| id | term | aka | links | description |
|---|
| 1 |
Abby Singer |
|
|
The second-to-last <A HREF="/glossary/S#shot">shot</A> of the day. Named after <A HREF="/glossary/P#prod_manager">production manager</A> <A HREF="/Name?Singer,+Abby">Abby Singer</A>, who would frequently call "last shot of the day" or "this shot, and just one more," only to have the <A HREF="/glossary/D#director">director</A> ask for more <A HREF="/glossary/T#take">take</A>s. See also <A HREF="/glossary/M#martini_shot">martini shot</A>.<HR NOSHADE WIDTH="40%"> |
| 2 |
Above-the-Line Expenses |
|
|
The major expenses committed to before production begins, including story/rights/continuity (writing); salaries for <A HREF="/glossary/P#producer">producer</A>s, <A HREF="/glossary/D#director">director</A>, and <A HREF="/glossary/C#cast">cast</A>; travel and living; and <A HREF="/glossary/P#production">production</A> fees (if the project is bought from an earlier company). Everything else falls under <A HREF="/glossary/B#belowline_expenses">below-the-line expenses</A>.<HR NOSHADE WIDTH="40%"> |
| 3 |
Academy of Motion Picture Arts and Sciences |
AMPAS, The Academy |
|
<P><B CLASS=nice>On the web:</B> <A HREF="http://www.oscars.org/academy/index.html">Official Home Page</A><BR><HR NOSHADE WIDTH="40%">
|
| 4 |
Academy of Motion Picture Arts and Sciences Awards |
Oscars, Academy Awards |
|
The term "Oscar" was coined by an anonymous person who remarked that the statue looked like their Uncle Oscar.<P><B CLASS=nice>On the web:</B> <A HREF="/Sections/Awards/Academy_Awards_USA/">Complete List of Winners and Nominees</A>, <A HREF="http://www.oscars.org/">Official Home Page</A><BR><HR NOSHADE WIDTH="40%">
|
| 5 |
Action |
|
|
"Action" is called during filming to indicate the start of the current <A HREF="/glossary/T#take">take</A>. See also <A HREF="/glossary/C#cut">cut</A>, <A HREF="/glossary/S#speed">speed</A>, <A HREF="/glossary/L#lock_it_down">lock it down</A>.<HR NOSHADE WIDTH="40%"> |
| 6 |
Actor |
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.<P><B CLASS=nice>On the web:</B> <A HREF="/name-search">Search for an actor</A><BR><B CLASS=nice>Factual Movie(s):</B> <A HREF="/Title?0110985">Rhinoskin: The Making of a Movie Star (1995)</A><BR><HR NOSHADE WIDTH="40%"> |
| 7 |
Additional Camera |
B Camera |
|
An extra <A HREF="/glossary/C#camera_operator">camera operator</A>, often needed for complicated action sequences or <A HREF="/glossary/S#stunt">stunt</A>s. Contrast with <A HREF="/glossary/A#add_photog">additional photography</A>.<HR NOSHADE WIDTH="40%"> |
| 8 |
Additional Photography |
Additional Photographer, Reshoots, Reshooting, Pickups |
|
<A HREF="/glossary/F#focus_group">Focus group</A> or <A HREF="/glossary/S#studio">studio</A> reaction to some <A HREF="/glossary/S#shot">shot</A>s or <A HREF="/glossary/S#scene">scene</A>s may be bad enough to convince the <A HREF="/glossary/F#filmmakers">filmmakers</A> to discard them. In some cases, <A HREF="/glossary/A#actor">actor</A>s are recalled and parts of the movie are refilmed. This is referred to as "Additional Photography", "Reshoots", or "Pickups". Contrast with <A HREF="/glossary/A#add_camera">additional camera</A>, <A HREF="/glossary/P#pickups">pickups</A>.<HR NOSHADE WIDTH="40%"> |
| 9 |
Advance |
|
|
Of a <A HREF="/glossary/C#composite_print">composite print</A>: the distance between a point on the <A HREF="/glossary/S#soundtrack">soundtrack</A> and the corresponding image. Of payment: an amount given before receipt of services. <HR NOSHADE WIDTH="40%"> |
| 10 |
Agent |
|
|
A person responsible for the professional business dealings of an <A HREF="/glossary/A#actor">actor</A>, <A HREF="/glossary/D#director">director</A>, or other artist. An agent typically negotiates the contracts on behalf of the <A HREF="/glossary/A#actor">actor</A> or <A HREF="/glossary/D#director">director</A>, and often has some part in selecting or recommending roles for their client.<P><B CLASS=nice>Fictional Movie(s):</B> <A HREF="/Title?0100395">Postcards from the Edge (1990)</A><BR><HR NOSHADE WIDTH="40%">
|
| 11 |
Alan Smithee |
Allen Smithee |
|
The sole pseudonym that the Directors Guild of America allowed directors to use when they wish to remove their name from a film. The name has reportedly been retired by the Directors Guild of America, after 1997's <a href="/title/tt0118577/"><i>An Alan Smithee Film: Burn Hollywood Burn</i></a> revealed the alias to the general public. It appears that project-specific pseudonyms are now used instead, selected on a case-by-case basis when the DGA agrees that a film has been taken away from a director and cut and/or altered to such an extreme extent that it completely deviates from that director's original vision.</i><HR NOSHADE WIDTH="40%">
|
| 12 |
American Cinema Editors |
ACE |
|
Honorary society of film <A HREF="/glossary/E#editor">editor</A>s founded in 1950 by <A HREF="/Name?Ogilvie,+Jack">Jack Ogilvie</A>, <A HREF="/Name?Low,+Warren+(I)">Warren Low</A> and others.<P><B CLASS=nice>On the web:</B> <A HREF="http://www.ace-filmeditors.org"><BR><HR NOSHADE WIDTH="40%"> |
| 13 |
American Federation of Television and Radio Artists |
AFTRA |
|
An association with jurisdiction over some works that can be recorded by picture or by sound. See also the <A HREF="/glossary/S#sag">Screen Actors Guild</A>.<P><B CLASS=nice>On the web:</B> <A HREF="http://www.aftra.org/">Official Home Page</A><BR><HR NOSHADE WIDTH="40%"> |
| 14 |
American Society of Cinematographers |
ASC |
|
An organization founded in 1919 and dedicated to advancing the art of cinematography through artistry and technological progress, to exchange ideas and to cement a closer relationship among <A HREF="/glossary/C#cinematographer">cinematographer</A>s. Membership is international and by invitation based on an individual's body of narrative filmwork. Use of the abbreviation ASC, e.g. for on-screen credits, indicates membership in the society. The society publishes "American Cinematographer" magazine.<P><B CLASS=nice>On the web:</B> <A HREF="http://www.cinematographer.com/">Official Home Page</A><BR><HR NOSHADE WIDTH="40%"> |
| 15 |
Anamorphic |
Cinemascope |
|
An optical system which has different magnifications in the vertical and horizontal dimensions of the picture. See also <A HREF="/glossary/A#aspect_ratio">aspect ratio</A>, contrast with <A HREF="/glossary/S#spherical">spherical</A>. Cinemascope is a tradename of an anamorphic technique.<HR NOSHADE WIDTH="40%"> |
| 16 |
Anamorphic Widescreen |
16:9 Enhanced |
|
<A HREF="/glossary/D#dvd">DVD</A> mastering process whereby a film source with an <A HREF="/glossary/A#aspect_ratio">aspect ratio</A> greater than 4:3 (usually also greater than or equal to 16:9) is transferred to the <A HREF="/glossary/D#dvd">DVD</A> video master in such a way that the picture is vertically stretched by a factor of about 1.33 (e.g. if the picture had an aspect ratio of 16:9, it now has one of 4:3). The idea is to use as much resolution of the video master as possible so widescreen pictures use the 4:3 frame optimally, gaining another 33% of vertical resolution and looking markedly sharper. When playing a <A HREF="/glossary/D#dvd">DVD</A> with anamorphic widescreen the display (16:9 capable TV or projector and screen) has to vertically squeeze the picture by a factor of 0.75 so a circle is still a circle. If the display cannot do this the <A HREF="/glossary/D#dvd">DVD</A> player will do the squeezing and add black bars on the top and bottom of the picture. In that case the additional 33% resolution are not available.<HR NOSHADE WIDTH="40%"> |
| 17 |
Animation |
Animated, Animator |
|
The process of creating the illusion of motion by creating individual <A HREF="/glossary/F#frame">frame</A>s, as opposed to filming naturally-occurring action at a regular <A HREF="/glossary/F#frame_rate">frame rate</A>. See also computer generated animation, <A HREF="/glossary/C#claymation">claymation</A>, time lapse. Contrast with <A HREF="/glossary/M#motion_capture">motion capture</A>, <A HREF="/glossary/R#rotoscoping">rotoscoping</A>.<HR NOSHADE WIDTH="40%"> |
| 18 |
Anime |
|
|
A style of animated movie which had its roots in the comic books of Japan. Animation enjoys an immense variety of subject matter and audiences in Japan. Outside of Japan, "Anime" is often used to describe only the adult oriented <A HREF="/glossary/S#scifi">science fiction</A> and fantasy entries in the field.<P><B CLASS=nice>On the web:</B> <A HREF="/List?keywords=anime&&tv=on">List of Anime titles at the IMDb.</A><BR><HR NOSHADE WIDTH="40%">
|
| 19 |
Answer print |
|
|
The first graded print of a film that combines sound and picture, which is created for the client to view and approve before printing the rest of the copies of the film.<HR NOSHADE WIDTH="40%">
|
| 20 |
Aperture |
F/Number, F-Stop, Effect Aperture, Relative Aperture |
|
A measure of the width of the opening allowing light to enter a <A HREF="/glossary/C#camera">camera</A>. The apparent diameter of a lens viewed from the position of the object against a diffusely illuminated background is called the "effect aperture". The ratio of focal length of a lens to its "effective aperture" for an object located at infinity is called the "relative aperture", or "f/number". Larger apertures allow more light to enter a <A HREF="/glossary/C#camera">camera</A>, hence darker <A HREF="/glossary/S#scene">scene</A>s can be recorded. Conversely, smaller apertures allow less light to enter, but have the advantage of creating a large <A HREF="/glossary/D#depth_of_field">depth of field</A>. See also <A HREF="/glossary/S#shutter_speed">shutter speed</A>.
|
| 21 |
Armorer |
|
|
A person who is responsible for weapons on the set of a movie or television show. Duties include providing the correct weapons to suit the era and style of the film, advising the director on use of weapons, choosing the correct blanks, creating a safe set for the use of said weapons, teaching actors about handling and using weapons, making sure use of all weapons is properly licensed, and ensuring the safety of everyone on the set while weapons are in use. <HR NOSHADE WIDTH="40%">
<HR NOSHADE WIDTH="40%"> |
| 22 |
Art Department |
|
|
The section of a <A HREF="/glossary/P#production">production</A>'s <A HREF="/glossary/C#crew">crew</A> concerned with visual artistry. Working under the supervision of the <A HREF="/glossary/P#prod_designer">production designer</A> and/or <A HREF="/glossary/A#art_dir">art director</A>, the art department is responsible for arranging the overall "look" of the film (i.e. modern/high-tech, rustic, futuristic, etc.) as desired by the <A HREF="/glossary/D#director">director</A>. Individual positions within in this department include: <A HREF="/glossary/P#prod_designer">production designer</A>, <A HREF="/glossary/P#prod_buyer">production buyer</A>, <A HREF="/glossary/S#sfx_superfixor">special effects supervisor</A>, <A HREF="/glossary/D#draftsman">draftsman</A>, <A HREF="/glossary/A#art_dir">art director</A>, <A HREF="/glossary/A#asst_art_dir">assistant art director</A>, <A HREF="/glossary/S#set_decorator">set decorator</A>, <A HREF="/glossary/S#set_dresser">set dresser</A>, <A HREF="/glossary/P#property_master">property master</A>, <A HREF="/glossary/L#leadman">leadman</A>, <A HREF="/glossary/S#swing_gang">swing gang</A>, and <A HREF="/glossary/P#property_assistant">property assistant</A>.<HR NOSHADE WIDTH="40%"> |
| 23 |
Art Director |
|
|
The person who oversees the artists and craftspeople who build the <A HREF="/glossary/S#set">set</A>s. See also <A HREF="/glossary/P#prod_designer">production designer</A>, <A HREF="/glossary/S#set_designer">set designer</A>, set director, <A HREF="/glossary/L#leadman">leadman</A>, and <A HREF="/glossary/S#swing_gang">swing gang</A>.<HR NOSHADE WIDTH="40%"> |
| 24 |
Artifact |
|
|
A visual defect in an image caused by limitations or the malfunction of imaging equipment. See also <A HREF="/glossary/M#motion_artifact">motion artifact</A>, contrast with <A HREF="/glossary/C#cinch_marks">cinch marks</A>.<HR NOSHADE WIDTH="40%">
|
| 25 |
Articulation Artist |
|
|
A person who takes an artist's designs and builds them in a computer, so that animators can manipulate the figures to tell the story of the film.<HR NOSHADE WIDTH="40%">
|
| 26 |
Aspect Ratio |
Aspect, Academy Ratio |
|
A measure of the relative sizes of the horizontal and vertical components of an image. "Academy Ratio" is 1.33:1. See also <A HREF="/glossary/A#anamorphic">anamorphic</A>.<HR NOSHADE WIDTH="40%"> |
| 27 |
Assistant Art Director |
|
|
An assistant to the <A HREF="/glossary/A#art_dir">art director</A>.<HR NOSHADE WIDTH="40%"> |
| 28 |
Assistant Camera |
Assistant Camera Operator, First Assistant Cameraman, 1st Assistant Cameraman, 1st Assistant Camera, Assistant Cameraman, Camera Assistant |
|
A member of the <A HREF="/glossary/C#camera_crew">camera crew</A> who assists the <A HREF="/glossary/C#camera_operator">camera operator</A>. This person is responsible for the maintenance and care of the <A HREF="/glossary/C#camera">camera</A>, as well as preparing <A HREF="/glossary/D#dope_sheet">dope sheet</A>s. In smaller <A HREF="/glossary/C#camera_crew">camera crew</A>s, they may also perform the duties of clapper-loader and/or a <A HREF="/glossary/F#focus_puller">focus puller</A>. See also <A HREF="/glossary/A#add_camera">additional camera</A>.<HR NOSHADE WIDTH="40%"> |
| 29 |
Assistant Director |
AD, First Assistant Director, 1st Assistant Director, 2nd Assistant Director |
|
An assistant director's duties include tracking the progress of filming versus the <A HREF="/glossary/P#prod_schedule">production schedule</A>, and preparing <A HREF="/glossary/C#call_sheet">call sheet</A>s.
<p>A First Assistant Director is responsible for the preparation of the shooting
schedule and script breakdown used to plan the shooting of a film or television
show. The AD works directly with the Director to manage of the minute to minute
operations on the set during the process of filming, as well as co-ordinating
the necessary communication of details of future operations as the filming
progresses. Other duties include tracking the progress of filming versus the
production schedule, observing all rules related to union crafts, labor
contracts and location agreements, maintaining safety on the working set, and
working with the Unit Manager to keep operational costs within the budgeted plan.
<p>A Second Assistant Director is responsible for information distribution and
reporting, cast notification and preparations during the shooting process,
recording of all data relative to the working hours of the crew and cast,
management of the background cast (atmosphere or "extras"), preparation of call
sheets, production reports,and other documentation. When needed, the Second
Assistant Director can assume the duties of the First Assistant Director on a
temporary basis.
<P><B CLASS=nice>Fictional Movie(s):</B> <A HREF="/Title?0113677">Living in Oblivion (1995)</A><BR><HR NOSHADE WIDTH="40%"> |
| 30 |
Assistant Film Editor |
Assistant Picture Editor, Assistant Sound Editor, Assistant Editor, First Assistant Editor, Second Assistant Editor, Apprentice Editor |
|
Editing room crewmember responsible for providing any and all required logistical assistance to the <A HREF="/glossary/E#editor">editor</A>(s). Duties vary, depending on whether the assistant is working with a picture or sound editor and whether the show is being edited on film or on a <A HREF="/glossary/N#nonlinear_editing">non-linear editing</A> system. On a film-edited show, assistant picture editors will, during <A HREF="/glossary/P#production">production</A>: liase with the film lab and sound transfer facility regarding the processing of <A HREF="/glossary/D#dailies">dailies</A>; leader, sync and edgecode the dailies rolls; coordinate and take notes during <A HREF="/glossary/D#dailies">dailies</A> <A HREF="/glossary/S#screening">screening</A>s; organize and maintain camera reports, sound reports, script notes, and <A HREF="/glossary/L#lined_script">lined script</A> pages from the <A HREF="/glossary/S#set">set</A>, as well as lab reports and sound transfer reports; log all <A HREF="/glossary/D#dailies">dailies</A> footage; and reorganize footage for <A HREF="/glossary/E#editing">editing</A>, if necessary. Ongoing, and during <A HREF="/glossary/P#post">post-production</A>, they will: reconstitute trims; locate and pull trims requested by the editor; check sync, clean, measure, re-splice, and add change-over marks to cut <A HREF="/glossary/R#reel">reel</A>s; coordinate <A HREF="/glossary/S#screening">screening</A>s of <A HREF="/glossary/C#cut">cut</A> work; take notes during <A HREF="/glossary/S#screening">screening</A>s. Once the sound department begins work, the assistants produce change sheets detailing each day's changes to the workprint and production track and send them, along with any necessary duplicate trims, to the sound department. Assistants may be permitted by the <A HREF="/glossary/E#editor">editor</A> to do some creative work, such as commenting on the <A HREF="/glossary/E#editor">editor</A>'s work; cutting temporary ("temp") <A HREF="/glossary/S#sound_effects">sound effects</A> and music into the track; and sometimes even <A HREF="/glossary/E#editing">editing</A> <A HREF="/glossary/S#scene">scene</A>s. After picture lock, the assistant: oversees the creation of optical effects such as <A HREF="/glossary/F#fade">fade</A>s, <A HREF="/glossary/D#dissolve">dissolve</A>s, etc. and cuts them into the workprint; continues to work with the sound department as necessary; and in some cases oversees the final stages of <A HREF="/glossary/P#post">post-production</A>, all the way through <A HREF="/glossary/S#sound_mix">sound mix</A>, negative conforming, and the production of final <A HREF="/glossary/P#print">print</A>s. The assistant editor chain of command consists of the First Assistant Editor(s), who bears the most responsibility for the smooth performance of the assistant team; the Second Assistant Editor(s); and the Apprentice Editor(s).<HR NOSHADE WIDTH="40%"> |
| 31 |
Assistant Production Manager |
Assistant Production Co-Ordinator |
|
An assistant to the production co-ordinator. See also <A HREF="/glossary/P#prod_secretary">production secretary</A>.<HR NOSHADE WIDTH="40%"> |
| 32 |
Associate Producer |
|
|
An individual who performs a limited number of producing functions delegated to her/him by a <A HREF="/glossary/P#producer">producer</A>, under the direct supervision and control of that <A HREF="/glossary/P#producer">producer</A>. The term may also refer to a person who would qualify as an <A HREF="/glossary/E#executive_producer">executive producer</A> of a project, but for the fact that (s)he acts on behalf of a production company which is subordinate to another one on that project. See also <A HREF="/glossary/C#co-producer">co-producer</A> and <A HREF="/glossary/L#line_producer">line producer</A>.<HR NOSHADE WIDTH="40%"> |
| 33 |
Association Internationale du Film d'Animation |
ASIFA, International Animation Association |
|
ASIFA was founded in 1960 in France, chartered under UNESCO, as a membership organization devoted to the encouragement and dissemination of film animation as an art and communication form.<P><B CLASS=nice>On the web:</B> <A HREF="http://asifa.net/">International Home Page</A><BR><HR NOSHADE WIDTH="40%"> |
| 34 |
Association of Film Commissioners International |
AFCI |
|
WWW: http://www.afci.org A non-profit educational organization founded in 1975 to serve the needs of on-location film, television and commercial production.<HR NOSHADE WIDTH="40%">
|
| 35 |
Association of Independent Video and Filmmakers |
|
|
<P><B CLASS=nice>On the web:</B> <A HREF="http://www.aivf.org/">International Home Page</A><br>A membership organization serving local and international film and videomakers—from documentarians and experimental artists to makers of narrative features<HR NOSHADE WIDTH="40%">
|
| 36 |
Australian Screen Editors |
ASE |
|
A cultural, professional and educational organisation, dedicated to the pursuit and recognition of excellence in the arts, sciences and technology of motion picture film and televisual <A HREF="/glossary/P#post">post-production</A>. It aims to promote, improve and protect the role of editor as an essential and significant contributor to all screen productions.<HR NOSHADE WIDTH="40%">
|
| 37 |
Association of Motion Picture Sound |
AMPS |
|
A UK-based organization whose aims are to promote and encourage the science, technology and creative application of all aspects of motion picture sound recording and reproduction, and to promote and enhance the status and recognition of the contribution of those therein engaged.<P><B CLASS=nice>On the web:</B> <a href="http://www.amps.net/">Official Home Page</a><BR><HR NOSHADE WIDTH="40%">
|
| 38 |
Association of Motion Picture and Television Producers |
AMPTP |
|
<HR NOSHADE WIDTH="40%">
|
| 39 |
Australian Screen Editors |
ASE |
|
A cultural, professional and educational organisation, dedicated to the pursuit and recognition of excellence in the arts, sciences and technology of motion picture film and televisual <A HREF="/glossary/P#post">post-production</A>. It aims to promote, improve and protect the role of editor as an essential and significant contributor to all screen productions.<HR NOSHADE WIDTH="40%">
|
| 40 |
Australian Screen Directors Association |
ASDA |
|
The Australian Screen Directors Association (ASDA) is an industry association
representing the interests of film and television directors, documentary
filmmakers, animators and independent producers throughout Australia.<P><B CLASS=nice>On the web:</B> <A HREF="http://www.asdafilm.org.au/">Official Home Page</A><BR><HR NOSHADE WIDTH="40%">
|
| 41 |
Australian Society of Cinematographers |
ACS |
|
Use of the abbreviation after a name indicates that the person is a member of the ACS.<P><B CLASS=nice>On the web:</B> <A HREF="http://www.users.bigpond.com/austcine/">Official Home Page</A><BR><HR NOSHADE WIDTH="40%"> |
| 42 |
Auteur |
|
|
A filmmaker, generally a <A HREF="/glossary/D#director">director</A>, who creates a body of work with a unified sensibility that reveals, through the interplay of themes and styles, a personal worldview. The term originated with <A HREF="/Name?Truffaut,+Fran%E7ois">François Truffaut</A>, whose 1954 essay "Une certaine tendence du cinéma français" put forth the idea that the most interesting films were those that functioned as a medium of personal expression--and therefore bore the distinctive imprint of their "author." American critic <A HREF="/Name?Sarris,+Andrew">Andrew Sarris</A> later translated and expanded this idea into an "auteur theory," which proposed an evaluation of films based on their context within the filmmaker's oeuvre, rather than for their technical proficiency or greater historical significance. The term "auteur" later came to refer to any filmmaker who performed or was intimately involved in all aspects of the moviemaking process (writing, directing, producing, editing, etc.).<HR NOSHADE WIDTH="40%"> |
| 43 |
Automated Dialogue Replacement |
Automatic Dialogue Replacement, ADR, Dialogue Looping, Dialog Looping, Looping |
|
The re-recording of dialogue by <A HREF="/glossary/A#actor">actor</A>s in a sound studio during <A HREF="/glossary/P#post">post-production</A>, usually performed to playback of edited picture in order to match lip movements on screen. ADR is frequently used to replace production <A HREF="/glossary/T#track">track</A> of poor quality (e.g., due to high levels of background noise) or to change the delivery or inflection of a line. ADR can also be used to insert new lines of dialogue which are conceived during <A HREF="/glossary/E#editing">editing</A>, although such lines can only be placed against picture in which the face of the actor speaking is not visible.<P><B CLASS=nice>Fictional Movie(s):</B> <A HREF="/Title?0100395">Postcards from the Edge (1990)</A><BR><HR NOSHADE WIDTH="40%"> |
| 44 |
Automated Dialogue Replacement Editing |
Automatic Dialogue Replacement Editing, ADR Editing |
|
The process of editing sound during <A HREF="/glossary/A#adr">Automatic Dialogue Replacement</A>.<HR NOSHADE WIDTH="40%"> |
| 45 |
Automated Dialogue Replacement Editor |
Automatic Dialogue Replacement Editor, ADR Editor |
|
The person who performs ADR Editing.<HR NOSHADE WIDTH="40%"> |
| 46 |
Automated Dialogue Replacement Mixer |
Automatic Dialogue Replacement Mixer, ADR Mixer |
|
The person who mixes the sound during <A HREF="/glossary/A#adr">Automated Dialogue Replacement</A>.<HR NOSHADE WIDTH="40%"> |
| 47 |
AVID |
|
|
Manufacturer of a popular <A HREF="/glossary/N#nonlinear_editing">non-linear editing</A> system. Often used to refer to the system itself, as "AVID editor". Competitors include Lightworks and Apple's FinalCut Pro.<HR NOSHADE WIDTH="40%">
|
| 48 |
Axis of Action |
|
|
In the continuity editing system, the "Axis of Action" is an imaginary line that passes through the two main actors of a scene, defining the spatial relations of all the elements of the scene as being to the right or left. The camera is not supposed to cross the axis at a cut and thus reverse those spatial relations. Also called the "180° line."<HR NOSHADE WIDTH="40%"> |
| 49 |
B-Movie |
|
|
A low-budget, second tier movie, frequently the 2nd movie in a double-feature billing. B-films were cheaper for studios because they did not involve the most highly paid actors or costly sets, and were popular with theater owners because they were less expensive to bring into their theaters while still able to draw revenue. <HR NOSHADE WIDTH="40%">
|
| 50 |
Back Projection |
Rear Projection |
|
A photographic technique whereby live action is filmed in front of a screen which the background action is projected on. Originally used for <A HREF="/glossary/S#scene">scene</A>s occurring in vehicles. Contrast this with a <A HREF="/glossary/M#matte_shot">matte shot</A>.<P>
<B CLASS=nice>Fictional Movie(s):</B> <A HREF="/title/tt0100395">Postcards from the Edge (1990)</A><BR><HR NOSHADE WIDTH="40%">
|
| 51 |
Background Artist |
Scenic Artist, Backgrounds |
|
A person responsible for designing or constructing the art placed at the rear of a <A HREF="/glossary/S#set">set</A>. See also <A HREF="/glossary/M#matte_artist">matte artist</A>.<HR NOSHADE WIDTH="40%">
|
| 52 |
Backlot |
Back lot |
|
A large, undeveloped area on <A HREF="/glossary/S#studio">studio</A> property used for constructing large open-air sets or for filming wilderness <A HREF="/glossary/S#scene">scene</A>s.<HR NOSHADE WIDTH="40%">
|
| 53 |
Banned |
|
|
Many countries have either government or official movie classification boards who are responsible for determining the suitability of a movie for <A HREF="/glossary/R#release">release</A> in their country or region. These boards occasionally block the <A HREF="/glossary/R#release">release</A> of a movie either in theaters or on video. Often, a banned movie will find its way around a ban by means of <A HREF="/glossary/B#bootleg">bootleg</A> distribution. See also <A HREF="/glossary/C#censorship">censorship</A>.<HR NOSHADE WIDTH="40%">
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| 54 |
Behind the Scenes |
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The off-camera goings on associated with filmmaking.<P><B CLASS=nice>Factual Movie(s):</B> <A HREF="/title/tt0102015">Hearts of Darkness: A Filmmaker's Apocalypse (1991)</A><BR><B CLASS=nice>Fictional Movie(s):</B> <A HREF="/title/tt0100395">Postcards from the Edge (1990)</A><BR><HR NOSHADE WIDTH="40%">
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| 55 |
Below-the-Line Expenses |
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All physical production costs not included in the <A HREF="/glossary/A#aboveline_expenses">above-the-line expenses</A>, including material costs, music rights, publicity, <A HREF="/glossary/T#trailer">trailer</A>, etc.<HR NOSHADE WIDTH="40%">
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| 56 |
Best Boy |
Assistant Chief Lighting Technician, Best Boy Grip, Best Boy Electric |
|
The chief assistant, usually of the gaffer or key grip. In charge of the people and equipment, scheduling the required quantities for each day's work. The term originates from promoting the crew's 'best boy' to supervising, allowing the gaffer and key grip to stay on set and carry out the cameraman's lighting needs. The origin of the term is from "pre-union" filming days when the line between Grip and Electric departments was less rigid. When the head of either department needed another body temporarily, he'd go to the head of the other department and ask him to "lend me your BEST boy". By default the 2nd in charge of either department came to be known as best-boy. This term may also have been borrowed from early sailing and whaling crews, as sailors were often employed to set up and work rigging in theatres. There are no "best girls" per se; female chief assistants are also called "Best Boys".<HR NOSHADE WIDTH="40%">
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| 57 |
Billing |
Top Billing, Diagonal Billing, Equal Billing |
|
A great deal of importance is placed on the relative sizes, positions, and order of names and the movie's title in printed publicity material as well as the opening credits. Generally, higher positions designate higher importance. Additionally, there is significant given to names which appear before or above the actual title of the movie. The person whose name is shown first in the credits or whose name is at the top of an advertisement is said to have received "top billing". If more than one name appears at the same time or at the same height, they are said to have "equal billing", with the importance of the people concerned decreasing from left to right. In some movies with a large number of <A HREF="/glossary/S#star">star</A>s, the <A HREF="/glossary/P#publicity_department">publicity department</A> must go to great lengths to satisfy the demands of various parties. "Diagonal billing" is where a different name appears first, depending on whether the material is read from top to bottom, or from left to right. In some extreme cases, multiple <A HREF="/glossary/S#star">star</A>s in the same movie have each demanded top billing, in which case an equal number of differently-billed advertisement have been created.<HR NOSHADE WIDTH="40%">
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| 58 |
Biographic Picture |
Biopic |
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A filmed story of a person's life story.<P><B CLASS=nice>On the web:</B> <A HREF="/search/title?keywords=biographical&&tv=on">List of Biographical movies at the IMDb.</A><BR><HR NOSHADE WIDTH="40%">
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| 59 |
Bit Part |
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A small unimportant role, usually lasting only one <A HREF="/glossary/S#scene">scene</A>.<HR NOSHADE WIDTH="40%">
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| 60 |
Black and White |
BW, B/W, B&W |
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Indicates that the images have no color. The first movies were black and white (as color <A HREF="/glossary/F#film_stock">film stock</A> hadn't been invented), but in more recent times many films have been shot in black and white either for artistic reasons or because it is cheaper. Some films are shot using color <A HREF="/glossary/F#film_stock">film stock</A> with the final <A HREF="/glossary/P#print">print</A> in black and white.<HR NOSHADE WIDTH="40%">
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| 61 |
Black Comedy |
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A comedy in which the humour is derived from subjects which are typically considered "serious", or for which humour is usually considered as unsuitable. Common examples are death, war, suffering, and murder.<P><B CLASS=nice>On the web:</B> <A HREF="/search/title?tv=on&&keywords=black-comedy">A list of black comedies at the IMDb.</A><BR><HR NOSHADE WIDTH="40%">
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| 62 |
Blackface |
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The make up technique of making an actor, usually white, to resemble an African American or at least a caricature thereof such as in the final scene of The Jazz Singer (1927). There were also equivalents for Asians (Yellowface) and Native Americans (Redface). It was a standard practice in the early 20th century for the casting of actors in non-white roles and abandoned when it was recognized to be an insult to minorities which also cheated them of casting opportunies.<HR NOSHADE WIDTH="40%">
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| 63 |
Blacklisting |
Blacklist |
|
A list of <A HREF="/glossary/F#filmmakers">filmmakers</A> or <A HREF="/glossary/A#actor">actor</A>s who have either been formally or informally discriminated against, due to their personal, political, social, or religious beliefs. In 1950s America, McCarthyism resulted in numerous <A HREF="/glossary/F#filmmakers">filmmakers</A> being blacklisted.<P><B CLASS=nice>On the web:</B> <A HREF="/search/name?bio=blacklist">Search for blacklisted people.</A>, <A HREF="/search/title?keywords=blacklisting&&tv=on">Titles involving Blacklisting</A><BR><HR NOSHADE WIDTH="40%">
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| 64 |
Blockbuster |
Hit |
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A movie which is a huge financial success. In common usage a "blockbuster" is a movie that has a <A HREF="/glossary/B#box_office">box-office</A> of more than $100 million upon release in North America.<P><B CLASS=nice>On the web:</B> <A HREF="/chart/">IMDb Box Office Charts</A><BR><HR NOSHADE WIDTH="40%">
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| 65 |
Blocking |
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A process during which the director and actors determine where on the set the actors will move and stand, so that lighting and camera placements may be set.<HR NOSHADE WIDTH="40%">
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| 66 |
Blooper |
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See also <A HREF="/glossary/O#outtake">out-take</a>. A <A HREF="/glossary/T#take">take</A> of a <A HREF="/glossary/S#scene">scene</A> not used in a movie, usually because of an on-camera mistake made by the cast or crew.<HR NOSHADE WIDTH="40%">
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| 67 |
Bluescreen |
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A process whereby <A HREF="/glossary/A#actor">actor</A>s work in front of an evenly lit, monochromatic (usually blue or green) background. The background is then replaced in post production by <A HREF="/glossary/C#chromakeying">chromakeying</A>, allowing other footage or computer-generated images to form the background imagery. See also <A HREF="/glossary/G#greenscreen">greenscreen</A>.<HR NOSHADE WIDTH="40%">
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| 68 |
Body Double |
Photo Double |
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For some <A HREF="/glossary/S#shot">shot</A>s, a <A HREF="/glossary/D#director">director</A> may consider that a particular <A HREF="/glossary/A#actor">actor</A>'s body may not be suitable for the impression desired. In these situations, the <A HREF="/glossary/A#actor">actor</A> is "doubled" (replaced) by a person whose body is more suitable. Typically, body doubles are used for <A HREF="/glossary/S#shot">shot</A>s requiring nudity or depictions of physical fitness. Contrast with <A HREF="/glossary/S#stunt_double">stunt double</A> and <A HREF="/glossary/S#stand_in">stand-in</A>.<HR NOSHADE WIDTH="40%">
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| 69 |
Body Makeup |
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<A HREF="/glossary/M#makeup">Makeup</A> applied below the neck or above the wrists.<HR NOSHADE WIDTH="40%">
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| 70 |
Bomb |
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A movie which is a financial disaster. Exception: in the United Kingdom, when used with "down" (e.g. "went down a bomb"), the term means a rousing success.<P><B CLASS=nice>On the web:</B> <A HREF="/chart/">IMDb Box Office Charts</A><BR><HR NOSHADE WIDTH="40%">
|
| 71 |
Boom Microphone |
Boom Mic, Boom, Fishpole, Giraffe |
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A long pole with a microphone on the end. The boom is extended out near the <A HREF="/glossary/A#actor">actor</A>s. Ideally, the microphone at the end should be placed in the <A HREF="/glossary/C#camera">camera</A>'s <A HREF="/glossary/S#safe_area">safe area</A>.<HR NOSHADE WIDTH="40%">
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| 72 |
Boom Operator |
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A member of the <A HREF="/glossary/S#sound_crew">sound crew</A> who operates the <A HREF="/glossary/B#boom_microphone">boom microphone</A>. See also sound recordist.<HR NOSHADE WIDTH="40%">
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| 73 |
Bootleg |
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An unofficial and illegally copied or distributed version of a movie, often of a substandard quality. Bootleg videos are often available for movies that have yet to be released in a particular country, or have been <A HREF="/glossary/B#banned">banned</A>.<HR NOSHADE WIDTH="40%">
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| 74 |
Bounce Board |
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A large white card made of foam or posterboard used to reflect soft light and for the soft key and fill.<HR NOSHADE WIDTH="40%">
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| 75 |
Box-Office |
Gross, B.O., BO |
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A measure of the total amount of money paid by <A HREF="/glossary/C#cinema">cinema</A>-goers to view a movie.<P><B CLASS=nice>On the web:</B> <A HREF="/chart/">IMDb Box Office Charts</A><BR><HR NOSHADE WIDTH="40%">
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| 76 |
Breakdown Script |
Breakdown |
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A detailed list of all items, people, props, equipment, etc required for a shoot on a day-by-day basis. Recording such lists aids in <A HREF="/glossary/C#continuity">continuity</A> and allows optimization of the time of <A HREF="/glossary/A#actor">actor</A>s and the <A HREF="/glossary/C#crew">crew</A>.<HR NOSHADE WIDTH="40%">
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| 77 |
British Academy of Film and Television Arts |
BAFTA |
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<HR NOSHADE WIDTH="40%">
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| 78 |
British Film Commission |
BFC |
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The British Film Commission (BFC) is a government-funded organisation established in 1991, as an initial point of contact to assist in the making of international and domestic film and television throughout every stage of production in England, Northern Ireland, Scotland and Wales. It is now known as the UK Film Council.<P><B CLASS=nice>On the web:</B> <A HREF="http://www.ukfilmcouncil.org.uk/">Official Home Page</A><BR><HR NOSHADE WIDTH="40%">
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| 79 |
British Film Institute |
BFI |
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The BFI exists to promote greater understanding and appreciation of, and access to, film and moving image culture in the UK.<P><B CLASS=nice>On the web:</B> <A HREF="http://www.bfi.org.uk/">Official Home Page</A><BR><HR NOSHADE WIDTH="40%">
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| 80 |
British Society of Cinematographers |
BSC |
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B CLASS=nice>On the web:</B> <A HREF="http://www.bscine.com/">Official Home Page</A><BR><BR><HR NOSHADE WIDTH="40%">
|
| 81 |
Buck |
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Slang for the US Dollar.<P> <A HREF="/Charts/">IMDb Box Office Charts</A><BR><HR NOSHADE WIDTH="40%">
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| 82 |
Bundesverband Kamera (German Society of Cinematographers) |
BVK |
|
CLASS=nice>On the web:</B> <A HREF="http://www.bvkamera.org/">BVKamera.org</A><BR><HR NOSHADE WIDTH="40%"> |
| 84 |
Call Sheet |
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A listing of which <A HREF="/glossary/A#actor">actor</A>s will be required for which <A HREF="/glossary/S#scene">scene</A>s, and when they will be required. Call sheets are created by <A HREF="/glossary/A#asst_dir">assistant director</A>s and others.<HR NOSHADE WIDTH="40%"> |
| 85 |
Cameo |
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A <A HREF="/glossary/B#bit_part">bit part</A> 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 <A HREF="/name/nm0027183/">Michael Anderson</A> when attempting to attract famous actors to play <A HREF="/glossary/B#bit_part">bit part</A>s in <A HREF="/Title?0048960">Around the World in 80 Days</A>.<HR NOSHADE WIDTH="40%"> |
| 86 |
Camera |
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A device for recording images.<HR NOSHADE WIDTH="40%"> |
| 87 |
Camera Crew |
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The group of <A HREF="/glossary/C#crew">crewmembers</A> directly involved with operation of the <A HREF="/glossary/C#camera">camera</A>. Individual job titles include: clapper-loader, <A HREF="/glossary/C#camera_operator">camera operator</A>, <A HREF="/glossary/A#asst_cameraman">assistant cameraman</A>, <A HREF="/glossary/D#dp">director of photography</A>, <A HREF="/glossary/F#focus_puller">focus puller</A>, <A HREF="/glossary/G#grip">grip</A>, <A HREF="/glossary/K#key_grip">key grip</A>, <A HREF="/glossary/D#dolly_grip">dolly grip</A>, <A HREF="/glossary/A#add_camera">additional camera</A>.<P><B CLASS=nice>Fictional Movie(s):</B> <A HREF="/Title?0109707">Ed Wood (1994)</A>, <A HREF="/Title?0113677">Living in Oblivion (1995)</A><BR><HR NOSHADE WIDTH="40%"> |
| 88 |
Camera Loader |
Clapper-Loader, Clapper Loader |
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The person who operates the <A HREF="/glossary/C#clapboard">clapboard</A> at the beginning of a <A HREF="/glossary/S#shot">shot</A>, also responsible for loading <A HREF="/glossary/F#film_stock">film stock</A> into <A HREF="/glossary/F#film_magazines">film magazines</A>. The action of slapping the clapper was invented as a way of synchronizing the visual and audio components of a <A HREF="/glossary/S#shot">shot</A>. Recent innovations in audio-visual synchronization have made this unnecessary, but it still occurs extensively. See also <A HREF="/glossary/A#asst_cameraman">assistant cameraman</A>.<HR NOSHADE WIDTH="40%"> |
| 89 |
Camera Operator |
Cameraman |
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The person who operates the <A HREF="/glossary/C#camera">camera</A> to the specifications dictated by the <A HREF="/glossary/D#dp">director of photography</A>. A <A HREF="/glossary/D#director">director</A> or a <A HREF="/glossary/D#dp">director of photography</A> sometimes assumes this role. (<A HREF="/Name?Besson,+Luc">Luc Besson</A> always operates the camera on films he directs.) See also <A HREF="/glossary/S#soc">Society of Operating Cameramen</A>, <A HREF="/glossary/S#steadicam_operator">Steadicam operator</A>.<P><B CLASS=nice>Fictional Movie(s):</B> <A HREF="/Title?0113677">Living in Oblivion (1995)</A><BR><HR NOSHADE WIDTH="40%"> |
| 90 |
Camp |
Campy |
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A form of comedic parody where the clichéd conventions of a dramatic form like adventure are deliberately exaggerated to the point of ridiculousness. Often unfairly used to describe superhero films and shows as <A HREF="/Title?0059968">Batman</A> is a prime example of this form of comedy.<P><B CLASS=nice>On the web:</B> <A HREF="/List?keywords=camp">List of "camp" titles at the IMDb.</A><BR><HR NOSHADE WIDTH="40%"> |
| 91 |
Canadian Society of Cinematographers |
CSC |
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Use of the abbreviation after a name indicates that the person is a member of the CSC.<P><B CLASS=nice>On the web:</B> <A HREF="http://www.csc.ca/">Official Home Page</A><BR><HR NOSHADE WIDTH="40%"> |
| 92 |
Cast |
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A collective term for the <A HREF="/glossary/A#actor">actor</A>s appearing in a particular movie.<HR NOSHADE WIDTH="40%"> |
| 93 |
Casting |
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The process of hiring <A HREF="/glossary/A#actor">actor</A>s to play the characters in a <A HREF="/glossary/S#script">script</A>, typically done by a <A HREF="/glossary/C#casting_dir">casting director</A>, but with some input from a <A HREF="/glossary/D#director">director</A>, <A HREF="/glossary/P#producer">producer</A>, or <A HREF="/glossary/S#studio">studio</A>. See also <A HREF="/glossary/C#csa">CSA</A>.<HR NOSHADE WIDTH="40%"> |
| 94 |
Casting Couch |
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|
During the so-called "Golden Age" of Hollwood, it was not uncommon for would-be-<A HREF="/glossary/S#star">star</A>s to grant sexual favours to <A HREF="/glossary/D#director">director</A>s and/or <A HREF="/glossary/P#producer">producer</A>s in return for a role in films. These favours were usually rumoured to be on a couch in the filmmaker's office. The phrase "<A HREF="/glossary/C#casting">Casting</A> Couch" has been popularized, and although the practise has diminished, the term remains in use.<HR NOSHADE WIDTH="40%"> |
| 95 |
Casting Director |
Extras Casting, Casting Assistant, Casting Associate |
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The person who auditions and helps to select all of the <A HREF="/glossary/S#speaking_role">speaking role</A> <A HREF="/glossary/A#actor">actor</A>s in film, television shows or plays. The CD must possess a vast knowledge of the actor pool and be able to match a variety of actors with just the right role. <A HREF="/glossary/D#director">Director</A>s and <A HREF="/glossary/P#producer">producer</A>s rely on the Casting Director to assist them with assembling the perfect <A HREF="/glossary/C#cast">cast</A> for their <A HREF="/glossary/P#production">production</A>. Casting Directors are also responsible for serving as the liason between the <A HREF="/glossary/D#director">director</A>, and the <A HREF="/glossary/A#actor">actor</A>s and their <A HREF="/glossary/A#agent">agent</A>s. CDs negotiate the deals with agents once the actors have been cast and are also responsible for the contracts and <A HREF="/glossary/S#sag">SAG</A> of each actor.<HR NOSHADE WIDTH="40%"> |
| 96 |
Casting Society of America |
CSA |
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The Casting Society of America is a professional organization of Casting Directors working in theatre, film, and television. The C.S.A. is not a union or a guild, therefore every Casting Director working in these mediums is not necessarily a member of this organization.<P><B CLASS=nice>On the web:</B> <A HREF="http://www.castingsociety.com/">Official Home Page</A><BR><HR NOSHADE WIDTH="40%"> |
| 97 |
Caterer |
Catering |
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A person or company who provides the main meals for <A HREF="/glossary/C#cast">cast</A> and <A HREF="/glossary/C#crew">crew</A> either on <A HREF="/glossary/S#set">set</A> or on location. See also <A HREF="/glossary/C#craft_service">craft service</A>.<HR NOSHADE WIDTH="40%"> |
| 98 |
Cel |
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A hand drawn sheet representing a single <A HREF="/glossary/A#animation">animation</A> <A HREF="/glossary/F#frame">frame</A>, usualy made of a clear material like cellulose or mylar to allow several layers of composition.<HR NOSHADE WIDTH="40%">
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| 99 |
Cel Animation |
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A form of animation where hand drawn pictures are transposed on to plastic sheets, each with a different element such as characters and background, and layered on top of each other to create a complete scene. The composition is then photographed and incorporated in the finished film. It was the predominate of form of animation until the rise of computer generated animation in the mid 1990's.<HR NOSHADE WIDTH="40%">
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| 100 |
Censorship |
Censoring, Censor |
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Changes required of a movie by some person or body other than the <A HREF="/glossary/S#studio">studio</A> or the <A HREF="/glossary/F#filmmakers">filmmakers</A>, usually a national or regional film classification board. See also certificate.<HR NOSHADE WIDTH="40%"> |
| 101 |
Centre International du Film pour l'Enfance et la Jeunesse |
C.I.F.E.J., CIFEJ, International Centre of Films for Children and Young People |
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A 40-year-old international non-governmental organization whose goal is to promote quality films, television programmes and videos for children and young people around the world.<P><B CLASS=nice>On the web:</B> http://www.cifej.com<BR><HR NOSHADE WIDTH="40%"> |
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