FILM TERMS GLOSSARY

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1-10
10-1: Code over the radio of the AD department that someone has gone to the toilet (be it an actor
or member of crew or themselves!)

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A/B Rolls: Two or more rolls of film having alternate scenes intercut with opaque leaders in such a
way that the 'A' roll presents its picture at the same time that the 'B' roll presents opaque leader,
and vice versa. (Film Editing)

Above the Line: Refers to the creative elements of a production such as the writer, producer,
director and actors. Literally, these are the elements which appeared above a bold line which
divided standard production budget sheets. (Production)

ADR: Automatic Dialog Replacement. Also known as "looping." A process of re-recording dialogue in
the studio in synchronization with the picture. (Post Production)

Aerial Shot: An extremely high angle view of a subject usually taken from a crane or a high
stationary camera position, but may also refer to a shot taken from an actual airplane or helicopter.
(Production).

Alan Smithee: A notorious pseudonym used by directors unwilling to have their own name slapped
on a film when they weren’t happy with the final cut. After the ironic calamity that was Burn
Hollywood Burn, a film about the practice that was itself eventually credited to one Alan Smithee,
it’s been retired.

Anamorphic: An optical system having different magnifications in the horizontal and vertical
dimensions of the image.

Apple Box: A box built of a strong wood or plywood which is capable of supporting weight. These
may be of various sizes, the smallest of which is also known as a 'pancake' because it is nearly flat.
(Lighting/Grip)

Aspect Ratio: The proportion of picture width to height (1.33: 1, 1.66: 1, 1.85: 1 or 2.35: 1).

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B

Baby Legs: A short tripod. (Camera)

Background: This is a term with a broad range of meanings, depending upon the context. In
production, it has the same connotation as 'atmosphere', meaning extras who are staged to supply
detail in the form of normal human traffic in a scene. In sound, it can mean the same as 'ambience'
or it may refer to relative volume.

Backlight: A light which is generally mounted behind a subject to light the subject's hair and
shoulders without illuminating a subject's front. (Lighting)

Barndoors: Folding doors which are mounted on to the front of a light unit in order to control
illumination. (Lighting) Or the stage doors if you are working in a studio.

Base Camp: Sometimes located away from set. This is where the trailers, parking, and meals are
usually located.

Base Runner: A runner who is located at the Base and looks after the artists when they arrive and
are in their trailers putting them through costume and make up etc.

Bazooka: Similar to a 2K stand, but without support legs. It has a junior hole at one end and a junior
stud at the other, and it usually has a sliding riser. (Grip/Lighting)

Below the Line: Refers to the technical elements of the production staff. Literally, these are the
budget elements that appeared below a bold line on a standard production budget form.
(Production)

Best Boy: The assistant chief lighting technician or the assistant to the key grip. (Grip/Lighting)

Blocking: Plotting actor, camera and microphone placement and movement in a production or
scene. (Production)

Blonde: An open face 2K lighting unit, also known as a 'mighty'. (Lighting)

Bluescreen: Also known as green screen. This is a blue or green backdrop that actors are filmed in
front of. Later the blank screen can be filled with digitally generated images to complete the
background.

Boom: A telescoping arm for a camera or microphone which might be available in a variety of sizes
from the very small handheld types to the very large, which might be transported as an integral part
of a motor vehicle. (Production)

Box Rental: A fee or allowance paid to a crewmember for providing his/her own equipment or other
specialized apparatus for use in a production. (Production)

Burn-in Time Code: A videotape in which a "window" displaying the time code count on the tape is
superimposed over part of lhe picture.

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C

C Stand: A general purpose grip stand. (Grip/Lighting)

Call Sheet: A form which refers to all of the scenes to be filmed and all of the personnel and
equipment required for shooting on a particular day. (Production)

CGI: Computer Generated Imagery; refers to the inclusion of computerized graphics in otherwise
live-action films to enhance special effects.

Chit: Background extra’s contract whereby their pay will be logged and added up depending on what
they have done – ie what hours, if they got wet, if they reacted in a scene, if they are being
reimbursed travel, miss a meal, work at night etc.

Clapper Board: A chalkboard (or plastic board nowadays), photographed at the beginning of a shot,
upon which are written the pertinent data for the shot. A clapstick on top of the board is snapped
shut and the resultant sound and image are used later to synchronise picture and sound.

Craft Service: On some pictures they may have craft service which, in addition to the catering,
provides snacks and drinks throughout the day.

Core: A plastic cylinder on which film is wound for transport or storage. Film stock only.

Coverage: An indeterminate number of more detailed shots which are intended to be intercut with a
master shot or scene. (Production)

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Dailies: The first positive prints made by the laboratory from the negative photographed on the
previous day. It also now refers to video which is transferred from that original negative.
(Laboratory)

Daily: A Crew member who is only hired for one or a few days.

DAT (Digital Audio Tape): Two-channel digital audio has become increasingly common as a
professional master reference and for use in field recording. (Sound)

Day for Night: When planning on shooting a night scene, during the day on stage.

Day Out of Days: A form designating the workdays for various cast or crew members of a given
production.

Day Player: A cast member hired for only one day or a handful of days worth of work

Deal Memo: A form which lists the pertinent details of salary, guaranteed conditions, and other
essentials of a work agreement negotiated between a member of the cast or crew and a production

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company.

DGA: Director's Guild of America. A union which represents directors, assistant directors, production
managers, and various video personnel.

Dolly Shot: Any shot made from a moving dolly. These may also be called tracking or travelling shots.
(Production)

Double: A person who temporarily takes the lead actor's place for a stunt or to stand in for the actor
in a shot when they are not available or unwilling to be shot (such as in a nude scene). Shots are
done in a way to avoid seeing the double's face.

DIT: Digital Imaging Technician.

DOP: Director of Photography or Cinematographer who is responsible for the filmic look of the
feature through the use of light and camera.

Dress the Set: Add such items to the set as curtains, furniture and props.

Dubber: A high quality sound reproducer which is mixed with outputs from other dubbers that are
generally loaded with sprocketed magnetic film. (Post Production)

Dubbing: An actor's voice synchronization with lip movements which are not the originally recorded
sound. This is used to replace unusable dialogue or recordings, and also used to prepare foreign
films for new markets. (Post Production)

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Flat Rate: Usually an agreement to perform work or provide a service for a fixed fee or wage which
will not be affected by overtime restrictions of unexpected costs.

Focus Pull: The refocusing of a lens during a shot to keep a moving subject in focus or to change the
person or object of attention. (Cinematography)

Foley/Foley Artist: The process of adding noises or sound effects to a film in post-production in
synchronization with the action on the screen.

Forced Call: A call to work less that you allotted turnaround time after dismissal on the previous day.

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Flat: A section of a studio's set constructed of wood that simulates a wall. One side is decorated; the
other is structural only.

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Flat Rate: Usually an agreement to perform work or provide a service for a fixed fee or wage which
will not be affected by overtime restrictions or unexpected costs.

Focus Pull: The refocusing of a lens during a shot to keep a moving subject in focus or to change the
person or object of attention. (Cinematography)

Foley/Foley Artist: The process of adding noises or sound effects to a film in post-production in
synchronization with the action on the screen.

Forced Call: When a person is required to be back on set in a shorter period of time than the
required turnaround time

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Gaffer: The chief lighting technician for a production who is in charge of the electrical department.

Gate: The aperture assembly - the rectangular opening in the front of a motion picture camera,
printer or projector where the film is exposed to light

Genny: Short for the generator which supplies power. Usually on a truck.

Greenlit or Greenlight: A commitment from a financing entity that allows a project to move from
development to preproduction.

Grip: Works with both the electrical and camera departments. Trained lighting and rigging
technicians who put in lighting set-ups, move set pieces and equipment around and rig camera
mounts. Handle lighting equipment needed to diffuse and shape light at the direction of the D.P. The
“key grip” is head of the department.

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Hiatus: Time during which a film or tv show is out of production. The crew are “stood down”.

Honeywagon: Portable trailer with toilets.

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Jib Arm: A mechanical arm which is supported on a dolly, tripod, or other device, and is
counterweighted to hold a camera for an increased range of motion. (Production)

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Library Shot: American term for Stock footage shot or other footage which is germane to a given
visual presentation but which was not generated for that specific film or television presentation.
(Film Editing)

Lip-Sync: The relationship of sound and picture that exists when the movements of speech are
perceived to coincide with the sounds of speech.

Looping: A continuous sound track that runs repeatedly in playback as a guide for re recording. (Post
Production)

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Magic Hour: The time right before sunrise/after sunset in which the sky is somewhat dark but still
illuminated. Often lasts only 20 minutes despite its name

Meal Penalty: A set fee paid by the Producer for failure to provide meals or meal breaks as specified
by the contract.

Mix: Electrically combining the signals from microphones, tape, and/or reproducers and other
sources. (Post Production)

Montage: The assembly of shots and the portrayal of action or ideas through the use of many short
shots. (Film Editing)

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Offline: The videotape editing process whereby the final edit list is compiled, usually in a more
inexpensive edit room, in preparation for the on-line edit. (Video)

Online: The videotape editing process that creates the final video edit master, including effects,
from the offline edit list. (Video)

Out-Take: A take of a scene which is not used for printing or for the final assembly of a film.

Overtime (O/T): Work extending beyond the contractual work day.

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Pick-ups: Footage filmed after shooting wraps, usually of minor shots.

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Per Diem: Set fee paid by a producer on location shoots to compensate a performer for expenditure
spent on meals not provided by the producer

Playback: A technique of filming music action first, playing the music through loudspeakers while
performers dance, sing, etc.

Post-Production: The period in a project's development that takes place after the picture is
delivered, or "after the production." This term might also be applied to video/film editing or refer to
audio post-production.

Principal Photography: The main photography of a film and the time period during which it takes
place. (Production)

Production Sound: Recording and/or mixing sound on location during the film or video shoot.
Typically this has been recorded to an analog Nagra reel-to-reel machine, though DAT recorders and
other digital formats are now making significant inroads.

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Redhead: An open faced 1K lighting unit. Also known as a 'Mickey'. (Lighting)

Rough cut: A preliminary trial stage in the process of editing a film. Shots are laid out in approximate
relationship to an end product without detailed attention to the individual cutting points. (Film
Editing)

Rushes: This refers to daily prints of a film used for evaluation purposes. (Laboratory)

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SAG: Screen Actors Guild. An American union which represents Artists (both American and overseas
artists can attempt to become a member).

Second Unit: A photographic team that shoots scenes which do not involve the principal cast, such
as stunts, car chases, or establishing shots.

Set Up: Each discrete position of the camera, excluding those in which a dolly or crane is used to
move the camera during filming. (Production)

Sparks: An electrician in the Lighting Department

SFX: Also FX, SFX, SPFX. The techniques used to create illusions (such as space travel, animatronics,
etc.) or to safely perform or give the appearance of performing normally dangerous acts (explosions,
gunshots, etc.).

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Silk: A lighting diffusion or reflective material, formerly real silk. (Grip/Lighting)

Single: A shot with only one subject in the frame. (Production)

Slate: The identifier placed in front of the camera at the beginning of a take.

Shot list: A planned list of the scenes and angles to be shot that day, including details such as
location and which actors and departments are involved. Created by the Director with the DOP.

Splice: The act of joining two pieces of film by any of several methods. (Film Editing)

Squib: A small explosive device that simulates a bullet hit or very small explosion.

Stand In: Someone of similar appearance and measurements to the lead artist who stands in their
place whilst the shot is being lit so that the actual artist can go and finish in hair and makeup etc.

Steadicam: A special harness-based system that allows a cameraman to perform steady, dolly-like
shots with a handheld camera, allowing for much greater freedom of movement.

Storyboard: A group of illustrations that summarize the various shots required and provide a general
overview of a proposed film. Created by a storyboard artist with the Director and sometimes the
DOP.

Synching Dailies: Assembling, for synchronous interlock, the picture and sound workprints of a day's
shooting. (Film Editing)

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Telecine: A machine that transfers film to a video signal. This also generically refers to the process of
film-to-tape transfers.

Time Code: Also known as Longitudinal Time Code. A high frequency signal that allows the accurate
"locking" of film audio and video equipment.

Trailer: A short publicty film which advertises a film or forthcoming presentation.

Travelling: If someone is outside of the location, or walking to set, they are “travelling”.

Turnaround: The number of hours between dismissal one day and call time the next day.

TV Safe: The area of a filmed image which will normally appear on a home television set after a film
has been transferred in a telecine and then transmitted.

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Underscore: Music that provides emotional or atmospheric background to the primary dialogue or
narration onscreen.

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Video Assist: The process of simultaneously recording filmed picture onto video tape by means of
the same lens system in order to immediately evaluate a take as soon as it is completed.
(Production)

Video Village: The area in which viewing monitors are placed for the director and other production
personnel. Referred to by this name because of the propensity to fill with people, chairs. Usually set
up by the Video department.

VFX: Visual Effects Department. Mostly executed in postproduction, visual effects involves
coordinating live action footage with CGI or other footage (animation, models) to produce a visual
that would otherwise be too costly, impossible or dangerous to film.

Voice-over: Narration or non-synchronous dialogue taking place over the action onscreen.

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Walk-through: First rehearsal on the set, used to figure out lighting, sound, camera positions and
some rudimentary blocking.

Wedges: Wood wedges cut from 2x4 lumber which is used for levelling and stabilizing. (Grip)

Wild Track: Audio elements that are not recorded synchronously with the picture.

Wrap: The span of the tape path along which the tape and head are in contact. (Audio/Video) More
often, this refers to securing equipment at the end of the day or when work is completed at a
particular set or location.

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