FILMSEGMENT VERSION 1.100.0.0.1 IMAGE IMAGE HIGH IMAGE HIGH SPEED Speed An annoucement made by either the director of photography or camera operator indicating to the director that the camera is operating at the correct speed. Called just after lock it down , and just before action Freeze Frame An optical printing effect whereby a single frame is repeated to give the illusion that all action has stopped. Often used by Martin Scorsese. Contrast with stop motion _ Fast Motion AKA: Skip Frame A shot in which time appears to move more quickly than normal. The process is commonly achieved by either deleting select frames (called "skip frames") or by undercranking. See also motion artifact ,freeze frame ,frame rate ,judder Slow Motion03.1.1.1 AKA: Slow Mo, Slow-Mo Ashot in which time appears to move more slowly than normal. The process is commonly achieved by either repeating frames (see also freeze frame ), or by overcranking. See also motion artifact ,judder ,frame rate , contrast with stop motion. IMAGE HIGH FRAME Frame An individual picture image which eventually appears on a print . Frame Rate AKA: Frames Per Second, FPS Lighting AKA: Lights Most production s use artificial lighting when filming for various technical and artistic reasons, both on location or on a set . Lighting is designed by the director of photography in consultation with the director , and is the responsibility of the electrical department Existing Light Available light. Strictly speaking, existing light covers all natural lighting from moonlight to sunshine. For photographic purposes, existing light is the light that is already on the scene or project and includes room lamps, fluorescent lamps, spotlights, neon signs, candles, daylight through windows, outdoor scenes at twilight or in moonlight, and scenes artificially illuminated after dark. Ambient Light The available light completely surrounding a subject. Light already existing in an indoor or outdoor setting that is not caused by any illumination supplied by the photographer. Background The part of the scene that appears behind the principal subject of the picture. Foreground The area between the camera and the principal subject. Composition The arrangment and relationship of the visual elements within the frame of the image. IMAGE HIGH SHOT Angle Of View The area of a scene that a lens covers or sees. Angle of view is determined by the focal length of the lens. A wide-angle l ens (short-focal-length) includes more of the scene-a wider angle of view-than a normal (normal-focal-length) or telephoto (long-focal-length) lens. Angle The position of the camera in relation to the subject being shown. Focus The sharpness of an image, or the adjustments made on a camera necessary to achieve this. See also focus puller Pan The action of rotating a camera about its vertical axis. See also tilt Whip Pan AKA: Whip-pan An extremely fast pan , incorporating much motion blur . The term refers to the "whipping" action that the camera operator uses to move the camera Deepfocus Shot A shot in which both the foreground and the background are in focus . In other words, a shot with exceptional depth of field Zoom Shot AKA: Zoom, Zoom In, Zooming, Zoom Back, Zoom Out A shot in which the magnification of the objects by the camera 's lenses is increased (zoom in) or decreased (zoom out/back). There is a subtle difference between the results of a zoom shot and a dolly shot. In a zoom, the relative positions and sizes of all objects in t he frame remains the same, whereas in a dolly shot this will change as the camera moves. Alfred Hitchcock 's much-imitated shot in Vertigo used a combination zoom in and dolly back, resulting in a dramatic change in perspective. Point of View AKA: POV A camera angle in which the camera views what would be visible from a particular object's position. The abbreviation is often used in a slug line . Emblematic Shot: To create ocular contact between the actor and spectator. One of the early exampes is the medium-close up of the bankrobber in The great trainRobbery). Reverse Angle Shot Wereby the subject is being reflected in a mirror-surface. Extreme close-up The subject filmed by the camera fills the screen. Medium Close-up Close-up of 1-2-3 characters, generally showing the shoulders to the head. Medium Shot It frames the subject within its relation to his surroundings. Medium Long shot A quite open shot in terms of readability. It shows the character in whole. Long Shot The subject is at some distance from the camera. Extreme long shot The subject is very far away from the camera, the surroundings have much more of importance. Depth of Field The amount of distance between the nearest and farthest objects that appear in acceptably sharp focus in a photograph. Depth of field depends on the lens opening, the focal length of the lens, and the distance from the lens to the subject. Depth of Focus The distance range over which the film could be shifted at the film plane inside the camera and still have the subject appear in sharp focus; often misused to mean depth of field. Dolly AKA: Dolly Shot, Dolly Up, Dolly In, Dolly Back, Pull back A dolly is a small truck which rolls along dolly tracks carrying the camera ,some of the camera crew and occasionally the director . "Dolly" is also the action of moving the camera towards (dolly up/in) or away from (dolly/pull back) the object that it is pointing at. The term often appears in screenplay s. There is a subtle difference between the results of a zoom shot and a dolly shot. In a zoom, the relative positions and sizes of all objects in the frame remains the same, whereas in a dolly shot this will change as the camera moves. Alfred Hitchcock 's much-imitated shot in Vertigo used a combination zoom-in and dolly back, resulting in a dramatic change in perspective. Soft Focus Produced by use of a special lens that creates soft outlines. IMAGE HIGH MISCL Undercranking The process of slowing the frame rate of a camera down, so that when the captured pictures are played at the normal frame rate the action appears to be in fast motion . Historically, camera s were operated by turning a crank at a constant speed; hence "undercranking" refers to turning the crank too slowly. See also overcranking , frames per second, judder . Anamorphic AKA: Cinemascope An optical system which has different magnifications in the vertical and horizontal dimentions of the picture. See also aspect ratio , contrast with spherical . Cinemascope is a tradename of an anamorphic technique Animation AKA: Animated, Animator The process of creating the illusion of motion by creating individual frame s, as opposed to filming naturally-occuring action at a regular frame rate . See also computer generated animation, claymation , time lapse. Contrast with motion capture ,rotoscoping IMAGE MIDDLE IMAGE MIDDLE LIGHT Diffuse Lighting Lighting that is low or moderate in contrast, such as on an overcast day. Backlighting Light coming from behind the subject, toward the camera lens, so that the subject stands out vividly against the background. Sometimes produces a silhouette effect. Frontlighting Light shining on the side of the subject facing the camera Sidelighting Light striking the subject from the side relative to the position of the camera; produces shadows and highlights to create modeling on the subject IMAGE MIDDLE DESIGN Special Effects AKA: SFX, Special Effects Assistant, Special Effects Technician An artificial effect used to create an illusion in a movie. Refers to effects produced on the set , as opposed to those created in post-production (visual effects ). Stock Footage For reasons of simplicity, time, or budget, some shot s in a film may duplicated from other films or a film library. Such shot s are called stock footage. Title Design AKA: Title Designer, Title Sequence, Titles The manner in which title of a movie is displayed on screen is widely considered an art form. Saul Bass is considered a master title designer Matte Shot A photographic technique whereby artwork - usually on glass - from a matte artist is combined with live action. Contrast this with back projection or a travelling matte. Close Captioned AKA: Close-Captioned, CC system which displays the current dialog on screen for deaf or hard-of-hearing viewers. Contrast with subtitles ,intertitles . IMAGE MIDDLE MISCL Transparency A positive photographic image on film, viewed or projected by transmitted light (light shining through film). Film Grain AKA: Grain, Graininess, Grainy The tiny particles of light-sensitive material on film stock that record images. Finer grains give higher image quality, but coarser grains allow a faster shutter speed . Graininess is an artifact which results from the use of coarse grains, and gives images a slight mosaic appearance Color Temperature Term that describes the color of light sources; literally, the temperature at which a blackbody emits enough radiant energy to evoke a color equivalent to that coming from a given light source. A high color temperature corresponds to bluer light, a low color temperature to yellow light. The color temperature of daylight is around 5500K. Change-Over Marks AKA: Change-Over, Reel Change, Reel Change Marks Most completed movies consist of more than one reel , and thus for an uninterrupted screening , at least two projector s must be used. Towards the end of a reel , one or more frame s may include a small circle in one of the corners. These are signals to the projectionist that the current reel is approaching the end, and he or she should be ready to start the next projector , which should have the next reel prepared for projection. IMAGE LOW IMAGE LOW ANIMATION Go motion AKA: Go-Motion A form of animation similar to stop motion , but which incorporates motion blur . Ordinary stop motion cannot produce motion blur as motion only occurs between frames. Robotic models that are moved during the exposure of each frame produce motion blur , and thus are more realistic. Pioneered by Industrial Light and Magic for Dragonslayer . Time Lapse Photography AKA: Time Lapse A form of animation in which numerous single frame s are filmed spaced at a given interval to show a process that would take a very long time to occur. i.e. a flower blooming, or the motion of the stars. Pixelation A variant of stop-motion animation where actor s are the objects being filmed. The key example is Neighbours . Claymation Animation of models constructed from clay or plasticine. IMAGE LOW EXPOSURE Double Exposure Two pictures taken on one frame of film, or two images printed on one piece of photographic paper. IMAGE LOW MISCL Dropouts Those black or white streaks, spots, and comets zipping across the screen. We count as dropouts any loss of playback signal that is 20 decibels or more below the nominal playback level (16 decibels for extra high-grade and 8mm tapes) and lasting for 15 microseconds or longer (about one quarter of one horizontal scan on the TV screen) IMAGE EXTRA IMAGE OBJECTS Change-Over Marks AKA: Change-Over, Reel Change, Reel Change Marks Most completed movies consist of more than one reel , and thus for an uninterrupted screening , at least two projector s must be used. Towards the end of a reel , one or more frame s may include a small circle in one of the corners. These are signals to the projectionist that the current reel is approaching the end, and he or she should be ready to start the next projector , which should have the next reel prepared for projection. ACTOR ACTOR HIGH ACTOR HIGH CAST Cast A collective term for the actor s appearing in a particular movie. Actor AKA: Actress A person who plays the role of a character. Historically, the term "Actor" refered exclusively to males, but in modern times the term is used for both genders Star A famous actor. Talent A general, informal term for actor s (and possibly extra s). ACTOR HIGH STEREOTYPE Stereotype Originally stereotype was a printing term used to refer to a printing plate taken from a movable type. To increase the number of copies that could be printed. Applied figuratifly this expression has come to mean, at its simplest, a fixed and repeated characterization. (example, the drunken doctors in westerns.). ACTOR HIGH STUNT Stunt AKA: Gag A non-trivial and often dangerous piece of physical action. Often performed by a stunt performer ACTOR MIDDLE ACTOR MIDDLE PERSONS Extra A person who appears in a movie where a non-specific, non-speaking character is required, usually as part of a crowd or in the background of a scene . Extras are often recruited from wherever they are available. Contrast with non-speaking role. Walk-On A minor role, usually without speaking lines. Bit Part A small unimportant role, usually lasting only one scene. Cameo Abit part played by a famous actor who would ordinarily not take such a small part. Originally meaning "a small piece of artwork", the term was borrowed by director Michael Anderson when attempting to attract famous actors to play bit part s in Around the World in 80 Days Fake Shemp AKA: Shemp Anyone appearing on screen whose face is not seen (either because of heavy makeup or camera angles) and who has no lines; can include stand-in s and extra s. The term originated with Sam Raimi and his colleagues, who borrowed it from Hollywood lore about a stand-in used to finish Three Stooges films after Shemp Howard 's death. ACTOR MIDDLE BODY Body Double For some shot s, a director may consider that a particular actor 's body may not be suitible for the impression desired. In these situations, the actor is "doubled" (replaced) by a person whose body is more suitible. Typically, body doubles are used for shot s requiring nudity or depictions of physical fitness. Contrast with stunt double and stand-in ACTOR MIDDLE MISCL Double An actor who stands in for another actor in certain scene s, some of which may involve dangerous circumstances or require special skills (e.g. a stunt double ). Sometimes body double s are used in scenes that call for nudity or intimacy. Contrast with stand-in ACTOR LOW ACTOR LOW MISCL Costume The clothes worn by actor s when being filmed. Method Acting A style of acting formalized by Konstantin Stanislavsky which is believed by some to create more realistic performances. Essentially, the theory requires actor s to draw experiences from their own personal lives that correlate to the character they are playing - an extremely demanding process emotionally. In some cases, "method" actors take the theory even further by arranging events in their private lives to resemble the lives of their characters. See the trivia entries for Down and Out in Beverly Hills and One Flew Over the Cuckoo's Nest for examples, and the trivia entry for Marathon Man for an amusing anecdote ACTOR EXTRA EDITING EDITING HIGH EDIT HIGH PARALLEL Crosscut Cross-cutting and parallel editing: Cross-cutting refers to the cutting of two events which are taking place at the sametime but on a different place ( a difference in space not in time) Altough parallel editing has been used incorrectly for the same effect, it refers to the editting of two events which are occuring at different times( similarity in space difference in time). Cross-cutting and parallel editing Cross-cutting refers to the cutting of two events which are taking place at the sametime but on a different place( a difference in space not in time) Altough parallel editing has been used incorrectly for the same effect, it refers to the editting of two events which are occuring at different times( similarity in space difference in time). EDIT HIGH CONTINUITY Continuity editing A strategy in film practice that ensures narrative continuity. 180-degree rule Also known as the imaginary line. A rule that ensures the consistency of the spectators perspective. 30-degree rule In general, in the name of continuity, when cut the camera should be at least 30-degree away from the last camera position. When thereÕs a cut within the 30-degree area it will be percieved as jump-cut. Unmatched Shots Cutting from one shot to another so that thereÕs no continuity in action. Typically used in Avant-garde and surreal films. Example, Un chien de Andalou. Eyematch The editing or joining shots by following the logic and direction of a characters glance or look. Jump Cut A cut involving an interruption to the continuity of time. EDIT HIGH SEQUENCE Sequence A series of scenes or shots unified by a shared action or motif. Shot A continuous block of unedited footage from a single point of view. See also scene ,take ,frame rate Reverse Shot AKA: Reverse Angle A shot taken at a 120-180 degree angle from the preceding shot . When used in dialogue scenes, reverse-shot editing usually alternates between over-the-shoulder shot s that show each character speaking. See also shot/reverse shot Cut A change in either camera angle or placement, location, or time. "Cut" is called during filming to indicate that the current take is over. See also shot ,action . A "cut" of a movie is also a complete edited version. Shot/Reverse Shot A sequence of three shot s: 1) a person's face; 2) what that person is looking at; and 3) the person again, giving the audience a chance to process the person's reaction to what (or who) s/he is seeing. See also reverse shot EDIT MIDDLE EDIT MIDDLE DISOLVE Fade AKA: Fade To Black, Fade In, Fade Out. A smooth, gradual transition from a normal image to complete blackness (fade out), or vice versa (fade in) Dissolve/lap-dissolve A transition between two sequences. Generally associated with early cinema. A dissolve suggests a longer passage of time than a cut. And is often used to signal a flashback.. Wipe An editing technique in which images from one shot are fully replaced by the images of another, delimited by a definite border that moves across or around the frame. EDIT MIDDLE INSERT Insert A close-up shot of an object, often produced by the second unit . The term probably came about to reflect the fact that this shot will be "inserted" into the final version of the movie during editing . EDIT LOW EDIT LOW MISCL Montage An artistic device for creating the artistic "look" or "feel" of a scene , through the use of visual editing. Often contrasted with mise-en-scene . EDIT EXTRA EDIT EXTRA REEL Reel A strip of film wound on a metal wheel. Typical reels hold 15-25 minutes of film. See also reel change.