| id | term | aka | links | description |
|---|
| 328 |
Modeler |
|
|
A person who develops any three-dimensional object (either
inanimate or animate) via specialized software in 3D computer graphics.<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%"> |
| 120 |
Claymation |
|
|
<A HREF="/glossary/A#animation">Animation</A> of models constructed from clay or plasticine.<HR NOSHADE WIDTH="40%"> |
| 170 |
Digital Editing |
|
|
<A HREF="/glossary/E#editing">Editing</A> a portion of a movie by digitizing one or more <A HREF="/glossary/F#frame">frame</A>s and altering them electronically or combining them with other digitized images, and then printing the modified <A HREF="/glossary/F#frame">frame</A>.<HR NOSHADE WIDTH="40%">
|
| 69 |
Body Makeup |
|
|
<A HREF="/glossary/M#makeup">Makeup</A> applied below the neck or above the wrists.<HR NOSHADE WIDTH="40%">
|
| 381 |
P&A |
|
|
<A HREF="/glossary/P#print">Print</A>s and advertising, the major costs of film distribution.
<HR NOSHADE WIDTH="40%">
|
| 332 |
Motion Blur |
|
|
<A HREF="/glossary/S#shot">Shot</A>s of objects that quickly move in the <A HREF="/glossary/C#camera">camera</A>'s <A HREF="/glossary/F#frame">frame</A>, and/or <A HREF="/glossary/S#shot">shot</A>s with a slow <A HREF="/glossary/S#shutter_speed">shutter speed</A> are likely to produce a "smearing" effect, since the object is in a range of positions during a single exposure.<HR NOSHADE WIDTH="40%"> |
| 456 |
Screen Extras Guild |
SEG |
|
<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%">
|
| 85 |
Cameo |
|
|
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%"> |
| 530 |
Steadicam |
|
|
A <A HREF="/glossary/C#camera">camera</A> attached to a <A HREF="/glossary/C#camera_operator">camera operator</A> via a mechanical harness which reduces or eliminates the unsteadiness of the operator's motion.
<HR NOSHADE WIDTH="40%">
|
| 334 |
Motion Control |
|
|
A <A HREF="/glossary/C#camera">camera</A> setup which records the motion of a <A HREF="/glossary/C#camera">camera</A> during a <A HREF="/glossary/S#shot">shot</A> so that <A HREF="/glossary/V#visual_effects">visual effects</A> can be easily synchronized with the photographed scene.<HR NOSHADE WIDTH="40%"> |
| 301 |
Live Area |
|
|
A <A HREF="/glossary/C#camera">camera</A>'s viewfinder actually shows (and records on <A HREF="/glossary/F#film_stock">film stock</A>) a greater area of the <A HREF="/glossary/S#scene">scene</A> than will appear in the final product. Markings are etched in the viewfinder to indicate to the <A HREF="/glossary/C#camera_operator">camera operator</A> the extents of the "viewable" film (called the <A HREF="/glossary/L#live_area">live area</A>). An area beyond that (called the <A HREF="/glossary/S#safe_area">safe area</A>) is also marked; it is in this area that the <A HREF="/glossary/C#camera_operator">camera operator</A> might direct the <A HREF="/glossary/B#boom_operator">boom operator</A> to place the <A HREF="/glossary/B#boom_microphone">boom microphone</A>.
<HR NOSHADE WIDTH="40%">
|
| 449 |
Safe Area |
|
|
A <A HREF="/glossary/C#camera">camera</A>'s viewfinder actually shows (and records on <A HREF="/glossary/F#film_stock">film stock</A>) a greater area of the <A HREF="/glossary/S#scene">scene</A> than will appear in the final product. Markings are etched in the viewfinder to indicate to the <A HREF="/glossary/C#camera_operator">camera operator</A> the extents of the "viewable" film (called the <A HREF="/glossary/L#live_area">live area</A>). An area beyond that (called the <A HREF="/glossary/S#safe_area">safe area</A>) is also marked; it is in this area that the <A HREF="/glossary/P#prod_sound_mixer">production sound mixer</A> might direct the <A HREF="/glossary/B#boom_operator">boom operator</A> to place the <A HREF="/glossary/B#boom_microphone">boom microphone</A>.
<HR NOSHADE WIDTH="40%">
|
| 531 |
Steadicam Operator |
|
|
A <A HREF="/glossary/C#camera_operator">camera operator</A> who operates a <A HREF="/glossary/S#steadicam">Steadicam</A>. See also <A HREF="/glossary/S#soa">Steadicam Operators Association</A>.
<HR NOSHADE WIDTH="40%">
|
| 274 |
Insert |
|
|
A <A HREF="/glossary/C#closeup">close-up</A> <A HREF="/glossary/S#shot">shot</A> of an object, often produced by the <A HREF="/glossary/S#second_unit">second unit</A>. The term probably came about to reflect the fact that this shot will be "inserted" into the final version of the movie during <A HREF="/glossary/E#editing">editing</A>.<HR NOSHADE WIDTH="40%">
|
| 371 |
Optical Soundtrack |
|
|
A <A HREF="/glossary/C#composite_print">composite print</A> in which the <A HREF="/glossary/S#soundtrack">soundtrack</A> is recorded via the varying width of a transparent track which runs beside the sequence of <A HREF="/glossary/F#frame">frame</A>s on a <A HREF="/glossary/P#print">print</A>. See also <A HREF="/glossary/A#advance">advance</A>.<HR NOSHADE WIDTH="40%">
|
| 186 |
Dolly Grip |
|
|
A <A HREF="/glossary/G#grip">grip</A> that moves a <A HREF="/glossary/D#dolly">dolly</A>.<HR NOSHADE WIDTH="40%"> |
| 206 |
Executive Producer |
Executive in Charge of Production |
|
A <A HREF="/glossary/P#producer">producer</A> who is not involved in any technical aspects of the filmmaking process, but who is still responsible for the overall <A HREF="/glossary/P#production">production</A>. Typically an executive producer handles business and legal issues. See also <A HREF="/glossary/A#assoc_producer">associate producer</A>, <A HREF="/glossary/C#co-producer">co-producer</A>, <A HREF="/glossary/L#line_producer">line producer</A>.
<HR NOSHADE WIDTH="40%">
|
| 299 |
Line Producer |
|
|
A <A HREF="/glossary/P#producer">producer</A> who is responsible for managing every person and issue during the making of a film. Line producers only work on one film at a time. See also: <A HREF="/glossary/U#unit_prod_manager">unit production manager</A>, <A HREF="/glossary/A#assoc_producer">associate producer</A>, <A HREF="/glossary/C#co-producer">co-producer</A>, <A HREF="/glossary/E#executive_producer">executive producer</A>.
<HR NOSHADE WIDTH="40%">
|
| 129 |
Co-Producer |
|
|
A <A HREF="/glossary/P#producer">producer</A> who performs a substantial portion of a creative producing function, or who is primarily responsible for one or more managerial producing functions. A co-producer has less responsibility than a <A HREF="/glossary/P#producer">producer</A> for the completion of a project. Note that if a project has more than one <A HREF="/glossary/P#producer">producer</A>, it doesn't mean that these individuals are "co-producers" in the technical sense of that term. See also <A HREF="/glossary/E#executive_producer">executive producer</A>, <A HREF="/glossary/A#assoc_producer">associate producer</A>, <A HREF="/glossary/L#line_producer">line producer</A>.<HR NOSHADE WIDTH="40%"> |
| 231 |
Flashforward |
|
|
A <A HREF="/glossary/S#scene">scene</A> that breaks the chronological <A HREF="/glossary/C#continuity">continuity</A> of the main narrative by depicting events which happen in the future. Contrast with <A HREF="/glossary/F#flashback">flashback</A>.<HR NOSHADE WIDTH="40%"> |
| 230 |
Flashback |
|
|
A <A HREF="/glossary/S#scene">scene</A> that breaks the chronological <A HREF="/glossary/C#continuity">continuity</A> of the main narrative by depicting events which happened in the past. Contrast with <A HREF="/glossary/F#flashforward">flashforward</A>.<HR NOSHADE WIDTH="40%"> |
| 459 |
Screenplay |
|
|
A <A HREF="/glossary/S#script">script</A> written to be produced as a movie.
<HR NOSHADE WIDTH="40%">
|
| 561 |
Teleplay |
|
|
A <A HREF="/glossary/S#script">script</A> written to be produced for television.<HR NOSHADE WIDTH="40%"> |
| 268 |
Hot Set |
|
|
A <A HREF="/glossary/S#set">set</A> where
set dressers and prop persons have finalized placing funiture and props for
filming a scene and on which a <A HREF="/glossary/S#scene">scene</A> is in the process of being <A HREF="/glossary/S#shot">shot</A>; labeled thus to indicate that it should not be changed or disturbed.
<HR NOSHADE WIDTH="40%">
|
| 146 |
Cowboy Shot |
|
|
A <A HREF="/glossary/S#shot">shot</A> framed from mid-thigh up. Got its name during the filming of many <A HREF="/glossary/W#western">western</A>s, when this was a common framing used.<HR NOSHADE WIDTH="40%">
|
| 158 |
Deepfocus Shot |
|
|
A <A HREF="/glossary/S#shot">shot</A> in which both the foreground and the background are in <A HREF="/glossary/F#focus">focus</A>. In other words, a <A HREF="/glossary/S#shot">shot</A> with exceptional <A HREF="/glossary/D#depth_of_field">depth of field</A>.<HR NOSHADE WIDTH="40%"> |
| 211 |
Extreme Close-up |
ECU |
|
A <A HREF="/glossary/S#shot">shot</A> in which the subject is much larger than the <A HREF="/glossary/F#frame">frame</A>. Provides more detail than a <A HREF="/glossary/C#closeup">close-up</A>. The abbreviation is often used in a <A HREF="/glossary/S#slug_line">slug line</A>.
<HR NOSHADE WIDTH="40%">
|
| 148 |
Crane Shot |
|
|
A <A HREF="/glossary/S#shot">shot</A> taken by a <A HREF="/glossary/C#camera">camera</A> on a crane; often used to show the <A HREF="/glossary/A#actor">actor</A>s/action from above. Cranes usually carry both the <A HREF="/glossary/C#camera">camera</A> and a <A HREF="/glossary/C#camera_operator">camera operator</A>, but some can be operated by remote control.<HR NOSHADE WIDTH="40%">
|
| 510 |
Sound Effects Editor |
|
|
A <A HREF="/glossary/S#sound_editor">sound editor</A> who specializes in <A HREF="/glossary/E#editing">editing</A> <A HREF="/glossary/S#sound_effects">sound effects</A>.
<HR NOSHADE WIDTH="40%">
|
| 164 |
Dialogue Editor |
|
|
A <A HREF="/glossary/S#sound_editor">sound editor</A> who specializes in editing dialogue.<HR NOSHADE WIDTH="40%">
|
| 304 |
Location mixer |
|
|
A <A HREF="/glossary/S#sound_mixer">sound mixer</A> responsible for mixing sounds recorded on location.
<HR NOSHADE WIDTH="40%">
|
| 239 |
Foley Mixer |
|
|
A <A HREF="/glossary/S#sound_mixer">sound mixer</A> who works with a <A HREF="/glossary/F#foley_artist">foley artist</A> to record <A HREF="/glossary/S#sound_effects">sound effects</A>.<HR NOSHADE WIDTH="40%">
|
| 422 |
Projectionist |
|
|
A <A HREF="/glossary/S#studio">studio</A> or <A HREF="/glossary/C#cinema">cinema</A> employee that operates a <A HREF="/glossary/P#projector">projector</A>.
<HR NOSHADE WIDTH="40%">
|
| 543 |
Stunt Double |
|
|
A <A HREF="/glossary/S#stunt_performer">stunt performer</A> who specifically takes the part of another <A HREF="/glossary/A#actor">actor</A> for a <A HREF="/glossary/S#stunt">stunt</A>. Stunt doubles rarely (if ever) speak, are typically chosen to resemble the <A HREF="/glossary/A#actor">actor</A> that they are replacing as much as possible. Contrast with <A HREF="/glossary/B#body_double">body double</A> and <A HREF="/glossary/S#stand_in">stand-in</A>.<P><B CLASS=nice>Fictional Movie(s):</B> <A HREF="/title/tt0094012/">Spaceballs (1987)</A><BR>
<HR NOSHADE WIDTH="40%">
|
| 121 |
Clean Speech |
|
|
A <A HREF="/glossary/T#take">take</A> in which all dialogue was performed without error.<HR NOSHADE WIDTH="40%"> |
| 253 |
Goof |
|
|
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.
Also see <A HREF="/glossary/O#outtake">out-take</A>
<HR NOSHADE WIDTH="40%">
|
| 130 |
Color Consultant |
|
|
A <A HREF="/glossary/T#technical_advisor">technical advisor</A> with expertise in <A HREF="/glossary/F#film_stock">film stock</A> and <A HREF="/glossary/F#film_developing">film developing</A>, who provides advice for <A HREF="/glossary/C#cinematographer">cinematographer</A>s and color timers.<HR NOSHADE WIDTH="40%"> |
| 517 |
Spaghetti Western |
|
|
A <A HREF="/glossary/W#western">western</A> filmed in Italy, many times with American leading actors. This term appeared following the appearance of <A HREF="/name/nm0000142/">Clint Eastwood</A> in a number of <A HREF="/name/nm0001466/">Sergio Leone</A> movies.<P><B CLASS=nice>On the web:</B> <A HREF="/List?keywords=spaghetti-western&&tv=on">List of Spaghetti Westerns at the IMDb.</A><BR>
<HR NOSHADE WIDTH="40%">
|
| 460 |
Screenwriter |
|
|
A <A HREF="/glossary/W#writer">writer</A> who either adapts an existing work for <A HREF="/glossary/P#production">production</A> as a movie, or creates a new <A HREF="/glossary/S#screenplay">screenplay</A>.
<HR NOSHADE WIDTH="40%">
|
| 566 |
Telewriter |
|
|
A <A HREF="/glossary/W#writer">writer</A> who either adapts an existing work for <A HREF="/glossary/P#production">production</A> on television, or creates a new <A HREF="/glossary/T#teleplay">teleplay</A>.<HR NOSHADE WIDTH="40%">
|
| 407 |
Product Placement |
|
|
A business arrangement whereby the <A HREF="/glossary/F#filmmakers">filmmakers</A> agree to show the products or logo of a particular company, usually in return for payment or other consideration.<P><B CLASS=nice>Fictional Movie(s):</B> <A HREF="/title/tt0105793/">Wayne's World (1992)</A><BR>
<HR NOSHADE WIDTH="40%">
|
| 307 |
Long shot |
|
|
A camera shot from a great distance, usually showing the characters as very small in comparison to their surroundings.
<HR NOSHADE WIDTH="40%">
|
| 323 |
Medium shot |
|
|
A camera shot from a medium distance, usually showing the characters from the waist up, that allows the audience to see body language, but not as much facial expression. <HR NOSHADE WIDTH="40%">
|
| 379 |
Over the Shoulder shot |
|
|
A camera shot over the first character's shoulder capturing the second character opposite them; commonly used to show a conversation from the first character's perspective. <HR NOSHADE WIDTH="40%">
|
| 592 |
Vertigo effect |
|
|
A camera technique created by <a href="/name/nm0000033/">Alfred Hitchcock</a> during his film <a href="/title/tt0052357/"><i>Vertigo</i></a> that involves tracking backwards while simultaneously zooming in, making the person or object in the center of the image seem stationary while their surroundings change.<HR NOSHADE WIDTH="40%">
|
| 387 |
PG-13 |
|
|
A certificate introduced by the <A HREF="/glossary/M#mpaa">MPAA</A> on July 1, 1984 to indicate that a movie's content is rated as slightly stronger than a <A HREF="/glossary/P#pg">PG</A> certificate. See also <A HREF="/glossary/R#r">R</A>.<P><B CLASS=nice>On the web:</B> <A HREF="http://filmratings.com/filmRatings_Cara/#/ratings/">MPAA Ratings Explanation</A><BR>
<HR NOSHADE WIDTH="40%">
|
| 248 |
G |
|
|
A certificate issued by the <A HREF="/glossary/M#mpaa">MPAA</A> indicating that a film is suitable for all ages. See also <A HREF="/glossary/P#pg">PG</A>.
<P><B CLASS=nice>On the web:</B> <A HREF="http://filmratings.com/filmRatings_Cara/#/ratings/">MPAA Ratings Explanation</A><BR>
<HR NOSHADE WIDTH="40%">
|
| 154 |
Cut |
|
|
A change in either camera angle or placement, location, or time. "Cut" is called during filming to indicate that the current <A HREF="/glossary/T#take">take</A> is over. See also <A HREF="/glossary/S#shot">shot</A>, <A HREF="/glossary/A#action">action</A>. A "cut" of a movie is also a complete edited version.<P><B CLASS=nice>On the web:</B> <A HREF="/Sections/AlternateVersions/">IMDb Alternatve Versions Section</A><BR><B CLASS=nice>Fictional Movie(s):</B> <A HREF="/Title?0109707">Ed Wood (1994)</A><BR><HR NOSHADE WIDTH="40%"> |
| 546 |
Supervising Sound Editor |
|
|
A chief <A HREF="/glossary/S#sound_editor">sound editor</A>.
<HR NOSHADE WIDTH="40%">
|
| 125 |
Cold open |
|
|
A cold open, or teaser, is a short segment of a TV show's action, shown before the program's opening credits are shown. It serves to heighten a viewer's interest and to build dramatic tension before the show begins.<HR NOSHADE WIDTH="40%">
|
| 92 |
Cast |
|
|
A collective term for the <A HREF="/glossary/A#actor">actor</A>s appearing in a particular movie.<HR NOSHADE WIDTH="40%"> |
| 228 |
Filmmakers |
|
|
A collective term used to refer to people who have a significant degree of control over the creation of a movie: <A HREF="/glossary/D#director">director</A>s, <A HREF="/glossary/P#producer">producer</A>s, <A HREF="/glossary/S#screenwriter">screenwriter</A>s, and <A HREF="/glossary/E#editor">editor</A>s.<HR NOSHADE WIDTH="40%"> |
| 551 |
Sword and Sorcery |
|
|
A colloquialism for a genre of film, usually set in days of old with magic as well as sword fighting<P><B CLASS=nice>On the web:</B> <A HREF="/List?keywords=sword-and-sorcery&&tv=on">List of sword and sorcery titles at the IMDb.</A><BR>
<HR NOSHADE WIDTH="40%">
|
| 550 |
Sword and Sandal Epic |
|
|
A colloquialism for an <A HREF="/glossary/E#epic">epic</A> film set
in the times of Roman Empire or any other period, real or imagined, in which
characters use sword and sandals. Often has biblical or fantasy elements<P><B CLASS=nice>On the web:</B> <A HREF="/List?keywords=sword-and-sandal&&tv=on">List of sword and sandal titles at the IMDb.</A><BR>
<HR NOSHADE WIDTH="40%">
|
| 61 |
Black Comedy |
|
|
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%">
|
| 540 |
Studio |
|
|
A company that makes movies. Larger studios (such as the <A HREF="/glossary/M#majors">majors</A>) have extensive in-house <A HREF="/glossary/S#soundstage">soundstage</A>s (also called "studio"s) where filming can be done.
<HR NOSHADE WIDTH="40%">
|
| 450 |
Scene |
|
|
A continuous block of storytelling either set in a single location or following a particular character. The end of a scene is typically marked by a change in location, style, or time.
<HR NOSHADE WIDTH="40%">
|
| 484 |
Shot |
|
|
A continuous block of unedited footage from a single point of view. See also <A HREF="/glossary/S#scene">scene</A>, <A HREF="/glossary/T#take">take</A>, <A HREF="/glossary/F#frame_rate">frame rate</A>.
<HR NOSHADE WIDTH="40%">
|
| 300 |
Lined Script |
|
|
A copy of the <A HREF="/glossary/S#shooting_script">shooting script</A> which is prepared by the <A HREF="/glossary/S#script_supervisor">script supervisor</A> during <A HREF="/glossary/P#production">production</A> to indicate, via notations and vertical lines drawn directly onto the <A HREF="/glossary/S#script">script</A> pages, exactly what coverage has been <A HREF="/glossary/S#shot">shot</A>. A given vertical line indicates, via the line's start and end point, what <A HREF="/glossary/S#script">script</A> material is covered in a particular <A HREF="/glossary/S#shot">shot</A>, and whether given dialog or action is on-screen or off-screen in the <A HREF="/glossary/S#shot">shot</A>, indicated by the line changing between straight and wavy respectively. Different colored lines usually represent certain types of shots: <A HREF="/glossary/C#closeup">close-up</A>, <A HREF="/glossary/I#insert">insert</A>, <A HREF="/glossary/S#steadicam">steadicam</A>, etc. Each vertical line is also notated with the slate of the <A HREF="/glossary/S#shot">shot</A> (e.g. "3C"), the <A HREF="/glossary/P#print">print</A>ed takes (e.g. "1, 3, and 4"), and a brief <A HREF="/glossary/S#shot">shot</A> description (e.g. "M2S Rolf & Liza"). The lined script also frequently incorporates the <A HREF="/glossary/S#script_supervisor">script supervisor</A>'s script notes on the facing pages for a given <A HREF="/glossary/S#scene">scene</A>. The lined script is used by the film editor as a reference to what coverage was <A HREF="/glossary/S#shot">shot</A> and to changes made to the <A HREF="/glossary/S#script">script</A> during <A HREF="/glossary/P#production">production</A>. Lined scripts give <A HREF="/glossary/E#editor">editor</A>s a quick view of all available coverage at a glance, so that he or she can make quick <A HREF="/glossary/E#editing">editing</A> decisions without having to sort through all the footage repeatedly.
<HR NOSHADE WIDTH="40%">
|
| 567 |
Terra-Flite |
|
|
A cross between a steadicam and a louma crane, used to steady images of running horses or cars driving over gravel.<HR NOSHADE WIDTH="40%">
|
| 418 |
Production Report |
|
|
A daily report of actual progress versus the <A HREF="/glossary/P#prod_schedule">production schedule</A>. Includes <A HREF="/glossary/D#dope_sheet">dope sheet</A>s, <A HREF="/glossary/C#continuity_report">continuity report</A>s, and <A HREF="/glossary/C#call_sheet">call sheet</A>s, as well as extensive notes regarding on-<A HREF="/glossary/S#set">set</A> happenings, activities of the <A HREF="/glossary/C#cast">cast</A> and <A HREF="/glossary/C#crew">crew</A>, and explanations of unexpected events. See also <A HREF="/glossary/L#lined_script">lined script</A>.
<HR NOSHADE WIDTH="40%">
|
| 402 |
Previsualization Artist |
|
|
A designer who uses low resolution proxy models, quick OpenGL hardware renderings, and other 3D FX systems to completely conceptualize a sequence that requires either visual FX or character animation with the goal of to producing usable data that will help streamline the production
process.<br>
<HR NOSHADE WIDTH="40%">
|
| 419 |
Production Schedule |
|
|
A detailed plan of the timing of activities associated with the making of a movie, of particular interest to <A HREF="/glossary/P#prod_manager">production manager</A>s. See also <A HREF="/glossary/P#prod_report">production report</A>.
<HR NOSHADE WIDTH="40%">
|
| 423 |
Projector |
|
|
A device for displaying a <A HREF="/glossary/R#reel">reel</A> of a movie on a screen, either for a <A HREF="/glossary/S#screening">screening</A> or a <A HREF="/glossary/B#back_proj">back projection</A>.
<HR NOSHADE WIDTH="40%">
|
| 86 |
Camera |
|
|
A device for recording images.<HR NOSHADE WIDTH="40%"> |
| 306 |
Lock it down |
Lock it up, a lock up |
|
A direction given by the <A HREF="/glossary/A#asst_dir">assistant director</A> for everyone on the set to be quiet, move out of frame, and to secure the set against anything or one interrupting the shot as it is happening. It is called just prior to <A HREF="/glossary/S#speed">speed</A>. The phrase can also be used to securing a location for filming.
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| 529 |
Star |
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A famous <A HREF="/glossary/A#actor">actor</A>.
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| 493 |
Singer |
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A featured vocalist; often the person who sings a film's theme song.
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| 203 |
Epic |
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A film with large dramatic scope or that required an immense <A HREF="/glossary/P#production">production</A>.
<P><B CLASS=nice>On the web:</B> <A HREF="/List?keywords=epic">List of epic movies at the IMDb.</A><BR>
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| 42 |
Auteur |
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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%"> |
| 183 |
Dogme 95 |
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A filmmaking movement launched in 1995 by Danish directors <A HREF="/Name?von+Trier,+Lars">Lars von Trier</A> and <A HREF="/Name?Vinterberg,+Thomas">Thomas Vinterberg</A>, among others. The Dogme 95 Manifesto renounces <A HREF="/glossary/S#sfx">special effects</A> and other forms of "gimmickry" in favor of stripped-down techniques. In order to qualify for Dogme status, filmmakers must abide by the following ten rules (known as the "Vow of Chastity"):<br><br>
1. Shooting must be done on location. <A HREF="/glossary/P#prop">Prop</A>s and <A HREF="/glossary/S#set">set</A>s must not be brought in (if a particular <A HREF="/glossary/P#prop">prop</A> is necessary for the story, a location must be chosen where this <A HREF="/glossary/P#prop">prop</A> is to be found).<br>
2. The sound must never be produced apart from the images or vice versa. (Music must not be used unless it occurs where the <A HREF="/glossary/S#scene">scene</A> is being shot).<br>
3. The <A HREF="/glossary/C#camera">camera</A> must be hand-held. Any movement or immobility attainable in the hand is permitted. (The film must not take place where the <A HREF="/glossary/C#camera">camera</A> is standing; shooting must take place where the film takes place).<br>
4. The film must be in color. Special <A HREF="/glossary/L#lighting">lighting</A> is not acceptable. (If there is too little light for exposure the <A HREF="/glossary/S#scene">scene</A> must be <A HREF="/glossary/C#cut">cut</A> or a single lamp be attached to the <A HREF="/glossary/C#camera">camera</A>).<br>
5. Optical work and filters are forbidden.<br>
6. The film must not contain superficial action. (Murders, weapons, etc. must not occur.)
7. Temporal and geographical alienation are forbidden. (That is to say that the film takes place here and now.)<br>
8. Genre movies are not acceptable.<br>
9. The film format must be Academy 35mm.<br>
10. The <A HREF="/glossary/D#director">director</A> must not be credited.<P><B CLASS=nice>On the web:</B> <A HREF="http://www.dogme95.dk">Dogme</a><BR><HR NOSHADE WIDTH="40%"> |
| 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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| 457 |
Screen Test |
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A form of audition in which an <A HREF="/glossary/A#actor">actor</A> performs a particular role on <A HREF="/glossary/C#camera">camera</A>, not necessarily with the correct <A HREF="/glossary/M#makeup">makeup</A> or on the <A HREF="/glossary/S#set">set</A>.
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| 282 |
Key |
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A general adjective denoting importance.<HR NOSHADE WIDTH="40%"> |
| 413 |
Production Company |
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A general term for a company that is associated with the making of a movie.<P><B CLASS=nice>On the web:</B> <A HREF="/Sections/Production-companies/types_all">IMDb Production Companies Section</A><BR>
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| 461 |
Script |
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A general term for a written work detailing story, setting, and dialogue. A script may take the form of a <A HREF="/glossary/S#screenplay">screenplay</A>, <A HREF="/glossary/S#shooting_script">shooting script</A>, <A HREF="/glossary/L#lined_script">lined script</A>, continuity script, or a <A HREF="/glossary/S#spec_script">spec script</A>. A script is often sold for a particular price, which is increased to a second price if the script is produced as a movie. For example, a sale may be described as "$100,000 against $250,000". In this case, the <A HREF="/glossary/W#writer">writer</A> is paid $100,000 up front, and another $150,000 when the movie is produced. See also <A HREF="/glossary/A#advance">advance</A>.<P><B CLASS=nice>Fictional Movie(s):</B> <A HREF="/title/tt0105151/">The Player (1992)</A>, <A HREF="/title/tt0109707/">Ed Wood (1994)</A><BR>
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| 616 |
Writer |
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A general term for someone who creates a written work, be it a novel, <A HREF="/glossary/S#script">script</A>, <A HREF="/glossary/S#screenplay">screenplay</A>, or <A HREF="/glossary/T#teleplay">teleplay</A>. See also <A HREF="/glossary/W#writers_guild_of_america">Writers Guild of America</A>.<HR NOSHADE WIDTH="40%"> |
| 555 |
Talent |
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A general, informal term for <A HREF="/glossary/A#actor">actor</A>s (and possibly <A HREF="/glossary/E#extra">extra</A>s).<HR NOSHADE WIDTH="40%">
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| 234 |
Focus Group |
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A group of approximately ten to twelve members of the public unrelated to a movie's <A HREF="/glossary/P#production">production</A> who attend a <A HREF="/glossary/S#sneak_preview">sneak preview</A>. A single focus group is usually composed of a selection of people within the boundaries of a movie's intended audience. The group is extensively questioned by the <A HREF="/glossary/F#filmmakers">filmmakers</A> following the <A HREF="/glossary/S#screening">screening</A>, and their opinions are incorporated into any further <A HREF="/glossary/E#editing">editing</A> that may occur before the <A HREF="/glossary/P#premiere">premiere</A>.<HR NOSHADE WIDTH="40%"> |
| 295 |
Lighting Crew |
Lighting technician, Lighting technicians |
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A group of technicians who install, operate, and maintain <A HREF="/glossary/L#lighting">lighting</A>.
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| 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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| 514 |
Soundstage |
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A large area (usually in a <A HREF="/glossary/S#studio">studio</A>) where elaborate <A HREF="/glossary/S#set">set</A>s may be constructed. Soundstages allow <A HREF="/glossary/F#filmmakers">filmmakers</A> greater control over factors such as sound, lighting, temperature, spectators, and security.
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| 492 |
Silk |
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A large section of translucent white cloth used to filter and soften a hard-light source.
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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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| 486 |
Shot list |
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A list given to the film production crew which indicates the sequence of scenes being shot for the day. This list may include the scene number, the location of where the scene is being shot, a description of the scene, the length of a scene (listed by number of pages from the script), a list of actors who will be involved in the scene, and, special notes to all departments of what will be needed or required for a particular scene being shot.
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| 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%"> |
| 49 |
B-Movie |
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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%">
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| 251 |
Generator |
Genny, Genny Operator |
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A mechanical engine which produces electricity from fuel (usually diesel). Frequently used for location shooting, either due to the unavailability or insufficient quantities of electricity locally available.
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| 252 |
Giraffe |
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A mechanically extendable and manipulated <A HREF="/glossary/B#boom_microphone">boom microphone</A>.
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| 256 |
Greensman |
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A member of the <A HREF="/glossary/C#crew">crew</A> who procures, places, and maintains any vegetation on a <A HREF="/glossary/S#set">set</A>.
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| 298 |
Lighting Technician |
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A member of the <A HREF="/glossary/E#electrical_dept">electrical department</A> that is responsible for operating lights and lighting equipment on a <A HREF="/glossary/S#set">set</A>.
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| 297 |
Lighting Board Operator |
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A member of the <A HREF="/glossary/E#electrical_dept">electrical department</A> who runs a console that
controls the level or intensity of the lights, creating a look for the show. This can be
simple or complex, involving intensity matching for shot continuity, on-screen effects,
moving light control and synchronized work with other departments, like special effects
and visual effects.
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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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| 508 |
Sound Editor |
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A member of the <A HREF="/glossary/S#sound_crew">sound crew</A> who performs <A HREF="/glossary/E#editing">editing</A> on the <A HREF="/glossary/S#soundtrack">soundtrack</A>. See also <A HREF="/glossary/D#dialog_editor">dialog editor</A>.
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| 452 |
Scenic Artist |
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A member of the crew responsible for work which includes the preparation, painting and/or coloration of all textures, plastering, appliqueing on scenery, sets, and properties; the application of all decorative wall or surface coverings; all lettering and sign work (including signs and murals; miniature sets and/or models and properties and the painting and aging in the (construction) studio or on the set of costumes and costume accessories as specified by the costume designer.
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| 448 |
Sabre Artist |
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A member of the production team utilizing a combination of software programs to create special effects.
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| 602 |
Walk-On |
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A minor role, usually without speaking lines.<HR NOSHADE WIDTH="40%"> |
| 122 |
Cliffhanger |
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A moment of high drama, frequently used at the end of <A HREF="/glossary/S#serial">serial</A>s. Named for the (now clichéd) practice of leaving a hero or heroine hanging onto the edge of a cliff.<P><B CLASS=nice>On the web:</B> <A HREF="/List?keywords=cliffhanger&&tv=on">List of cliffhanger titles at the IMDb.</A><BR><HR NOSHADE WIDTH="40%"> |
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