| id | term | aka | links | description |
|---|
| 102 |
Certificates |
Certificate, Ratings |
|
Various countries or regions have film classification boards for reviewing movies and rating their content in terms of its suitability for particular audiences. For many countries, movies are required to be advertised as having a particular "certificate" or "rating", forewarning audiences of possible "objectionable content". The nature of this "objectionable content" is determined mainly by contemporary national, social, religious, and political standards. The usual criteria which determine a film's certificate are violence and sexuality, with "mature" (adult) situations and especially blasphemy and political issues often being considered more important outside the Western world. This is by no means a hard and fast rule; see the <A HREF="/glossary/H#hays_code">Hays Production Code</A> for an example. In some cases, a film classification board exhibits <A HREF="/glossary/C#censorship">censorship</A> by demanding changes be made to a movie in order to receive a certain rating. As many movies are targetted at a particular age group, <A HREF="/glossary/S#studio">studio</A>s must balance the content of their films against the demands of the classification board. Negotiations are common; <A HREF="/glossary/S#studio">studio</A>s agree to make certain changes to films in order to receive the required rating. The IMDb uses the term "Certificate" as opposed to "Rating" to avoid confusion with "ratings" meaning the opinions of <A HREF="/glossary/C#critic">critic</A>s. See also: <A HREF="/glossary/B#banned">Banned</A>, NC-17, <A HREF="/glossary/P#pg">PG</A>, <A HREF="/glossary/G#g">G</A>, <A HREF="/glossary/X#xxx">XXX</A>.<P><B CLASS=nice>On the web:</B> <A HREF="http://www.mpaa.org/movieratings/about/content4.htm">MPAA Ratings Explanation</A>, <A HREF="/Sections/Certificates/types_all">IMDb Certificate Section</A><BR><HR NOSHADE WIDTH="40%"> |
| 103 |
CGI |
Computer Generated Imagery |
|
The use of computer graphics to create or enhance <A HREF="/glossary/S#sfx">special effects</A>.<HR NOSHADE WIDTH="40%"> |
| 104 |
Change Pages |
|
|
When a <A HREF="/glossary/S#script">script</A> is being edited during <A HREF="/glossary/P#production">production</A>, changes are distributed to <A HREF="/glossary/A#actor">actor</A>s and the filmmakers on "change pages", which are usually a different color to the pages of the <A HREF="/glossary/S#script">script</A>.<HR NOSHADE WIDTH="40%"> |
| 105 |
Change-Over Marks |
Change-Over, Reel Change, Reel Change Marks, Cigarette Burns |
|
Most completed movies consist of more than one <A HREF="/glossary/R#reel">reel</A>, and thus for an uninterrupted <A HREF="/glossary/S#screening">screening</A>, at least two <A HREF="/glossary/P#projector">projector</A>s must be used. Towards the end of a <A HREF="/glossary/R#reel">reel</A>, one or more <A HREF="/glossary/F#frame">frame</A>s may include a small circle in one of the corners. These are signals to the <A HREF="/glossary/P#projectionist">projectionist</A> that the current <A HREF="/glossary/R#reel">reel</A> is approaching the end, and he or she should be ready to start the next <A HREF="/glossary/P#projector">projector</A>, which should have the next <A HREF="/glossary/R#reel">reel</A> prepared for projection. Also, many theaters have switched to a platter system
which allows the entire film to be spliced together and put on a large platter.
The film is fed through the center of the reel (unwinding from the inside out),
then into the projector, and then back onto another platter. This process
allows the film to be show back-to-back without having to rewind it. <P><B CLASS=nice>Fictional Movie(s):</B> <A HREF="/Title?0137523">Fight Club (1999)</A><BR><HR NOSHADE WIDTH="40%"> |
| 106 |
Character Actor |
|
|
An <A HREF="/glossary/A#actor">actor</A> who specializes in playing a particular style of character, often stereotypical, offbeat, or humorous.<P><B CLASS=nice>On the web:</B> <A HREF="/SearchBios?character actor">Search IMDb for Character Actors.</A><BR><HR NOSHADE WIDTH="40%"> |
| 107 |
Children's Film Foundation |
|
|
Training scheme in the UK to give schoolchildren experience of all aspects of film making. Now replaced by the Children's Film and Television Foundation<HR NOSHADE WIDTH="40%"> |
| 108 |
Choreographer |
|
|
A person who plans and directs dance sequences within a movie.<HR NOSHADE WIDTH="40%"> |
| 109 |
Chromakeying |
|
|
An electronic/computerized technique that allows for specific color elements (chroma) to be replaced with different picture elements. See also <A HREF="/glossary/B#bluescreen">bluescreen</A> and <A HREF="/glossary/G#greenscreen">greenscreen</A>.<HR NOSHADE WIDTH="40%"> |
| 110 |
Chute Cowboys |
|
|
Slang term for experienced parachutists that either perform or assist with <A HREF="/glossary/S#stunt">stunt</A>s involving parachutes.
<HR NOSHADE WIDTH="40%"> |
| 111 |
Chyron |
|
|
Text graphics which appear at the bottom of a screen used to describe time, place, or name of person on screen; can also describe the technology used to add the text to the bottom of the screen.
<HR NOSHADE WIDTH="40%"> |
| 112 |
Cinch Marks |
Scratches |
|
Scratches on a <A HREF="/glossary/P#print">print</A> running parallel to the edge of the strip of film. Typically caused by improper <A HREF="/glossary/R#reel">reel</A> winding which allows one coil of the <A HREF="/glossary/P#print">print</A> to slide against another.<BR><HR NOSHADE WIDTH="40%">
|
| 113 |
Cinema |
|
|
A place where <A HREF="/glossary/S#screening">screening</A>s occur. Cinemas can be <A HREF="/glossary/H#hardtop">hardtop</A>s or <A HREF="/glossary/O#ozoner">ozoner</A>s.<HR NOSHADE WIDTH="40%"> |
| 114 |
Cinema Audio Society |
CAS |
|
A philanthropic, non-profit organization formed in 1964 for the purpose of sharing information with sound professionals in the motion picture and television industry. Use of the abbreviation after a name indicates that the person is a member of the CAS.<P><B CLASS=nice>On the web:</B> <A HREF="http://www.cinemaaudiosociety.org">Official Home Page</A><BR><HR NOSHADE WIDTH="40%"> |
| 115 |
Cinema Verité |
|
|
Literally: Cinema Truth. A <A HREF="/glossary/D#documentary">documentary</A> style in which no directorial control is exerted. The term is frequently misused to describe new-wave "handheld" <A HREF="/glossary/C#camera">camera</A> techniques.<HR NOSHADE WIDTH="40%"> |
| 116 |
Cinematographer |
Cinematography, Cin |
|
A person with expertise in the art of capturing images either electronically or on <A HREF="/glossary/F#film_stock">film stock</A> through the application of visual recording devices and the selection and arrangement of <A HREF="/glossary/L#lighting">lighting</A>. The chief cinematographer for a movie is called the <A HREF="/glossary/D#dp">director of photography</A>.<P><B CLASS=nice>Factual Movie(s):</B> <A HREF="/Title?0105764">Visions of Light (1992)</A><BR><B CLASS=nice>Fictional Movie(s):</B> <A HREF="/Title?0113677">Living in Oblivion (1995)</A><BR><HR NOSHADE WIDTH="40%"> |
| 117 |
Clapboard |
Clapper, Slate |
|
A small board which holds information identifying a <A HREF="/glossary/S#shot">shot</A>. It typically contains the <A HREF="/glossary/W#working_title">working title</A> of the movie, the names of the <A HREF="/glossary/D#director">director</A> and <A HREF="/glossary/D#dp">director of photography</A>, the <A HREF="/glossary/S#scene">scene</A> and <A HREF="/glossary/T#take">take</A> numbers, the date, and the time. It is filmed at the beginning of a <A HREF="/glossary/T#take">take</A>. On the top of the clapboard is a hinged stick which is often "clapped" to provide audio/visual synchronization. See also clapper-loader, <A HREF="/glossary/C#continuity_report">continuity report</A>.<P><B CLASS=nice>Fictional Movie(s):</B> <A HREF="/Title?0100395">Postcards from the Edge (1990)</A><BR><HR NOSHADE WIDTH="40%"> |
| 118 |
Clapper-Loader |
|
|
See <A HREF="/glossary/C#camera_loader">camera loader</A>. <HR NOSHADE WIDTH="40%"> |
| 119 |
Classification and Ratings Administration |
CARA |
|
The division of the <A HREF="/glossary/M#mpaa">MPAA</A> which is responsible for administering <A HREF="/glossary/C#certificates">certificates</A>.<P><B CLASS=nice>On the web:</B> <A HREF="http://www.mpaa.org/movieratings/">CARA Home Page</A><BR><HR NOSHADE WIDTH="40%"> |
| 120 |
Claymation |
|
|
<A HREF="/glossary/A#animation">Animation</A> of models constructed from clay or plasticine.<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%"> |
| 122 |
Cliffhanger |
|
|
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%"> |
| 123 |
Close Captioned |
Close-Captioned, CC |
|
A system which displays the current dialog on screen for deaf or hard-of-hearing viewers. Contrast with <A HREF="/glossary/S#subtitles">subtitles</A>, <A HREF="/glossary/I#intertitles">intertitles</A>.<P><B CLASS=nice>On the web:</B> <A HREF="http://www.ncicap.org/">National Captioning Institute</A><BR><HR NOSHADE WIDTH="40%"> |
| 124 |
Close-up |
CU |
|
A <A HREF="/glossary/S#shot">shot</A> in which the subject is larger than the <A HREF="/glossary/F#frame">frame</A>, revealing much detail. The abbreviation is often used in a <A HREF="/glossary/S#slug_line">slug line</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%">
|
| 126 |
Colorist |
|
|
An image artist who, during post-production of a movie or television show, utilizes computer-based alteration/correction programs to go through the movie/show frame by frame to insure color and light continuity. The colorist may also tweak colors to stylistically heighten them (think <i>Sin City</i> or <i>Kill Bill I</i>).<HR NOSHADE WIDTH="40%">
|
| 127 |
Compositing |
|
|
The combining of visual elements from separate sources into
single images (or sequences of images), often to create the illusion that all
those elements are parts of the same scene. Examples might be incorporating
rendered 3D images (CGI) into filmed material, or extracting elements shot in
front of blue/green screen. Today most compositing is achieved through digital
image manipulation. <HR NOSHADE WIDTH="40%">
|
| 128 |
Compositor |
|
|
A person who works with compositing. See also <A HREF="/glossary/D#digital_compositor">digital compositor</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%"> |
| 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%"> |
| 131 |
Color Temperature |
|
|
Term that describes the color of light sources; literally, the temperature at which a blackbody emits enough radiant energy to evoke a color equivalent to that coming from a given light source. A high color temperature corresponds to bluer light, a low color temperature to yellow light. The color temperature of daylight is around 5500K.<HR NOSHADE WIDTH="40%"> |
| 132 |
Color Timing |
Color Correction, Color Timer, Color Corrected |
|
A process which adjusts the final <A HREF="/glossary/P#print">print</A> so that colors match from <A HREF="/glossary/S#shot">shot</A> to shot, regardless of the <A HREF="/glossary/F#film_stock">film stock</A> and <A HREF="/glossary/C#camera">camera</A> used to shoot the <A HREF="/glossary/S#scene">scene</A>. So named because one aspect is adjusting the exposure time of each shot. Performed by a color timer. See also <A HREF="/glossary/C#color_consultant">color consultant</A>.<HR NOSHADE WIDTH="40%"> |
| 133 |
Colorization |
Colorized |
|
A film alteration process where an operator digitally alters a <A HREF="/glossary/B#bw">black and white</A> image to include color. It is a controversial practice because many <A HREF="/glossary/F#filmmakers">filmmakers</A> and viewers believe it fundamentally alters an artistic creation. Early attempts at colorization in the 1980's were relatively crude in their shading range. Examples of this kind of alteration are versions of <A HREF="/Title?0034583">Casablanca</A> and <A HREF="/Title?0038650">It's a Wonderful Life</A>. <A HREF="/Title?0033467">Citizen Kane</A> is notable in that <A HREF="/Name?Welles,+Orson">Orson Welles</A> was able to legally prevent its alteration.<HR NOSHADE WIDTH="40%"> |
| 134 |
Composer |
|
|
A musician whose music appears in a movie's <A HREF="/glossary/S#score">score</A>. Most movies have at least some original music written for the <A HREF="/glossary/S#score">score</A>, usually after the relevant parts of the movie have been filmed. See also <A HREF="/glossary/L#lyrics">lyrics</A>.<HR NOSHADE WIDTH="40%"> |
| 135 |
Composite Print |
Synchronized Print |
|
A <A HREF="/glossary/P#print">print</A> with a images and sound on the same strip of film. The sound component may be either a <A HREF="/glossary/M#magnetic_soundtrack">magnetic soundtrack</A> or an <A HREF="/glossary/O#optical_soundtrack">optical soundtrack</A>. See also <A HREF="/glossary/A#advance">advance</A>.<HR NOSHADE WIDTH="40%"> |
| 136 |
Conductor |
Musical Conductor, Orchestra Conductor |
|
A person who directs the orchestra's performance of the <A HREF="/glossary/S#score">score</A>, often the <A HREF="/glossary/C#composer">composer</A>.<HR NOSHADE WIDTH="40%"> |
| 137 |
Confédération Internationale des Cinémas d'Art et Essai |
C.I.C.A.E., CICAE, Internationaler Verband der Filmkunsttheater |
|
<HR NOSHADE WIDTH="40%"> |
| 138 |
Construction Co-ordinator |
Construction Foreman, Construction Manager |
|
Financial responsibilities include budgeting, tracking costs, generating reports, etc. Through drawings, a construction co-ordinator is directed artistically by the <A HREF="/glossary/P#prod_designer">Production Designer</A> and <A HREF="/glossary/A#art_dir">Art Director</A> to produce their "vision" in three dimensions. Also responsible for the physical integrity of the structures built by the construction department.<HR NOSHADE WIDTH="40%"> |
| 139 |
Continuity |
Continuity Error |
|
The degree to which a movie is self-consistent. For example, a <A HREF="/glossary/S#scene">scene</A> where an <A HREF="/glossary/A#actor">actor</A> is wearing a hat when seen from one camera angle and not from another would lack continuity. A person is often employed to check that continuity is maintained since reshooting embarrassing lapses in continuity can be prohibitively expensive. See also <A HREF="/glossary/C#continuity_report">continuity report</A>. In modern times, some continuity errors can be corrected through <A HREF="/glossary/D#digital_compositing">digital compositing</A>. See the <A HREF="/Title?0103064">Terminator 2: Judgment Day</A> trivia entry for an example.<P><B CLASS=nice>On the web:</B> <A HREF="/Sections/Goofs/">IMDb Goofs Section</A><BR><HR NOSHADE WIDTH="40%">
|
| 140 |
Continuity Report |
Continuity Script |
|
A detailed list of the events that occured during the filming of a <A HREF="/glossary/S#scene">scene</A>. Typically recorded are <A HREF="/glossary/P#production">production</A> and <A HREF="/glossary/C#crew">crew</A> identification, <A HREF="/glossary/C#camera">camera</A> settings, environmental conditions, the status of each <A HREF="/glossary/T#take">take</A>, and exact details of the action that occurs. By recording all possible sources of variation, the report helps cut down continuity error between <A HREF="/glossary/S#shot">shot</A>s or even during reshooting.<BR><HR NOSHADE WIDTH="40%">
|
| 141 |
Costume |
|
|
The clothes worn by <A HREF="/glossary/A#actor">actor</A>s when being filmed.<BR><HR NOSHADE WIDTH="40%">
|
| 142 |
Costume Designer |
|
|
A person who designs the <A HREF="/glossary/C#costume">costume</A>s for a movie.<HR NOSHADE WIDTH="40%"> |
| 143 |
Costume Supervisor |
|
|
The person in charge of <A HREF="/glossary/C#costume">costume</A>s, usually preparing them for use and making sure they are accurate and faithful to the designs. Other responsibilities include consulting with the designers and training, supervising, and scheduling the costume staff.<HR NOSHADE WIDTH="40%"> |
| 144 |
Costumer |
Wardrobe, Assistant Wardrobe, Wardrobe Assistant |
|
A person responsible for handling the <A HREF="/glossary/C#costume">costume</A>s worn by <A HREF="/glossary/A#actor">actor</A>s.<P><B CLASS=nice>Fictional Movie(s):</B> <A HREF="/Title?0100395">Postcards from the Edge (1990)</A><BR><HR NOSHADE WIDTH="40%"> |
| 145 |
Costumes |
|
|
The person or department responsible for obtaining wardrobe items specified by the <A HREF="/glossary/C#costume_designer">costume designer</A>. Most items are borrowed from the studio's <A HREF="/glossary/C#costume">costume</A> stock or rented from outside companies; others may be created specifically for the production.<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%">
|
| 147 |
Craft Service |
Crafts Service |
|
The person (or people) available to assist the other crafts which include camera, sound, electricians, grips, props, art director, set decorator, hair and makeup, service the other crafts during the actual shooting of a motion picture, with tasks including providing snacks and cleaning the set. <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%">
|
| 149 |
Creative Consultant |
|
|
A multi-faceted individual that works primarily for the director of a feature, who helps with the creative process of a film in more than one field (e.g. script, special effects, photography sound design, music, etc.) In many cases, creative consultants go unaccredited, like ghost writers, for various reasons. <HR NOSHADE WIDTH="40%">
|
| 150 |
Creator |
Concept |
|
The <A HREF="/glossary/W#writer">writer</A> or other primary creative force behind a movie, <A HREF="/glossary/S#series">series</A>, or group of characters.<HR NOSHADE WIDTH="40%"> |
| 151 |
Crewmembers |
Crew |
|
A collective term for anyone involved with the <A HREF="/glossary/P#production">production</A> of a movie who does not appear in the movie. This term is usually used to refer to the more subordinate members of a production team (contrast with <A HREF="/glossary/F#filmmakers">filmmakers</A>.)<HR NOSHADE WIDTH="40%"> |
| 152 |
Critic |
|
|
A person who publishes a review of a movie from either an artistic or entertainment point of view.<HR NOSHADE WIDTH="40%"> |
| 153 |
Crosscut |
|
|
The technique of interweaving pieces of two or more <A HREF="/glossary/S#scene">scene</A>s, usually in order to show simultaneous actions or illuminate themes.<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%"> |
| 155 |
Cyberpunk |
|
|
A subgenre of <A HREF="/glossary/S#scifi">science fiction</A> that typically has elements which include a futuristic tone, massive urban areas in decay and poverty, partial environmental collapse, extremely powerful business corporations, random street gang violence with the overall presence of extremely powerful computer, robotic and information technology. <A HREF="/Title?0083658">Blade Runner</A> is considered the definitive cyberpunk movie.<P><B CLASS=nice>On the web:</B> <A HREF="/List?keywords=cyberpunk&&tv=on">List of cyberpunk titles at the IMDb.</A><BR><HR NOSHADE WIDTH="40%"> |
| 156 |
Dailies |
Rushes |
|
The first <A HREF="/glossary/P#positive_print">positive print</A>s made from the negatives photographed on the previous day. During filming, the <A HREF="/glossary/D#director">director</A> and some <A HREF="/glossary/A#actor">actor</A>s may view these dailies as an indication of how the filming and the <A HREF="/glossary/A#actor">actor</A>s' performances are progressing.<HR NOSHADE WIDTH="40%"> |
| 157 |
Day-For-Night |
|
|
A shoot done during that day, that simulates night time, using filters, underexposure, and other techniques to create a feeling of darkness.<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%"> |
| 159 |
Denoument |
|
|
The concluding <A HREF="/glossary/S#scene">scene</A>s of a movie where the story elements are finished and the characters' status after the climax is shown.<HR NOSHADE WIDTH="40%"> |
| 160 |
Depth of Field |
DOF |
|
A measure of the range along a <A HREF="/glossary/C#camera">camera</A>'s line of site in which objects will be in <A HREF="/glossary/F#focus">focus</A>. See also <A HREF="/glossary/A#aperture">aperture</A>, <A HREF="/glossary/S#shutter_speed">shutter speed</A>.<HR NOSHADE WIDTH="40%"> |
| 161 |
Designer |
|
|
Someone who creates plans for visual aspects of a production (e.g. <A HREF="/glossary/C#costume_designer">costume designer</A>).<HR NOSHADE WIDTH="40%">
|
| 162 |
Development |
|
|
The process of working on a fleshing out a script, in hopes that it will be greenlighted for production.<HR NOSHADE WIDTH="40%">
|
| 163 |
Dialect Coach |
|
|
A person who helps train an <A HREF="/glossary/A#actor">actor</A> in diction and/or the use of accents to suit the character an actor is playing.<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%">
|
| 165 |
Dialog Editor |
|
|
Please see <A HREF="/glossary/D#dialogue_editor">Dialogue Editor</A><HR NOSHADE WIDTH="40%">
|
| 166 |
Dialogue Coach |
Dialogue Director |
|
>A person who helps train an <A HREF="/glossary/A#actor">actor</A> in diction and/or the use of inflections, so that his or her speech fits the character and situation.<HR NOSHADE WIDTH="40%">
|
| 167 |
Diegetic sound |
Actual sound |
|
A sound that is created by something or someone visible on the screen or whose source is implied to be present by the action of the film. <HR NOSHADE WIDTH="40%">
|
| 168 |
Digital Compositing |
|
|
A technique whereby separately filmed components are combined through <A HREF="/glossary/D#digital_editing">digital editing</A>. Contrast with optical printing.<HR NOSHADE WIDTH="40%">
|
| 169 |
Digital Compositor |
|
|
A person who does compositing by digital means (at a
computer), as opposed to using (pre-digital) optical or physical techniques. <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%">
|
| 171 |
Digital Imaging Technician |
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A person who provides
on-set quality control, image manipulation & color correction, production
continuity, trouble shooting and consultation to assist in fullfilling the
requirements and vision of the cinematographer in film-style digital production.
<HR NOSHADE WIDTH="40%"> |
| 172 |
Digital Theatre Systems |
DTS |
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A company which has produced a digital <A HREF="/glossary/S#soundtrack">soundtrack</A> standard. Competitors include Dolby Digital and <A HREF="/glossary/S#sdds">SDDS</A>.<P><B CLASS=nice>On the web:</B> <A HREF="/Sections/Sound-mix/types_all">IMDb Sound Mix Section</A>, <A HREF="http://www.dtstech.com/">Official DTS Home Page</A><BR><HR NOSHADE WIDTH="40%"> |
| 173 |
Digital Versatile Disc |
Digital Video Disc, DVD |
|
Digital Versatile Discs resemble audio CDs in appearance, but have a much higher storage capacity. Hence, they can store rich digital media such as video in addition to audio and computer software. DVD was once called "Digital Video Disc" but the name change reflects its wider uses. As a video medium, DVD offers full length feature films to be stored with exceptional picture quality accompanied by high end digital sound, such as Dolby Digital and <A HREF="/glossary/D#dts">DTS</A>. Thanks to the huge capacity of discs, DVD movies are often sold with extra features such as the option to view the movie in <A HREF="/glossary/W#widescreen">widescreen</A> or <A HREF="/glossary/F#fullscreen">fullscreen</A>, or the option to listen to the movie or <A HREF="/glossary/D#director">director</A> commentaries.<P><B CLASS=nice>On the web:</B> <A HREF="/Sections/DVDs/">IMDb DVD browser</A>, <A HREF="http://www.videodiscovery.com/vdyweb/dvd/dvdfaq.html">DVD FAQ</A><BR><HR NOSHADE WIDTH="40%"> |
| 174 |
Directing Animator |
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|
The animator responsible for creating the key poses or key frames of an <A HREF="/glossary/A#animation">animation</A>.<HR NOSHADE WIDTH="40%"> |
| 175 |
Director |
Dir, Helmer |
|
The principal creative artist on a movie <A HREF="/glossary/S#set">set</A>. A director is usually (but not always) the driving artistic source behind the filming process, and communicates to <A HREF="/glossary/A#actor">actor</A>s the way that he/she would like a particular <A HREF="/glossary/S#scene">scene</A> played. A director's duties might also include <A HREF="/glossary/C#casting">casting</A>, <A HREF="/glossary/S#script_editing">script editing</A>, <A HREF="/glossary/S#shot_selection">shot selection</A>, <A HREF="/glossary/S#shot_composition">shot composition</A>, and <A HREF="/glossary/E#editing">editing</A>. Typically, a director has complete artistic control over all aspects of the movie, but it is not uncommon for the director to be bound by agreements with either a <A HREF="/glossary/P#producer">producer</A> or a <A HREF="/glossary/S#studio">studio</A>. In some large <A HREF="/glossary/P#production">production</A>s, a director will delegate less important <A HREF="/glossary/S#scene">scene</A>s to a <A HREF="/glossary/S#second_unit">second unit</A>.<P><B CLASS=nice>Factual Movie(s):</B> <A HREF="/Title?0102015">Hearts of Darkness: A Filmmaker's Apocalypse (1991)</A><BR><B CLASS=nice>Fictional Movie(s):</B> <A HREF="/Title?0113677">Living in Oblivion (1995)</A>, <A HREF="/Title?0109707">Ed Wood (1994)</A>, <A HREF="/Title?0081568">Stunt Man, The (1980)</A><BR><HR NOSHADE WIDTH="40%"> |
| 176 |
Director of Photography |
DP, DoP |
|
A <A HREF="/glossary/C#cinematographer">cinematographer</A> who is ultimately responsible for the process of recording a <A HREF="/glossary/S#scene">scene</A> in the manner desired by the <A HREF="/glossary/D#director">director</A>. The Director of Photography has a number of possible duties: selection of <A HREF="/glossary/F#film_stock">film stock</A>, <A HREF="/glossary/C#camera">camera</A>s, and lenses; designing and selecting <A HREF="/glossary/L#lighting">lighting</A>, directing the <A HREF="/glossary/G#gaffer">gaffer</A>'s placement of <A HREF="/glossary/L#lighting">lighting</A>; <A HREF="/glossary/S#shot_composition">shot composition</A> (in consultation with the <A HREF="/glossary/D#director">director</A>); <A HREF="/glossary/F#film_developing">film developing</A> and <A HREF="/glossary/F#film_printing">film printing</A>.<P><B CLASS=nice>Factual Movie(s):</B> <A HREF="/Title?0105764">Visions of Light (1992)</A><BR><B CLASS=nice>Fictional Movie(s):</B> <A HREF="/Title?0113677">Living in Oblivion (1995)</A><BR><HR NOSHADE WIDTH="40%"> |
| 177 |
Director's Cut |
DC |
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Contracts under the terms of the Hollywood Director's Guild usually allow 6 weeks for a <A HREF="/glossary/D#director">director</A> to assemble a cut of the movie without <A HREF="/glossary/S#studio">studio</A> interference as he or she would like it to be seen. This <I>director's cut</I> is fully edited and has a synchronized <A HREF="/glossary/S#soundtrack">soundtrack</A>. This cut is usually not color corrected or density corrected and may not even have the final music and effects <A HREF="/glossary/T#track">track</A>s. In more recent times the term <I>Director's Cut</I> has taken on a popular meaning that implies a polished final cut of the movie that the <A HREF="/glossary/D#director">director</A> has complete artistic control over.<HR NOSHADE WIDTH="40%"> |
| 178 |
Director's Guild of America |
DGA |
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<P><B CLASS=nice>On the web:</B> <A HREF="http://www.dga.org/">Official Home Page</A><BR><HR NOSHADE WIDTH="40%"> |
| 179 |
Directors Guild-Producer Training Plan |
Director's Guild of America Trainee, DGA Trainee |
|
The <A HREF="/glossary/D#dga">Director's Guild of America</A> has various training programs whereby successful applicants are placed in various <A HREF="/glossary/P#production">production</A>s and can gain experience working in the film or television industry.<P><B CLASS=nice>On the web:</B> <A HREF="http://www.dgatrainingprogram.org/">Official Home Page</A><BR><HR NOSHADE WIDTH="40%"> |
| 180 |
Dissolve |
Lap Dissolve |
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An <A HREF="/glossary/E#editing">editing</A> technique whereby the images of one <A HREF="/glossary/S#shot">shot</A> is gradually replaced by the images of another.<HR NOSHADE WIDTH="40%"> |
| 181 |
Distributor |
Distrib, Distribution |
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The organization responsible for coordinating the distribution of the finished movie to <A HREF="/glossary/E#exhibitor">exhibitor</A>s, as well as the sale of videos, laserdiscs, and other media versions of movies.<P><B CLASS=nice>On the web:</B> <A HREF="/Sections/Distributors/types_all">IMDb Distributors Section</A><BR><HR NOSHADE WIDTH="40%"> |
| 182 |
Documentary |
Docu |
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A non-fiction narrative without actors. Typically a documentary is a journalistic record of an event, person, or place. See also: <A HREF="/glossary/C#cinema_verite">cinema verité</A>.<P><B CLASS=nice>On the web:</B> <A HREF="/List?keywords=documentary&&tv=on">List of documentaries at the IMDb.</A><BR><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%"> |
| 184 |
Dolby Noise Reduction |
Dolby, Dolby Labs, Dolby Digital, Dolby SR, Dolby 70mm, Dolby Stereo |
|
Dolby Laboratories, Inc has produced a number of noise reduction and sound enhancement processes. Competitors include <A HREF="/glossary/D#dts">DTS</A> and <A HREF="/glossary/S#sdds">SDDS</A>.<P><B CLASS=nice>On the web:</B> <A HREF="http://www.dolby.com/">Official Home Page</A>, <A HREF="/Sections/Sound-mix/types_all">IMDb Sound Mix Section</A><BR><HR NOSHADE WIDTH="40%"> |
| 185 |
Dolly |
Dolly Shot, Dolly Up, Dolly In, Dolly Back, Pull back |
|
A dolly is a small truck which rolls along <A HREF="/glossary/D#dolly_tracks">dolly tracks</A> carrying the <A HREF="/glossary/C#camera">camera</A>,some of the <A HREF="/glossary/C#camera_crew">camera crew</A> and occasionally the <A HREF="/glossary/D#director">director</A>. "Dolly" is also the action of moving the <A HREF="/glossary/C#camera">camera</A> towards (dolly up/in) or away from (dolly/pull back) the object that it is pointing at. The term often appears in <A HREF="/glossary/S#screenplay">screenplay</A>s. There is a subtle difference between the results of a <A HREF="/glossary/Z#zoom_shot">zoom shot</A> and a dolly shot. In a zoom, the relative positions and sizes of all objects in the <A HREF="/glossary/F#frame">frame</A> remains the same, whereas in a dolly shot this will change as the <A HREF="/glossary/C#camera">camera</A> moves. <A HREF="/Name?Hitchcock,+Alfred">Alfred Hitchcock</A>'s much-imitated <A HREF="/glossary/S#shot">shot</A> in <A HREF="/Title?0052357">Vertigo</A> used a combination zoom-in and dolly back, resulting in a dramatic change in perspective.<HR NOSHADE WIDTH="40%"> |
| 186 |
Dolly Grip |
|
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A <A HREF="/glossary/G#grip">grip</A> that moves a <A HREF="/glossary/D#dolly">dolly</A>.<HR NOSHADE WIDTH="40%"> |
| 187 |
Dolly Tracks |
|
|
A set of tracks upon which a <A HREF="/glossary/C#camera">camera</A> can be moved. See also <A HREF="/glossary/D#dolly">dolly</A>.<HR NOSHADE WIDTH="40%"> |
| 188 |
Dope Sheet |
Camera Report |
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A list of <A HREF="/glossary/S#scene">scene</A>s from the <A HREF="/glossary/S#script">script</A> that have already been filmed, or a list of the contents of an exposed reel of <A HREF="/glossary/F#film_stock">film stock</A>. An accurate dope sheet is the responsibility of the <A HREF="/glossary/A#asst_cameraman">assistant cameraman</A>. See also <A HREF="/glossary/C#clapboard">clapboard</A>, <A HREF="/glossary/C#continuity_report">continuity report</A>.<HR NOSHADE WIDTH="40%"> |
| 189 |
Double |
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An <A HREF="/glossary/A#actor">actor</A> who stands in for another <A HREF="/glossary/A#actor">actor</A> in certain <A HREF="/glossary/S#scene">scene</A>s, some of which may involve dangerous circumstances or require special skills (e.g. a <A HREF="/glossary/S#stunt_double">stunt double</A>). Sometimes <A HREF="/glossary/B#body_double">body double</A>s are used in scenes that call for nudity or intimacy. Contrast with <A HREF="/glossary/S#stand_in">stand-in</A>.<HR NOSHADE WIDTH="40%"> |
| 190 |
Double Bill |
|
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Two movies shown consecutively, typically for a discounted single admission price. Often the movies are <A HREF="/glossary/S#sequel">sequel</A>s or are otherwise related (by genre, eg). See also <A HREF="/glossary/F#feature_presentation">feature presentation</A>, <A HREF="/glossary/S#supporting_feature">supporting feature</A>, and <A HREF="/glossary/T#trailer">trailer</A>.<HR NOSHADE WIDTH="40%"> |
| 191 |
Draftsman |
|
|
A person who creates the plans for <A HREF="/glossary/S#set">set</A> construction. See also <A HREF="/glossary/S#swing_gang">swing gang</A>, <A HREF="/glossary/P#prod_designer">production designer</A>, and <A HREF="/glossary/A#art_dir">art director</A>.<HR NOSHADE WIDTH="40%"> |
| 192 |
Dresser |
|
|
A wardrobe assistant who helps <A HREF="/glossary/A#actor">actor</A>s with their <A HREF="/glossary/C#costume">costume</A>s.<HR NOSHADE WIDTH="40%"> |
| 193 |
Driver |
Transportation Captain |
|
A person who drives either equipment or passenger trucks, typically between location shootings, <A HREF="/glossary/S#set">set</A>s, and the <A HREF="/glossary/S#studio">studio</A>. The chief driver is called the transportation captain. See also <A HREF="/glossary/T#transportation_coordinator">transportation co-ordinator</A>.<HR NOSHADE WIDTH="40%"> |
| 194 |
Dubbing |
Dubs, Dubbed |
|
The technique of combining multiple sound components into one. The term is also used to refer to automatic dialog replacement of a new language.<HR NOSHADE WIDTH="40%"> |
| 195 |
Dutch Tilt |
|
|
A <A HREF="/glossary/S#shot">shot</A> composed with the horizon not parallel with the bottom of the <A HREF="/glossary/F#frame">frame</A>. Used extensively in <A HREF="/Title?0059968">Batman</A>, and frequently by <A HREF="/Name?Welles,+Orson">Orson Welles</A>.<HR NOSHADE WIDTH="40%"> |
| 196 |
Easter Egg |
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|
A reference to a movie, person, or event that is intended to be too subtle to be noticed on the initial viewing.
<HR NOSHADE WIDTH="40%">
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| 197 |
Edge Numbers |
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Numbers printed on the edge of a <A HREF="/glossary/P#print">print</A> to allow easy identification of <A HREF="/glossary/F#frame">frame</A>s.
<HR NOSHADE WIDTH="40%">
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| 198 |
Editing |
Visual Editing, Film Editing |
|
Reconstructing the sequence of events in a movie. See also <A HREF="/glossary/A#avid">AVID</A>, <A HREF="/glossary/E#editor">editor</A>.
<HR NOSHADE WIDTH="40%">
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| 199 |
Editor |
|
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A person who performs <A HREF="/glossary/E#editing">editing</A> (in consultation with the <A HREF="/glossary/D#director">director</A>) on a movie. This term usually refers to someone who does visual editing. See also <A HREF="/glossary/M#mpeg">Motion Picture Editors Guild</A>.
<HR NOSHADE WIDTH="40%">
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| 200 |
Effects Stock |
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Special <A HREF="/glossary/F#film_stock">film stock</A> that is typically used by the <A HREF="/glossary/S#second_unit">second unit</A> to generate computerized composites. Effects stock usually has finer <A HREF="/glossary/F#film_grain">film grain</A>, and is usually rated several stops lower than standard stock.
<HR NOSHADE WIDTH="40%">
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| 201 |
Electrical Department |
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The department in charge of all electrical matters (primarily <A HREF="/glossary/L#lighting">lighting</A>) for productions.
<HR NOSHADE WIDTH="40%">
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