| id | term | aka | links | description |
|---|
| 202 |
Electrician |
|
|
The person or <A HREF="/glossary/G#grip">grip</A> in charge of and familiar with the electrical equipment on the set.
<HR NOSHADE WIDTH="40%">
|
| 203 |
Epic |
|
|
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>
<HR NOSHADE WIDTH="40%">
|
| 204 |
Establishing shot |
|
|
The first shot of a new scene, that introduces the audience to the space in which the forthcoming scene will take place.
<HR NOSHADE WIDTH="40%">
|
| 205 |
Equity |
British Actors Equity Association, BAEA, Actors Equity |
|
A trade union for <A HREF="/glossary/A#actor">actor</A>s. In the UK, an <A HREF="/glossary/A#actor">actor</A> must belong to Equity before being allowed to perform in any "legitimate" theater or film. Similar organizations exist in other countries but because other organizations often exist membership isn't as essential.
<P><B CLASS=nice>On the web:</B> <A HREF="http://www.equity.org.uk/">BAEA Official Home Page</A><BR>
<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%">
|
| 207 |
Exhibitor |
|
|
An organization which represents <A HREF="/glossary/C#cinema">cinema</A>s.
<HR NOSHADE WIDTH="40%">
|
| 208 |
Exposition |
|
|
Background information necessary to the advancement of the storyline or to augment richness or detail.
<HR NOSHADE WIDTH="40%">
|
| 209 |
Exterior |
EXT |
|
Used in a <A HREF="/glossary/S#slug_line">slug line</A>, indicates that the <A HREF="/glossary/S#scene">scene</A> occurs outdoors.
<HR NOSHADE WIDTH="40%">
|
| 210 |
Extra |
|
|
A person who appears in a movie where a non-specific, non-speaking character is required, usually as part of a crowd or in the background of a <A HREF="/glossary/S#scene">scene</A>. Extras are often recruited from wherever they are available. Contrast with non-speaking role.
<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%">
|
| 212 |
Eyeline Match |
|
|
A technique used in <A HREF="/glossary/V#visual_effects">visual effects</A> to make sure an <A HREF="/glossary/A#actor">actor</A> is looking at the "face" of the character/creature to be inserted later. One approach, used on <A HREF="/title/tt0164912">Stuart Little (1999)</A>, is to sync a laser to the camera so that it is on only when the shutter is closed, and makes a dot where the creature's eyes would be. More commonly, a <A HREF="/glossary/G#grip">grip</A> holds a target on a pole.
<HR NOSHADE WIDTH="40%"> |
| 213 |
Fade |
Fade To Black, Fade In, Fade Out |
|
A smooth, gradual transition from a normal image to complete blackness (fade out), or vice versa (fade in).<HR NOSHADE WIDTH="40%"> |
| 214 |
Fake Shemp |
Shemp |
|
Anyone appearing on screen whose face is not seen (either because of heavy <A HREF="/glossary/M#makeup">makeup</A> or camera angles) and who has no lines; can include <A HREF="/glossary/S#stand_in">stand-in</A>s and <A HREF="/glossary/E#extra">extra</A>s. The term originated with <A HREF="/Name?Raimi,+Sam">Sam Raimi</A> and his colleagues, who borrowed it from Hollywood lore about a <A HREF="/glossary/S#stand_in">stand-in</A> used to finish Three Stooges films after <A HREF="/Name?Howard,+Shemp">Shemp Howard</A>'s death.<HR NOSHADE WIDTH="40%"> |
| 215 |
Fast Motion |
Skip Frame |
|
A <A HREF="/glossary/S#shot">shot</A> in which time appears to move more quickly than normal. The process is commonly achieved by either deleting select frames (called "skip frames") or by <A HREF="/glossary/U#undercranking">undercranking</A>. See also <A HREF="/glossary/M#motion_artifact">motion artifact</A>, <A HREF="/glossary/F#freeze_frame">freeze frame</A>, <A HREF="/glossary/F#frame_rate">frame rate</A>, <A HREF="/glossary/J#judder">judder</A>.<HR NOSHADE WIDTH="40%"> |
| 216 |
Feature Film |
Feature |
|
A movie at least 40-45 minutes (2 reels) long intended for theatrical release. Contrast with <A HREF="/glossary/S#short_subject">short subject</A>.<HR NOSHADE WIDTH="40%"> |
| 217 |
Feature Presentation |
Main Attraction |
|
The main or advertised movie during a <A HREF="/glossary/S#screening">screening</A>. See also: <A HREF="/glossary/D#double_bill">double bill</A>, <A HREF="/glossary/T#trailer">trailer</A>, <A HREF="/glossary/S#supporting_feature">supporting feature</A>.<HR NOSHADE WIDTH="40%">
|
| 218 |
Featured Background |
|
|
A term used to describe the perfomers who are placed in prominent positions in the background of the major action of a scene. <HR NOSHADE WIDTH="40%">
|
| 219 |
Femme Fatale |
|
|
Literally: "Deadly Lady"; a slang term used to describe a character in a movie.<HR NOSHADE WIDTH="40%"> |
| 220 |
Festival |
|
|
An event at which films can often <A HREF="/glossary/P#premiere">premiere</A>. Festivals can be used as by <A HREF="/glossary/S#studio">studio</A>s to show their wares and sell rights to <A HREF="/glossary/D#distributor">distributor</A>s, or to officially mark a movie's <A HREF="/glossary/R#release">release</A> so as to make it eligible for award ceremonies with hard deadlines that can't be met if they waited for a general <A HREF="/glossary/R#release">release</A>. Some festivals are competitive, giving awards from a jury or selected by the audiences.<HR NOSHADE WIDTH="40%"> |
| 221 |
Film Buyer |
|
|
A person who arranges to purchase films from an <A HREF="/glossary/D#distributor">distributor</A> on behalf of an <A HREF="/glossary/E#exhibitor">exhibitor</A>.<HR NOSHADE WIDTH="40%"> |
| 222 |
Film Developing |
Developed |
|
A process whereby images recorded on <A HREF="/glossary/F#film_stock">film stock</A> are transfered to a <A HREF="/glossary/N#negative_print">negative print</A>. See also <A HREF="/glossary/C#color_timing">color timing</A>.<HR NOSHADE WIDTH="40%">
|
| 223 |
Film Grain |
Grain, Graininess, Grainy |
|
The tiny particles of light-sensitive material on <A HREF="/glossary/F#film_stock">film stock</A> that record images. Finer grains give higher image quality, but coarser grains allow a faster <A HREF="/glossary/S#shutter_speed">shutter speed</A>. Graininess is an <A HREF="/glossary/A#artifact">artifact</A> which results from the use of coarse grains, and gives images a slight mosaic appearance.<HR NOSHADE WIDTH="40%"> |
| 224 |
Film Magazines |
|
|
A reel of <A HREF="/glossary/F#film_stock">film stock</A> ready for use in a <A HREF="/glossary/C#camera">camera</A>. The clapper-loader is responsible for inserting these into a <A HREF="/glossary/C#camera">camera</A>.<HR NOSHADE WIDTH="40%"> |
| 225 |
Film Noir |
|
|
Literally: "Black Film"; describes a genre of film which typically features dark, brooding characters, corruption, detectives, and the seedy side of the big city.<P><B CLASS=nice>On the web:</B> <A HREF="/List?genres=Film-Noir&&tv=on">List of Film Noir at the IMDb.</A><BR><HR NOSHADE WIDTH="40%"> |
| 226 |
Film Printing |
|
|
The process of transfering images from a <A HREF="/glossary/N#negative_print">negative print</A> to a <A HREF="/glossary/P#print">print</A>.<HR NOSHADE WIDTH="40%"> |
| 227 |
Film Stock |
|
|
The physical medium on which photographic images are recorded. See also <A HREF="/glossary/F#film_grain">film grain</A>.<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%"> |
| 229 |
First Assistant Camera |
1AC |
|
See <A HREF="/glossary/F#focus_puller">focus puller</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%"> |
| 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%"> |
| 232 |
Foam Technician |
Foam Runner |
|
A person responsible for creating foam latex <A HREF="/glossary/P#prosthetic_appliances">prosthetic appliances</A> from a sculpture created by a makeup artist.<HR NOSHADE WIDTH="40%"> |
| 233 |
Focus |
|
|
The sharpness of an image, or the adjustments made on a camera necessary to achieve this. See also <A HREF="/glossary/F#focus_puller">focus puller</A>.<HR NOSHADE WIDTH="40%"> |
| 234 |
Focus Group |
|
|
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%"> |
| 235 |
Focus Puller |
B Cameraman |
|
A member of the <A HREF="/glossary/C#camera_crew">camera crew</A> who adjusts the <A HREF="/glossary/F#focus">focus</A> of the <A HREF="/glossary/C#camera">camera</A> during filming. See also <A HREF="/glossary/A#asst_cameraman">assistant cameraman</A>.<P><B CLASS=nice>Fictional Movie(s):</B> <A HREF="/Title?0113677">Living in Oblivion (1995)</A><BR><HR NOSHADE WIDTH="40%"> |
| 236 |
Foley |
|
|
The art of recreating incidental sound effects (such as footsteps) in synchronization with the visual component of a movie. Named after early practitioner <a href="http://www.imdb.com/name/nm0284148/">Jack Foley</a>, foley artists sometimes use bizarre objects and methods to achieve sound effects, e.g. snapping celery to mimic bones being broken. The sounds are often exaggerated for extra effect - fight sequences are almost always accompanied by loud foley added thuds and slaps.<HR NOSHADE WIDTH="40%"> |
| 237 |
Foley Artist |
Foley Operator |
|
A person who creates <A HREF="/glossary/F#foley">foley</A> <A HREF="/glossary/S#sound_effects">sound effects</A>; named after early practitioner <a href="http://www.imdb.com/name/nm0284148/">Jack Foley</a>.<HR NOSHADE WIDTH="40%"> |
| 238 |
Foley Editor |
|
|
Edits the sounds created by a <A HREF="/glossary/F#foley_artist">foley artist</A>.<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%">
|
| 240 |
Forced perspective |
|
|
A technique used to create a sense of great distance or to make a space seem much bigger than it is, forced perspective is created by using objects that are vary in size, and placing them specific distances from one another, to create the effect of objects fading into the distance. <HR NOSHADE WIDTH="40%">
|
| 241 |
Frame |
|
|
An individual picture image which eventually appears on a <A HREF="/glossary/P#print">print</A>.<HR NOSHADE WIDTH="40%"> |
| 242 |
Frame Rate |
Frames Per Second, FPS |
|
Movies are created by taking a rapid sequence of pictures (<A HREF="/glossary/F#frame">frame</A>s) of action. By displaying these <A HREF="/glossary/F#frame">frame</A>s at the same rate at which they were recorded, the illusion of motion can be created. "Frame Rate" is the number of <A HREF="/glossary/F#frame">frame</A>s captured or projected per second. The human optical system is only capable of capturing about 20 images per second; hence to give a realistic illusion of motion a frame rate greater than this is required. Most modern motion pictures are filmed and displayed at 24 fps. Earlier films used lower frame rates, and hence when played back on modern equipment, <A HREF="/glossary/F#fast_motion">fast motion</A> occurs due to <A HREF="/glossary/U#undercranking">undercranking</A>. See also: <A HREF="/glossary/S#slow_motion">slow motion</A>, <A HREF="/glossary/F#fast_motion">fast motion</A>, <A HREF="/glossary/U#undercranking">undercranking</A>, <A HREF="/glossary/O#overcranking">overcranking</A>, <A HREF="/glossary/J#judder">judder</A>, <A HREF="/glossary/M#motion_artifact">motion artifact</A>.<HR NOSHADE WIDTH="40%"> |
| 243 |
Freeze Frame |
Freeze |
|
An optical printing effect whereby a single <A HREF="/glossary/F#frame">frame</A> is repeated to give the illusion that all action has stopped. Often used by <A HREF="/Name?Scorsese,+Martin">Martin Scorsese</A>. Contrast with <A HREF="/glossary/S#stop_motion">stop motion</A>.<HR NOSHADE WIDTH="40%"> |
| 244 |
Fullscreen |
4:3 |
|
Fullscreen is a term used to describe the shape of the picture a movie is displayed in order for it to fill a regular (as of 1998) TV screen. At the time of writing, most TVs are squarer than the newer <A HREF="/glossary/W#widescreen">widescreen</A> TVs on the market. With these older sets, for every 4 inches/cm of horizontal screen size there are 3 inches/cm of vertical size, hence a 4:3 <A HREF="/glossary/A#aspect_ratio">aspect ratio</A>. <A HREF="/glossary/W#widescreen">Widescreen</A> TVs have 5 and 1/3 inches/cm horizontal size for each 3 of vertical. Rather than write that as 5.333:3, we use 16:9. So fullscreen=4:3, <A HREF="/glossary/W#widescreen">widescreen</A>=16:9. When a movie is played in fullscreen format for a 4:3 TV, the movie is almost always adjusted to fit. You may be familiar with the phrase "this movie has been modified from its original version. It has been formatted to fit your TV." What that almost always means is that much of the original picture has been thrown away, i.e. the <A HREF="/glossary/P#pan_and_scan">pan and scan</A> procedure has been used to pick the most appropriate pieces of the picture to keep because the old TV screen is the wrong shape to show the whole picture. In terms of home cinema, fullscreen is inferior to <A HREF="/glossary/W#widescreen">widescreen</A> and is often considered to be an unacceptable format. The 4:3 shape TV is expected to become obsolete over the next decade as TV moves to digital and HDTV formats, which are <A HREF="/glossary/W#widescreen">widescreen</A> based. <A HREF="/glossary/D#dvd">DVD</A>s often offer both fullscreen and <A HREF="/glossary/W#widescreen">widescreen</A> formats, however many are already only available in <A HREF="/glossary/W#widescreen">widescreen</A> and <A HREF="/glossary/A#anamorphic">anamorphic</A> format, so as to cater for the growing audience of home cinema enthusiasts who have already abandoned fullscreen.<HR NOSHADE WIDTH="40%"> |
| 245 |
Fédération Internationale de la Presse Cinématographique |
FIPRESCI, International Federation of Film Critics, Internationaler Verband der Filmkritiker, Federación Internacional de la Prensa Cinematográfica |
|
><B CLASS=nice>On the web:</B> <A HREF="http://www.fipresci.org/">Official Home Page</A><BR><HR NOSHADE WIDTH="40%"> |
| 246 |
Fédération Internationale des Associations de Producteurs de Film |
FIAPF, International Federation of Film Producers Association, Internationaler Verband der Filmproduzenten, Federazione internazionale associazioni produttori di film |
|
<HR NOSHADE WIDTH="40%"> |
| 247 |
Fédération Internationale des Ciné-Clubs |
FIPRESCI, International Federation of Film Critics, Internationaler Verband der Filmkritiker, Federación Internacional de la Prensa Cinematográfica |
|
><B CLASS=nice>On the web:</B> <A HREF="http://www.fipresci.org/">Official Home Page</A><BR><HR NOSHADE WIDTH="40%"><H3><A NAME="fiapf">Fédération Internationale des Associations de Producteurs de Film</A></H3>
<B CLASS=nice>AKA:</B> FIAPF, International Federation of Film Producers Association, Internationaler Verband der Filmproduzenten, Federazione internazionale associazioni produttori di film<BR><HR NOSHADE WIDTH="40%"><H3><A NAME="ficc">Fédération Internationale des Ciné-Clubs</A></H3>
<B CLASS=nice>AKA:</B> FICC, International Federation of Film Societies<BR><P><B CLASS=nice>On the web:</B> <A HREF="http://www.ficc.dk/">Official Home Page</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%">
|
| 249 |
Gaffer |
Chief Lighting Technician |
|
The head of the <A HREF="/glossary/E#electrical_dept">electrical department</A>, responsible for the design and execution of the lighting plan for a production. Early films used mostly natural light, which stagehands controlled with large tent cloths using long poles called gaffs (stagehands were often beached sailors or longshoremen, and a gaff is a type of boom on a sailing ship). In 16th Century English, the term "gaffer" denoted a man who was the head of any organized group of laborers.
<HR NOSHADE WIDTH="40%">
|
| 250 |
Gel |
|
|
A thin, tinted plastic-like sheet placed over a light to change the color
of the projected light. "Cleaning the gels" is a practical joke usually given
as a job to an inexperienced crew member.
<HR NOSHADE WIDTH="40%">
|
| 251 |
Generator |
Genny, Genny Operator |
|
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.
<HR NOSHADE WIDTH="40%">
|
| 252 |
Giraffe |
|
|
A mechanically extendable and manipulated <A HREF="/glossary/B#boom_microphone">boom microphone</A>.
<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%">
|
| 254 |
Go Motion |
Go-Motion |
|
A form of <A HREF="/glossary/A#animation">animation</A> similar to <A HREF="/glossary/S#stop_motion">stop motion</A>, but which incorporates <A HREF="/glossary/M#motion_blur">motion blur</A>. Ordinary <A HREF="/glossary/S#stop_motion">stop motion</A> cannot produce <A HREF="/glossary/M#motion_blur">motion blur</A> as motion only occurs between frames. Robotic models that are moved during the exposure of each <A HREF="/glossary/F#frame">frame</A> produce <A HREF="/glossary/M#motion_blur">motion blur</A>, and thus are more realistic. Pioneered by Industrial Light and Magic for <A HREF="/title/tt0082288/">Dragonslayer</A>.
<HR NOSHADE WIDTH="40%">
|
| 255 |
Greenscreen |
|
|
A newer technique similar to <A HREF="/glossary/B#bluescreen">bluescreen</A>, however utilizing a key green background. Research showed that substantially better results could be gained by filming on green instead of blue, as <A HREF="/glossary/E#effects_stock">effects stock</A> was more sensitive to separating key green from other (foreground) colors. See also <A HREF="/glossary/C#chromakeying">chromakeying</A>.
<HR NOSHADE WIDTH="40%">
|
| 256 |
Greensman |
|
|
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>.
<HR NOSHADE WIDTH="40%">
|
| 257 |
Grindhouse |
|
|
A term used to describe movie theaters common in the U.S. from the 1950s onward, that specialized in showing, or "grinding out" as many B movies as they could fit into their schedules. The term is also used to describe the type of B movies -- commonly violent, exploitative, or just plain racy -- that were shown in such theaters.
<HR NOSHADE WIDTH="40%">
|
| 258 |
Grip |
|
|
In the USA, a grip is a skilled person responsible for the set up, adjustment and maintenance of <A HREF="/glossary/P#production">production</A> equipment on the <A HREF="/glossary/S#set">set</A>. Their typical duties involve camera movement, lighting refinement, and mechanical rigging. In the UK, grips work exclusively with equipment that the camera is mounted on. Contrast with <A HREF="/glossary/S#swing_gang">swing gang</A>, see also <A HREF="/glossary/K#key_grip">key grip</A>.
<HR NOSHADE WIDTH="40%"> |
| 259 |
Hairstylist |
Hairstyles, Hair stylist, Hairdresser, Hair dresser, Hair Styles |
|
Person responsible for maintaining <A HREF="/glossary/A#actor">actor</A>s' hairstyles during filming.
<HR NOSHADE WIDTH="40%">
|
| 260 |
Hardtop |
|
|
Slang for a normal indoor theatre. See also <A HREF="/glossary/O#ozoner">ozoner</A>.
<HR NOSHADE WIDTH="40%">
|
| 261 |
Hays Production Code |
Hays Code, Hays Production Office, Hays Office |
|
In the 1920s, the American public became alarmed at the increasingly frequent portrayal of violence, sex, and lawlessness on movie screens. Wishing to avoid government regulation, the Motion Picture Producers and Distributors of America created their own regulatory body and appointed Postmaster General Will H. Hays as head. His influence became so great that this body became known as the "Hays Office". The Hays Production Code for Motion Pictures was introduced in 1934, and by today's standards was extremely strict. It was mainly concerned with violence and sex, but had references to crime in general. After WWII, the growing popularity of television provided the public with more viewing choice. The Hays Office came under increasing fire for restricting the creativity of filmmakers, as it had defined specific requirements for depicting certain events. For example, under the Hays Code a filmmaker could not present revenge in modern times as being justified, nor could they depict details of how crimes were committed, or show a criminal profiting from crime. Following the Supreme Court's Miracle decision in the 1950s, films were recognized as protected under the First Amendment, and as such the Hays Office's demands were not legally enforceable. Films such as <A HREF="/title/tt0061184">Who's Afraid of Virginia Woolf?</A> and <A HREF="/title/tt0060176">Blowup</A> inspired <A HREF="/glossary/M#mpaa">MPAA</A> president Jack Valenti to abolish the Hays Code as his first step in overhauling the <A HREF="/glossary/C#certificates">certificates</A> system in 1967. See also <A HREF="/glossary/B#blacklisting">blacklisting</A>.
<HR NOSHADE WIDTH="40%">
|
| 262 |
High Concept |
|
|
Describes a film that includes and/or exploits certain elements (e.g. fast action, big-name stars) in order to attract a large audience.
<HR NOSHADE WIDTH="40%">
|
| 263 |
HOD |
|
|
An abbreviation for "Head of Department". Sometimes known in US as coordinators.
<HR NOSHADE WIDTH="40%">
|
| 264 |
Hold |
|
|
A word used on a <A HREF="/glossary/C#continuity_report">continuity report</A> to indicate that a particular <A HREF="/glossary/T#take">take</A> should be kept, but not developed. See also <A HREF="/glossary/P#print">print</A>.
<HR NOSHADE WIDTH="40%">
|
| 265 |
Homage |
|
|
A respectful imitation of the work of another director, as a way of paying tribute to another director or movie.
<HR NOSHADE WIDTH="40%">
|
| 266 |
Honeywagon |
|
|
Usually a trailer, or truck and trailer combination outfitted for and used as the dressing room for <A HREF="/glossary/A#actor">actor</A>s when on location shoots away from permanent <A HREF="/glossary/S#soundstage">soundstage</A>s.
<HR NOSHADE WIDTH="40%">
|
| 267 |
Host wraps |
|
|
The short segments of TV show where the host of the program talks or discusses topics; common in reality TV, where a host summarizes what has happened before the show returns to the action.
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| 268 |
Hot Set |
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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.
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| 269 |
Hype |
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Overzealous praise or advertising.
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| 270 |
Independent Film |
Indie |
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A movie not produced by a major <A HREF="/glossary/S#studio">studio</A>.<HR NOSHADE WIDTH="40%">
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| 271 |
Ingenue |
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A young actress. Also, a type of role played by a young actress, generally implying a young, fresh-faced, naive character. <A HREF="/glossary/S#studio">studio</A>.<HR NOSHADE WIDTH="40%">
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| 272 |
Ink |
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Verb: to sign a contract. Noun: press coverage.<HR NOSHADE WIDTH="40%"> |
| 273 |
Inning |
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A period of time.<HR NOSHADE WIDTH="40%"> |
| 274 |
Insert |
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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%">
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| 275 |
Intended Ratio |
Original aspect ratio |
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The <A HREF="/glossary/A#aspect_ratio">aspect ratio</A> in which a film was created and the creators intended it to be shown.<HR NOSHADE WIDTH="40%">
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| 276 |
Interior |
INT |
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Used in a <A HREF="/glossary/S#slug_line">slug line</A>, indicates that the <A HREF="/glossary/S#scene">scene</A> occurs indoors.<HR NOSHADE WIDTH="40%"> |
| 277 |
International Alliance of Theatrical Stage Employes, Moving Picture Technicians, Artists and Allied Crafts |
I.A.T.S.E., IATSE |
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WWW: http://www.iatse.com/<HR NOSHADE WIDTH="40%"> |
| 278 |
Intertitles |
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A title card appearing intercut with a <A HREF="/glossary/S#scene">scene</A>. Contrast with <A HREF="/glossary/S#subtitles">subtitles</A>. Commonly used with <A HREF="/glossary/S#silent_film">silent film</A>s.<P><B CLASS=nice>On the web:</B> <A HREF="/List?sound-mix=Silent&&tv=on">List of silent titles at the IMDb.</A><BR><HR NOSHADE WIDTH="40%"> |
| 279 |
Jib |
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The arm of a mechanical crane.<HR NOSHADE WIDTH="40%">
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| 280 |
Judder |
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An instability introduced when images sampled at one <A HREF="/glossary/F#frame_rate">frame rate</A> are converted to a different <A HREF="/glossary/F#frame_rate">frame rate</A> for viewing. This effect is most noticeable when <A HREF="/glossary/F#frame">frame</A>s are repeated or deleted in order to obtain <A HREF="/glossary/S#slow_motion">slow motion</A> or <A HREF="/glossary/F#fast_motion">fast motion</A>. See also <A HREF="/glossary/M#motion_artifact">motion artifact</A>.<HR NOSHADE WIDTH="40%"> |
| 281 |
Jump Cut |
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A <A HREF="/glossary/C#cut">cut</A> involving an interruption to the <A HREF="/glossary/C#continuity">continuity</A> of time, where the image in a shot closely
matches the image of the previous shot.<HR NOSHADE WIDTH="40%"> |
| 282 |
Key |
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A general adjective denoting importance.<HR NOSHADE WIDTH="40%"> |
| 283 |
Key Grip |
Key |
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The key grip works closely with the director of photography and the gaffer to sculpt the desired
look of a film by diffusing and cutting the light. The key grip is also in charge of camera movement whether on a dolly, camera crane or
mounted on the hood or bumper of a vehicle.<HR NOSHADE WIDTH="40%">
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| 284 |
Kickoff |
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The start of <A HREF="/glossary/P#production">production</A> or <A HREF="/glossary/P#principal_photography">principal photography</A>.<HR NOSHADE WIDTH="40%"> |
| 285 |
Layouts |
Blocking |
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A person responsible for working out the action before filming begins, including where the characters should be, and the camera angles.
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| 286 |
Layout Artist |
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A person responsible for staging every shot and plotting the action that will take place within each scene, whether it be live action or CGI-based.
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| 287 |
Lead Character Technical Director |
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Oversees the work of a team of character technical directors, partners closely with the Lead Artist to address all issues related to the creation of animated film and/or game characters. Responsible for setting and maintaining the aesthetic and technical quality bar for the character creation team.
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| 288 |
Lead Role |
Lead, Female Lead, Male Lead |
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The most important character in a movie, often distinguished by gender.
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| 289 |
Leadman |
Lead man, Lead person |
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Member of the <A HREF="/glossary/A#art_dept">art department</A> who is in charge of <A HREF="/glossary/S#swing_gang">swing gang</A>s and/or <A HREF="/glossary/S#set_dresser">set dresser</A>s and reports to the <A HREF="/glossary/S#set_decorator">set decorator</A>.
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| 290 |
Legs |
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Of a movie: continuing to return large <A HREF="/glossary/B#box_office">box-office</A> figures.
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| 291 |
Legal Services |
Legal Counsel |
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An attorney or a law firm which is responsible for a broad range of legal services related to filmmaking (film, television, music, digital media and entertainment), including, but not limited to the counseling, drafting and negotiation of subscription and investment agreeemnts, development and production agreements, cast (actor) and crew agreements, distribution agreements, and other related agreements, as well as intellectual property concerns.
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| 292 |
Lens |
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An optical device used by a <A HREF="/glossary/C#camera">camera</A> to focus an image
onto <A HREF="/glossary/F#film_stock">film stock</A> or image sensor.
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| 293 |
Letterboxing |
Letterboxed, Letterbox |
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As the <A HREF="/glossary/A#aspect_ratio">aspect ratio</A> of movies are rarely the same as the <A HREF="/glossary/A#aspect_ratio">aspect ratio</A> of a television screen, when showing movies on TV it is necessary to make sacrifices. "Letterboxing" is a video mastering process whereby a film source with an <A HREF="/glossary/A#aspect_ratio">aspect ratio</A> greater than that of the video master (4:3 for NTSC/PAL and 16:9 for HDTV) is transferred to the video master in such a way that no film image is cut off to the left or the right, requiring the addition of (usually) black bars at the top and at the bottom of the image so that it entirely fills the screen--in other words, the technique of shrinking the image just enough so that its entire width appears on screen, with black areas above and below the image. The advantage of this technique is that the film images are shown as originally intended by the film's creators, not interfering with their <A HREF="/glossary/S#shot_composition">shot composition</A> and artistic intentions. The disadvantage is that the entire image must be shrunk, which makes viewing on smaller TVs more difficult. Contrast with <A HREF="/glossary/P#pan_and_scan">pan and scan</A> (for DVD, also <A HREF="/glossary/A#anamorphic_widescreen">anamorphic widescreen</A>).
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| 294 |
Lighting |
Lights |
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Most <A HREF="/glossary/P#production">production</A>s use artificial lighting when filming for various technical and artistic reasons, both on location or on a <A HREF="/glossary/S#set">set</A>. Lighting is designed by the <A HREF="/glossary/D#dp">director of photography</A> in consultation with the <A HREF="/glossary/D#director">director</A>, and is the responsibility of the <A HREF="/glossary/E#electrical_dept">electrical department</A>.
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| 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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| 296 |
Lighting Department |
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The section of a <A HREF="/glossary/P#production">production</A>'s <A HREF="/glossary/C#crew">crew</A> responsible for <A HREF="/glossary/L#lighting">lighting</A> and other electrical matters during filming. Individual positions within in this department include: Gaffer, Best Boy,
Lighting Board Operator, Lamp Operator, Rigging Gaffer, Riggers and genny operator.
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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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| 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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| 299 |
Line Producer |
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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>.
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| 300 |
Lined Script |
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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.
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| 301 |
Live Area |
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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>.
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