PrinterAn optical printer is an analog machine used to create special effects by optical means. An optical printer consists of one or more film projectors that are mechanically linked to a camera. This allows filmmakers to re-photograph one or more strips of film.
- OriginalOriginal is film, negative, or reversal used in a camera when shooting. 'Original' is interchangeable with 'negative'.
- Overhead AngleAn overhead angle is a camera angle that positions the camera directly or almost directly above the action or subject. It creates a rather abstract effect with the subjects seeming small and insignificant like ants. If the shot is taken from directly above, often only geometric forms remain visible. This can create a disorienting or dizzying effect. In many cases, overhead angles are used to distance the viewer from the action or to give a broad overview of it.
- Overhead FramesOverhead Frames come in all different sizes. Most common are 6x6, 8x8, 12x12, 12x20, 20x20. They are used to control and diffuse sunlight and movie lights. They can have a solid, a bounce, or types of diffusion tied into them.
- Overlapping Action (Overlapping Editing)Overlapping Action (also called 'overlapping editing') is an expansion of time. It is done by intercutting a series of shots. Or, by filming the action from different angles and editing them together. In this way, part or all of an action may be repeated from another perspective. Since this cinematic device strongly disrupts the audience’s sense of time, it is commonly associated with experimental filmmaking. However, it can be used more unobtrusively to stretch time or to embellish the time of a certain movement for dramatic effect. In such cases, overlapping action is then often combined with slow motion.
- Over The ShoulderOver the Shoulder (OTS) is a shot of two subjects with the camera placed/held behind one person, and facing the second person. This usually has a little shoulder or side of the face of the actor in the foreground.
- PanPan is a horizontal movement of the camera from right to left or vice-versa while shooting.
- Pan and ScanPan and Scan is a technical method that makes it possible to show a film with a widescreen aspect ratio on a narrower screen by adjusting the height of the widescreen material to the height of the replay screen. Those parts of the widescreen image that do not fit in the replay screen are simply cut off. The advantage of this form of transferring widescreen films into 4:3 video format is that it does not leave black bars at the top and bottom of the screen. The obvious disadvantage is that the original aspect ratio and some of the original material get lost. An alternative method for making such adjustments is letterboxing.
- Pancake LightThe Pancake Light takes the China Ball concept to a whole other level with light control. The light has a half-moon bottom, but a flat top. You get a light that has side flaps that roll down to control the source. The problem with China balls is their circular shape makes it difficult to shape and control. The pancake (which comes in small, medium, and large sizes) gives you control by letting you add many different globes in the socket depending on what color temp and quality you prefer.
- Parallel ActionParallel action is different occurrences in the film being represented simultaneously by intercutting.
- Parallel EditingParallel editing is a technique of cutting back and forth between actions occurring in at least two different locations and at different times. Typically, it is used to show differences or similarities between the alternating shots in contexts in which the temporal setting is not an important factor in conveying the message. A similar technique is cross-cutting.
- PerspectivePerspective, in the context of film, photography, painting, and human vision in general, describes how objects appear to the eye based firstly on their inherent spatial attributes. Examples include relative size and apparent distance between each other). Secondly, it expresses their distance from the viewer.
- PlaybackPlayback is to reproduce a video or sound recording often just after a recording.
- PolecatPolecast is an amazing lightweight rigging tool that uses a spring-loaded system to expand like a wall spreader but cannot hold the weight of a wall spreader. It is usually around 50 lbs. A Polecat is rated for 10 to 20 lbs. They come in varying lengths. 2’ to 4’, 4’ to 8’ and 8’ to 16’. I love using them for corners of rooms. I use them from the floor up to the ceiling and you can then clamp your light in a much sleeker profile than having a stand that might be in the shot.
- Positive SpacePositive space is the parts of the frame or an area within the frame filled with objects and/or people. Positive space normally transports the essential items of the visual composition of a frame. However, its significance can be enhanced by parts of the frame that are left bare. These empty parts of the frame are referred to as negative space.
- Post-ProductionPost-production refers to all of the work that needs to be done after the actual shooting of the film. This includes mainly editing, but also preparing the soundtrack and the credits.
- POV ShotPOV Shot is also known as Point Of View Shot. It is a shot taken in a way that implies the scene being witnessed through the eyes of a character.
- Premie StandA premie stand is a stand that only has one riser and a baby pin for its mounting apparatus. The top height is 3’ and the lowest point is 1’ off the ground.
- Pre-ProductionPre-production is the process of preparing and/or gathering the components to be involved in a particular film before shooting begins. A key element of pre-production includes putting together a film crew (most importantly, selecting a director and cinematographer). Other key elements consist of: Finishing a workable screenplay Casting actors Identifying potential locations Constructing sets Creating or obtaining props and costumes Planning special effects
- PrintPrint is a copy of the film, usually ready for projection.
- Proxemic PatternsThe term “proxemic patterns” refers to the distribution and relationship of people in a given space. The underlying concept of proxemic patterns was developed by anthropologist Edward T. Hall, who distinguished the following four major proxemic patterns: 1. the intimate, 2. the personal, 3. the social, 4. the public distance. a) In the context of film analysis, some film scholars have adopted this concept and related it to the various camera distances: intimate distance → distance of physical involvement, reserved for lovers and members of family ~ ECU, CU personal distance → arm's length away, reserved for friends rather than lovers and family members ~ MCU, MS, MLS social distance → impersonal business and casual relationships ~ LS public distance → formal and rather detached ~ ELS Admittedly, a shot labelled with a certain camera distance does not always equate to the same literal physical space between the camera and the subject; in psychological(...)
- P-TapP-Tap is a connector that supplies power to different accessories to your camera. Most batteries have P-tap receptacles built into them.
- Pull Back ShotA Pull Back Shot is a shot that zooms out from the subject to display the element of a particular scene.
- Putt Putt GeneratorsPutt Putt Generators are small crystal sync generators from 1000 watts to 6500 watts. A 2000-watt will fire a 1200 HMI watt par light. Meanwhile, a 3000-watt fill fire an 1800-watt HMI par light, and a 6500-watt will fire a 4K HMI par light. Always leave at least a 500 to 800-watt threshold because HMIs take more wattage when starting up.
- Putty Knife with Baby PinPutty Knife with Baby Pin is a putty knife with a baby pin bolted to it. You can use this to slide under crown molding, in doors, window frames, etc. to rig lights, flags, etc.
- Quacker Clamp / Bead Board Holder / Duck BillQuacker Clamp (otherwise known as Bead Board Holder and Duck Bill) is a clamp that uses a vice grip clamp along with two pieces of metal. They hold beadboard bounces and Foam Core.
- Quick ReleaseQuick Release is an apparatus for fast and easy mounting and removal of a camera from a tripod.
- Rack FocusRack Focus is a changing focus in a shot to shift the audience's attention from one subject (or thing) to another.
- Rain DeflectorRain Deflector is a device that was made to be able to shoot in the pouring rain and not have it blur your image. It comes in all sizes of spinning glass that rotates at over 7000 rpm to spin the rain off the lens before it can sit on the glass.
- Rain HatsRain Hats are metal pieces that come in varying sizes that clamp to the exterior of the light. That way, it can work during rain scenes or adverse weather conditions.
- Reaction ShotA reaction shot is a shot of a subject reacting to another subject's actions or dialogue.
- Ready RigA ready rig is a device created to support the handheld gimbal system. It uses a nylon-based vest to attach arms that fly over your head to then suspend the gimbal.
- Rear ProjectionRear projection is a studio technique that involves the projection of previously-created photographs or film material onto a translucent screen (background action) with the characters acting or the action taking place in front of this screen (foreground action). The foreground action is then filmed against the background action. In front projection, the photographs or film material are projected onto a screen from the front with the characters acting in front of it as well.
- ReelA reel in motion picture terminology is a spool made of metal or plastic that holds the photographic film material during shooting. It is later attached to the projector when showing the final film.
- Re-Establishing ShotA re-establishing shot is a shot that reminds the viewers of the spatial layout of the scene and the respective positions of the characters in relation to it. The re-establishing shot draws attention to the location which was previously recognized and noted by the viewers in the establishing shot. Between several closer shots, the director will periodically provide a re-establishing shot to refresh the viewers’ sense of the overall geography of the scene. In addition, re-establishing shots often appear at the end of a scene as a kind of conclusion.
- ReflectorsReflectors are the workhorse of the day exterior shooting environment. They have a hard side that can be either silver or gold, then a soft side that is either silver leaf or gold leaf. The boards have soft leaves on one side and it confuses the beam of the sun and makes it softer than a flat silver or gold surface. They can come in two different sizes 42” x 42” or 24” x 24”. Mirror reflector boards are also used to reflect sunlight or other light sources. They have a mirror on one side and hard silver on the other. Gold boards are really good for late afternoon light as well as for dark skin tones.
- ReframingReframing is a technical term for short panning or tilting movements used to adjust for movements of the subject(s) to keep them on screen or centered in the frame and maintain the balance of composition. Reframing is an important and generally unobtrusive technique that helps to keep the viewer’s eye fixed on the most important figures within the frame. The actions of the character(s) should absorb the viewer’s attention and take precedence over these slight camera movements in such a way that reframing mostly goes unnoticed. In contrast, a following shot entails significantly more camera movement.
- Release PrintA Release Print is a positive print of the film that is fit for distribution.
- Remote Follow Focus SystemRemote Follow Focus System is a remote focus system that uses an MDR box that mounts to the camera which has 3 different motors to control - focus, iris, and zoom. It is sometimes called a FIZ unit. Preston is the industry standard. Many other manufacturers have built them, but none have the accuracy as well as the range.
- RetakeA Retake is repeating a take because of not having achieved the desired results.
- RodsRods are lens support rods that can be made of steel, aluminum, and carbon fiber. They support the lens, hold your follow focus system, as well as, your matte box with some rigs.
- Rough CutA Rough Cut is usually an early complete or nearly complete edit of a film. This contrasts with a final cut.
- Running TimeRunning Time (or Run Time) is the total length of viewing time that a film runs, usually measured in minutes. In most cases, running time differs from story time.
- Safety CableSafety Cable is an aircraft cable that usually has a carabiner on one end and a loop on the other. This is essential in keeping all your lights safe and secure from falling.
- Safety TakeA safety take is an additional take in case a backup take is required.
- Sandbags or Shot BagsSandbags (or shot bags) are essential for any grip truck. They provide the necessary counterweight to safety lights, overhead frames, cameras, etc. They either come filled with sand or lead shot. They come in sizes of 35, 25, and 15lb sand bags and 25lb shot bags. Using shot bags is the best when you are doing water work because they stay the same weight and do not absorb all the water as sand does.
- Saturated ColorSaturated Colors are colors of strong luminosity and vividness. They have not been strongly broken down by adding their complementary. The opposite of saturation is desaturation, which is done by adding an increasing proportion of the initial color’s complementary color that reduces the hue of the initial color towards grey. For related information, read the entry concerning contrast of saturation.
- ScrimsScrims are pieces of screen that are either green which takes the light down a half stop. Or, they are red which takes the light down one stop. You can have half scrims as well that only work with Fresnel lights. I use the half scrims to balance the light so that it delivers an even field across an area. Say, I was lighting a back wall and wanted the light to be even at the source and at the other end of the wall. I could use the half-scrim. Half singles work very well this way. I also use them in condors to put the half scrims at the bottom because this will always be brighter.
- SelectsSelects are shots that are selected for use before beginning with the editing to save time. The director will work with the script supervisor to mark those selected takes for editorial. These educate the editor on which takes the director loves.
- Shallow Focus (Selective Focus)Shallow Focus is a restricted depth of field. Only one depth plane is in sharp focus while objects in the background or close to the camera are out of focus, thus blurry. (See bokeh.) The technique typically directs the viewer’s attention to the objects in the plane that are in sharp focus. In addition, shallow focus is frequently used for close-ups suggesting psychological introspection. For example, a character appears to be oblivious to the world around them. The opposite of shallow focus is deep focus.
- Shallow Water HousingShallow Water Housing is a housing that can take your camera to 25’ deep. It has knobs on the exterior to turn it on and pull focus, as well as, adjust and internal camera settings.
- Shooting AngleThe Shooting Angle is an angle at which the camera is placed for a shot in accordance with the subject.
- Shooting RatioShooting Ratio is a ratio of the length of the final movie to the length of the entire shooting before editing.
- ShotA Shot is: (1) A piece of film that has been exposed without cuts or interruptions (before editing). (2) A trimmed piece of uninterrupted film that is used in the final version of a film (after editing). In both cases, the shot is the basic element of a film, defined by its physical (including digital) existence as an unbroken entity (or its appearance as such for the viewers). It may be of any duration, from a fraction of a second to minutes and even hours. A lengthy shot with a duration of more than approximately 40 seconds is called a long take.
- Shot/Reverse ShotShot/Reverse Shot is an editing pattern that cuts between characters (or other objects) in alternation. They are often used in dialogue scenes. The second shot is taken from the reverse angle of the first shot (and so on). The shot/reverse shot pattern is fundamental to the continuity editing style. Some filmmakers prefer to use a “two shot” (this is shot showing two individuals simultaneously) in dialogue scenes, rather than dissecting the space into several “one shots” that are connected in the shot/reverse shot pattern. The shot/reverse shot pattern is often used in combination with over-the-shoulder shots.
- Show PrintShow Print is similar to but not a release print. It was designed as a high-quality projection print for screening special events like premieres. Shotprints are usually printed directly from the composited camera negative. Every shot is timed normally as a duplicate intermediate element onto a higher quality of print stock than is typical for mass production.
- Sight LineA Sight Line is an imaginary axis that runs between the eyes of a person and the subject or object that is in focus. They draw the viewer’s attention to specific parts of the mise en scène. This is particularly important in long takes. In rare cases, the sight line of an actor may directly meet the lens. That way, the character seems to be looking directly into the eyes of the viewer. (See 90-degree-shot.) Nevertheless, since this is very obtrusive and confronting, films in the tradition of continuity editing generally try to prevent such a direct addressing of the viewer. The sight lines of the various subjects in a shot can form special shapes (i.e. a triangle). For this reason, sight lines should be taken into account in the analysis of a shot’s composition.
- SkyPan LightsSkyPan lights are still the most even light that you can use to light white cyc walls, and green and blue screens. They come in 2K, 5K, and 10K tungsten. I hang them 10 feet away from the wall and usually 6 feet apart for an even spread. I also add one at each end of the wall. This lights design is all about overlap.
- SnorricamA SnorriCam (also called chestcam, body mount camera, or bodycam) is a camera device used in filmmaking that is attached to the body of the actor or an object. The SnorriCam gets its name from the surname of the two Icelandic photographers and directors, Einar Snorri and Eiður Snorri who invented it. In most cases, the lens of the SnorriCam is facing the actor directly. So, when the person walks, he or she does not appear to be moving, but everything around him or her instead. Concerning the actor (or the object) wearing the camera, the framing, the camera distance, and the camera angle stay the same within a shot. A SnorriCam is a highly subjective camera. It creates an unusual sense of vertigo for the viewer. The SnorriCam was largely popularized by its use in music videos.
- Soft FocusSoft focus is an optical effect created by the use of a special lens or filter. It produces images that are deliberately blurred due to spherical aberration while retaining sharp edges. In this respect, it is thus not the same as an out-of-focus image, since the effect cannot be achieved simply by defocusing a sharp lens. Soft focus is also the name of the style of photography produced by such a lens. Soft focus adds a touch of softness to the image, which is generally associated with “romantic moods”.
- Soft Light or Soft LightingSoft light is a term that refers to the general quality of the light. It has a wide scattering and shows a smooth transition from the deepest shadow via partial shade to the bright areas. Soft lighting makes surfaces appear smoother and softens borders. It fills up wrinkles giving it the reputation of an 'attractive' light.
- SpaceSpace is the area within the frame that is at the filmmaker's disposal. It is a section of mise en scène and offers a three-dimensional stage, which can be filled with objects and characters. The space that is directly visible in the frame is called onscreen space. Meanwhile, space that is suggested (beyond the borders of the frame) is termed offscreen space. Its configuration and the corresponding effect can be manipulated by certain camera distances, lighting, or lens types. According to mise en scène, special uses of space are: positive space negative space ambiguous space deep space or flat space tight framing or loose framing
- Space LightsSpace Lights are lights that come in tungsten, HMI, and LED. They are used for lighting large areas of your sets. I use them for creating day ambience outside of sets on stage. They hang just down from the ceiling and create a very large source when grouped together. I have used them to light green and blue screen environments. I use them to light white cyc’s evenly. They project the light down and out the sides of a silk skirt that dangles down 2 to 3 feet from the source.
- Spaghetti Western (Italo-Western)Spaghetti Western, also known as Italo-Western, is the nickname given to an Italian film movement and sub-genre of Western films from the mid-1960s to the mid-1970s. The name derives from the fact that most were produced and directed by Italians, usually in co-production with a Spanish partner, and in some cases, a German partner. Typically, the partners would insist that some of their stars be cast in the film for promotional purposes. The best-known and perhaps most typical films of this genre are A Fistful of Dollars (1964), For a Few Dollars More (1965), and The Good, the Bad and the Ugly (1966), all directed by Sergio Leone, starring Clint Eastwood and with the musical scores of Ennio Morricone.
- Special EffectsSpecial Effects are specially created illusions that are often too fantastic to be true.
- Spherical LensesA Spherical Lens is a lens in which all refracting surfaces are spherical. These lenses are the most used in narrative and commercial filmmaking.
- Spider GripsSpider Grips are hand-held handles that have become the industry standard. They are lightweight, using rosette handles at different angles to adjust to any operator's specs.
- Splash BoxSplash Box is a Plexiglass box that holds your camera system and protects it from water. It is used specifically in the ocean and lakes. It enables you to get split-level shots where your actors are bobbing in the water.
- SpliceSplice is the process of attaching two pieces of film (see cut).
- Split ScreenSplit Screen is a technique that shows a visible division of the screen, traditionally in half. However, it can also be in several simultaneous images. Each division may show independent action or the same action from different viewpoints. Split screen is usually intended to signify simultaneous action (see also cross-cutting). A split screen appears highly artificial to the viewer. It significantly disturbs the illusion that the screen’s frame is a window on reality.
- SqueezersSqueezers are small inline dimmers that look like household dimmers that you would have in your house. They usually take from 650 watt to 1K. I use these for all my practical lights on set.
- Staging PositionsStaging positions denote the movement of performers throughout the performance. The language of film recognizes five main body positions that actors (respectively characters) can be placed and photographed in. Each of these basic positions in which the actor faces the viewer differently also has different psychological connotations. Staging Positions 1. Full front: The character directly faces the camera front. This position represents the greatest intimacy as far as the relation between the camera (resp. the viewer) and the actor is concerned. By looking directly at the viewers, the actor puts them in a role of complicity. The character looking directly into the camera (resp. the viewer's eyes), can significantly disturb the illusion that the screen’s frame is a window to a separated reality (see also 90-degree shot). 2. Quarter turn: The body is a quarter-turn from the audience. This is the favored position of most filmmakers as it offers a high degree of intimacy on the(...)
- Standard Aspect RatioStandard aspect ratio is an aspect ratio of 4:3 (i.e. 1.33:1). This means that the frame width is 33 percent broader than the frame height. Standard aspect ratio was the underlying aspect ratio for the shape of TV screens until the 1950s.
- Standard LegsStandard Legs are tripod legs that start at around 40” high and can go up to 6’. They can either have a Mitchell mount or a ball receiver.
- Static Shot (Static Camera)A Static Shot (Static Camera) is a shot with no camera movement; the fixed camera remains motionless. In most cases, the camera is mounted on a tripod (or a similar support). Long static shots help the viewers to notice subtle changes in the mise en scène. Depending on the context, static shots can convey calmness and contemplation, or of feeling secure, fixed, or trapped. The frequent use of static shots can become part of a director’s signature style (i.e. directors Jim Jarmusch and Peter Greenaway).
- SteadicamA Steadicam is a lightweight stabilizing mount for a film camera. It mechanically detaches the operator’s movement from the camera. This allows smooth and relatively steady shots even when the camera operator is moving quickly over uneven surfaces. In this way, the Steadicam can be freely moved everywhere a camera operator can go. Even without the jumpiness and shaky, jerky feel of a handheld camera. The Steadicam was introduced to the industry in 1976 by its inventor – cameraman Garrett Brown. Its breakthrough movies are generally considered to be John Avildsen’s Rocky, which was filmed in that same year, and Stanley Kubrick’s 1980 film The Shining. Steadicam is a registered trademark of Tiffen.
- StillA still is an unmoving shot. It is a normal photograph of a subject or an occurence in the movie.
- StoryboardsStoryboards are a series of illustrations or images (including brief descriptions and technical aspects, i.e. regarding camera distance or camera angle). They outline the overall scene sequence and important shots for the purpose of pre-visualizing a film.
- Straight CutA Straight Cut is a simple cut where the last frame of the first shot is followed by the first frame of the next shot. With a straight cut, no special optical transition is used. Straight cuts are the most common connections between shots.
- Subjective CameraSubjective Camera is a camera that involves the viewers directly in the action, thus letting them participate more strongly in the atmosphere of a shot. A subjective camera is typically positioned near the characters so that the viewer can easily witness their perception, feelings, or state of mind. In keeping with this, the camera performs a lot of movements, such as panning or tilting to simulate the eye of a directly involved person. The most subjective viewpoint a camera can have is the point-of-view shot. The opposite of this is the objective camera.
- Subsequent Point-of-View (shot)A Subsequent Point-Of-View (shot) is a special form of point-of-view shot, in which the viewers see something or someone within a frame without any indication that this might represent the point-of-view of another person. The subsequent cut to another shot then reveals a character observing what was in the first shot. In a certain sense, the subsequent point-of-view shot can be regarded as a reversed gaze shot. This kind of point-of-view shot often introduces an element of surprise.
- SubtitlesSubtitles are words displayed in either a silent film, or for the purpose of translating a movie into several languages so as to reach out to a world audience.
- Sun UmbrellaSun Umbrella is a large beach umbrella that is used to shadow the camera. It has a long shaft and a Jr. receiver so that it can go into stands. I use it for rain work as well.
- SuperimpositionSuperimposition is an editing technique and special effect that blends two or more shots (of separately photographed action). It does so on the same film strip in such a way that the images are seen simultaneously. The technique of superimposition always draws attention to itself since it breaks up the apparent continuity of time and space. During a lap dissolve, one image is momentarily superimposed on another. In contrast, however, a superimposition usually lasts longer than the blending of two shots in a lap dissolve. And unlike a lap dissolve, it usually does not signify a transition from one scene to another. Superimpositions are frequently used in montage sequences.
- Swish PanSwish pan is an extremely rapidly executed panning movement, which briefly causes the picture to blur. For example, the camera moves quickly from one character to another, whom we could not see before. The swish pan usually begins and ends with the camera at rest. It often functions as a transition without a cut. However, this use of such a pan generally requires careful planning of the mise en scène. In contrast to the common transitions that are standardly used in the style of continuity editing, swish pans are always very striking and thus immediately draw attention to themselves. Sometimes they are used in combination with an adjacent cut, thereby covering this cut. This kind of usage may suggest the passage of time or a change of location.
- Taco CartA Taco Cart is a grip cart that includes C-stands, apple boxes, rigging, and flags required for location and stage work.
- TailTail means the end of a shot. The usage 'tail' is also employed in tail slate, meaning that the mark on a shot occurs at the end of the shot as opposed to the beginning.
- Take A take is a recording of a shot or setup. Each take is indicated by numbers. For example, take one, take two, take three, and so on.
- Tango HeadTango Head is a head that clamps onto your fluid head. This enables you to rotate your image at an angle. Getting you dutch angles. It is also used in condors for overhead high wide master shots. Because of the limitations of the condor, the tango enables you to correct the horizon line. That way, it looks correct.
- T-Bone StandA T-Bone Stand is another low stand that is angle iron shaped in a T with a junior receiver.
- TeaserTeaser is a theatrical term for teasers that were on stage to hide rows of lights from the audience. They are used to control light and are typically long and thin in width. The standard size would be 5’ wide and 16’ long.
- Telephoto LensA telephoto lens (or a zoom lens operating at maximum focal length) has a narrow-angle of view and makes subjects appear closer to the camera than would be the case with a normal lens. In other words, distant objects in front of the camera are magnified. Although there is no exact definition for the designation “telephoto,” a focal length higher than 60mm is generally considered a telephoto lens (for cameras that use 35mm film or an equivalent digital sensor). The upper limit is about 1200mm. Because of their long focal length, telephoto lenses are sometimes called “long lenses”. Not surprisingly, long lenses have attributes opposite to those of short lenses ( = wide-angle lenses). The effect of using a long lens is to compress the apparent depth of an image. That way, the elements that are relatively close or far away from the camera seem to lie at approximately the same distance. This perspective-flattening effect is sometimes called “telephoto distortion.”(...)
- Three-Point LightingThree-point lighting is the most basic form of lighting arrangement used in filmmaking. It is used to present characters or subjects to their best advantage. The three light sources involved are called the key light, fill light, and backlight. The strongest light source is the key light, which directs the viewer’s attention. The fill light – less bright than the key light – softens the borders between lit and shady areas. The backlight is used to set the subject off from its background. For related information, read the entries concerning key light, fill light, and backlight.
- Three Riser Baby StandThree Riser Baby Stand is a stand that has three risers and a baby pin for its mounting apparatus. The top height is 16’ while the lowest point is 4.5’ off the ground.
- Three Riser Combo StandThree Riser Combo Stand is a stand that has three risers and will take up to an 18K if need be. It has a Junior receiver. Top height is 16’. Lowest point is 4.5’ off the ground.
- Three ShotThree Shot refers to any shot focusing on three people. This is regardless of how they are pictured or arranged. For example, in terms of camera distance, camera angle, etc.
- Tight FramingTight framing refers to a shot in which there is little visible space around the main subject(s). Tight framing stresses a lack of mobility. It can thus be used to evoke an oppressive feeling of confinement or a comfortable sense of safety. The opposite of tight framing is loose framing.
- TiltingTilting is a movement of the fixed camera, in which the camera pivots vertically, from up to down, or vice versa. Tilting a camera is a motion similar to that of someone nodding their head to indicate “yes.” See also panning. Common functions of tilt shots are: Showing an object that extends above or below the frame (reveal) Introducing a location (up ► down) Evoking suspense by showing a subject from the feet to the head (down ► up) Concealing what is happening by tilting up to the sky (down ► up)
- Time-Lapse CinematographyTime-lapse cinematography is a film technique in which frames are shot much more slowly than their normal rate. Usually at regular intervals. For example, one frame every minute, or one frame every 24 hours. Thus, this allows action to take place between the single frames. When the processed film is later played at normal speed, events and actions appear to be taking place much faster. In this way, the viewer can witness events that have been compressed from real-time (hours or days) into a few seconds or minutes. Time-lapse cinematography is often used in filming nature, i.e. to show the blooming of a flower, a sunset, or clouds moving across the sky. Time-lapse cinematography can be regarded as an extreme form of fast motion.
- TintTint is the variation of a color by adding white to it. Examples of tint include pink, because of it's mix of red and white, as well as light blue and light green.
- Title CardA title card or intertitle is a piece of filmed, printed text. They are edited into the filmed action at various points, generally to supply character dialogue and thoughts. Most notably, they were used in the silent film era. Title cards are also used to provide descriptive narrative text related to the filmed events.
- Track In Track In is a tracking shot in which the camera moves towards a subject or object. Opposed to track out (track-back).
- Tracking ShotA tracking shot is a shot that tracks with the action. In most cases, the camera is mounted on a dolly that glides on tracks (hence the name). However, a dolly or any other kind of mobile support allowing for smooth movement may also move on wheels. Tracking shots can be achieved using a great variety of different devices such as a crane, Steadicam, or a well-supported handheld camera (i.e. a handheld camera on a wheelchair). The verbs 'to track' and 'to dolly' are often used synonymously. A tracking shot usually moves with a character (or an object). But if the camera follows a subject over a lengthy period of time, this kind of shot is then called a following shot. With regard to possible tracking movements, there is a great variety available to cinematographers. However, the most common are: The camera moves (tracks) towards a subject or object (track in). The camera moves (tracks) away from a subject or object (track out or track-back). The camera tracks(...)
- TreatmentA treatment is a condensed literary summary or presentation of the story for a proposed film. It is comprised of basic ideas, action, and characters described in prose form (i.e. a first draft of a screenplay). Usually, a treatment is used to market and sell a film project or script in the preproduction phase.
- Tree Branch HolderA Tree Branch Holder is exactly as it sounds. It is a C-Clamp with a wide channel to accept tree branches to break up light going through windows, doors, etc.
- Triadic Colors Triadic Colors are a harmonic combination of colors comprised of three colors separated by 120 degrees on the color wheel. Triadic colors always belong to the same order in the color wheel. For related information, read the entry concerning color contrast and analogous colors.
- TripodA tripod is a camera support that consists of three legs (from “tri” – three and “podia” – feet) and a flexible head. A camera attached to a fixed tripod can carry out panning, tilting, and rotating movements.
- Tungsten Fresnel LightsTungsten fresnel lights are a tungsten-balanced fixture. The Fresnel lens was developed by the French to project light for long distances. Hence the Fresnel lens is in every Light House in the world. This lens delivers beautiful hard shadows, it delivers a very even spread while in flood and spot. This light gives great shafts of light, awesome for bounces and projecting through diffusion frames. A fresnel will give you less output than a Par light with the same wattage.
- Tungsten Open Face LightsTungsten Open Face lights are workhorses in the industry. Like a par light, it delivers more output than its same wattage fresnel counterpart. They are amazing for bouncing, projecting through diffusion, and using them for ceiling bounces for room tone. I use them for distant houses in the background of wide shots to give depth to windows, bounce them into the ceilings, or project out of windows onto steps or driveways. They have a flood and spot function. They do not project good hard shadows. Because of the bulb and reflector, you usually get 3 shadows with your cut. My favorites are the Arri 750-watt HPL or the Arri 2K HPL.
- Tungsten Par LightTungsten Par Lights are Par light sources that are Tungsten balanced. These lights have different degrees of spread based on the globe type. Very Narrow glass is clear so the beam is the tightest. Narrow is a slight frosting on the glass, which spreads it a little more. These globes are best for Night Exterior work in condors which give you a very even backlight field over large distances. The medium has rectangular patterns across the glass that spreads the light and you can choose to have a horizontal beam or a vertical beam. The wide lens has square patterns across its glass that spreads the light even more than a medium and you can alter the beam as well. The light is not good for hard shadows. They are, however, amazing for bouncing lights or projecting them through diffusion frames. Great for hot spots in the background, amazing for moonlight ambiance.
- Two Riser Baby StandA Two Riser Baby Stand is a stand that has two risers and a baby pin for its mounting apparatus. Its top height is 10’. Its lowest point is 4’ off the ground.
- Two Riser Combo StandA Two Riser Combo Stand is a stand that has two risers and will take up to an 18K if need be. It has a Junior receiver. Its top height is 10’ while its lowest point is 4’ off the ground.
- Two ShotA Two Shot is a medium shot taken to include two subjects only. It's generally framed from the waist up.
- UltrabounceUltrabounce is a white and black fabric that is used to control or bounce light. It is waterproof and strong enough to stand up to high winds. It has a sheen to it and delivers a harder light source than a bleached muslin fabric.
- Ultrasonic CleanerUltrasonic Cleaner is a cleaning machine used to clean negatives before printing.
- Underwater HousingUnderwater housing is a housing that can take your camera to 300’ deep. It has knobs on the exterior to turn it on and pull focus as well as adjust internal camera settings.
- Vanishing PointVanishing Points are parallel lines in a picture that are not parallel to the visual plane of the picture. They appear to converge in one or more vanishing points inside or outside the borders of the image. It is useful to analyze a motion still regarding its vanishing points because they can help to determine the height of the camera and the camera angle. If a motion still has only one vanishing point, it is possible to draw a horizontal line across it and get the so-called “horizon line.” This marks the height of the camera at the moment the frame was taken. If there is more than one vanishing point, it is necessary to find two opposite vanishing points. They are mostly located offscreen and draw a line from one vanishing point to the other to get the horizon line. If a horizon line slopes in one direction, it shows that the camera was canted to one side.
- VariacA variac is an instrument that limits the voltage that goes to tungsten lights. It dims them down. It is not electronic. They come in 1K, 2K & 5K versions.
- Vault BoxA Vault Box is a box created to hold rolls.
- VectorA vector is a directional force that leads our eyes from one point to another in a picture or a shot. Basically, there are three main different types of vectors: Index vectors are the most obvious type, as they take the form of something in the shot that is clearly pointing somewhere, such as a one-way sign. Motion vectors are created by elements in the shot that are moving in a certain direction, such as a bus driving left to right across the shot. Graphic vectors take the form of aspects in a scene that have a directional element, such as skyscrapers in a city or a sidewalk cutting through the shot.
- V-MountV-Mount is a V-lock mount. It enables the battery to be mounted to the camera by sliding it onto a V-shaped bracket. This is the industry standard for most of Europe and Asia.
- Voice-OverVoice-Over (VO) is an offscreen technique where a voice occurs over onscreen action. It is often used as narration in film, television, and theater production.
- WedgesWedges are workhorse building blocks for many rigs. They can be used to level dolly tracks and pounded into tires that do not have locks, among other things.
- WheelsWheels is an operating system that uses wheels to control the pan and tilt of the camera. These are essential for operating remote heads. Back in the day, the wheels were necessary to move the very heavy camera. They are the benchmark for an operator in the film industry.
- Wide-Angle LensA wide-angle lens (or a zoom lens operating at minimum focal length) has a wider angle of view than a normal lens. Wide-angle lenses tend to magnify the distance between objects while allowing greater depth of field. For cameras that use 35 mm film or an equivalent digital sensor, a lens of focal length 35 mm or less is considered wide-angle. Extreme wide-angle lenses with a focal length of 16 mm or less are called fisheye lenses. Because of their short focal length, wide-angle lenses are sometimes called “short lenses.” They have attributes opposite to those of the long lenses (telephoto lenses). The effect of using a short lens is to make spatial distances more obvious. A person in the distance is shown as much smaller, while someone in the foreground will loom large. The shorter the focal length of a lens is, the more obvious its distortion of perspective becomes. Wide-angle lenses have a large depth of field, which makes them suitable for deep-focus cinematography.(...)
- WidescreenThe widescreen format of a film has a width-to-height aspect ratio greater than the standard aspect ratio of 1.33:1 (i.e. 4:3). From the 1960s onwards, most films had a widescreen aspect ratio of 1.85:1, and nowadays, most films have an aspect ratio of 2.35:1. Widescreen film formats have specific visual characteristics that allow for a different use of space than the standard 1.33:1 format.
- Wild SoundtrackWild Soundtrack is sound recorded independently of the film and added later.
- WipeA Wipe is a transition between two shots where the first shot is wiped away by the second shot. The wipe moves as a whole across the screen from a certain direction until the second shot fills the screen. In the process, the new shot gradually overlaps the first shot.
- Wood CucolorisWood Cucoloris is a device that comes in 4’ x 4’, 24” x 36” and 18” x 24”. It is a wood-painted black with different shapes and sizes that create unique shadows. It also works as an amazing tool to use for moonlight on sheers. It breaks it up when you might not have tree branches hanging around.
- Work PrintA Work Print is a copy of a positive film print used for editing purposes.
- WrapWrap is a term used to indicate the end of shooting as in, "That's a wrap!"
- Xenon LightThe Xenon light was developed by Dick Hall for the film Blade Runner. Jordan Crowenweth's inspiration for Blade Runner was moving lights that were tracked in every interior space. It is daylight balanced at 5600K. It has a flood and spot function that gives you a beautiful circle of light, but when you flood it out it gives you a donut shape pattern because of the globe being in the center of the parabolic mirror reflector. Xenon lights create the most realistic-looking SUN LIGHT source on the planet. I use Xenons for shafts and different water effects. The head has a very noisy fan so you cannot use them for much sound work that is near the camera, but further away doesn’t seem to be a problem. Because of the intense heat that the globe emits, the light dances when it is pointed down. So if tilting down, I aim them into mirrors then pan and tilt the mirror. BUT realize that Xenon lights project heat and they will explode your mirror if it is spotted in. (...)
- Zolly Shot Zolly shot is a shot that Steven Spielberg made famous in Jaws. It's where you dolly in towards your subject and you zoom out at the same speed creating a unique effect of fear, excitement, or peril.
- ZoomZoom is the adjustment of focal length during a shot, which changes the apparent distance from a subject. From a technical perspective, it is accomplished by using special lenses. Sometimes it's used instead of a tracking shot. But in contrast to the latter, the camera in a zoom shot normally remains stationary. In both types of shots, there is a similar change in apparent distance from the subject. However, there are notable differences in the relationship between the subject and the background. In zoom shots, the relative positions and sizes of the elements in the frame stay the same. Whereas in a tracking shot, the relationship between these elements changes. In other words, it doesn’t cause changes in perspective whereas a tracking shot does. In addition, it is worth noting that it has no counterpart in the human visual system. Whereas a tracking shot is analogous to the perspective changes associated with natural human movement. A zoom has two possible(...)