HANDY FILM-TERM REFERENCE GUIDE

HANDY FILM-TERM REFERENCE GUIDE

LIGHTING

backlight hits subject from behind/separates from bg; not significant lighting source

key light primary light source/ fmds directionality

fill light erases key-light's shadows

kicker fmishes the lighting job

eyelight puts white in the actor's iris/ gives life tot he shot

bounce card takes light from key and "bounces" it onto the actor; diffusing effect

day-for-night (dusk -for) changing the camera iris to make day shots

look like night shots

directionality from where the light source is

diffusion to make actors look great; softens light with bounce card or diffusion

material like toughspun, a wire mesh that is placed near the bulb

EDITING

assembly editing from point A to B

non-linear editing in any order (more sophisticated; new technology)

linear assembly editing

on-line the fmal edit

off-line the rough edit

cut-away shot shot used to emphasize scene detail

b-roll cut-away material

cut point where shot begins or ends

montage arrangement of many shots to show theme

match cut edit that maintains continuity from angle to angle

outtakes what is not used in a film

parallel editing two related sequences are cut back and forth

rough-cut the rough draft of a film

running time how long a film lasts

splice the actual point of cutting on the physical film or tape

answer print the rough cut sent from the lab

rushes the day's answer print

L-cut sound precedes image

SOUND

synch/crystal synch

(double system sound)

striping

track

dub

boom

Nagra voice and image are recorded separately and

synchronized between the camera and nagra

(sound recorder)

putting a magnetic stripe on the film to catch sound

the sound tape

taking sound from one tape to another

the pole that hold the microphoneO 0 0 0

mics: the recording instrument

omnidirectional

cardiod

mix

lavalier

unidirectiona1/shotgun

bi-directional

condenser

Foley

voice-over

the joining of all soundtracks to one track

sound effects

narration over picture/ no synch; post -production

CAMERA

CREW

angle how the shot is taken

CU closeup

LS long shot

MS medium shot

OS over-the-shoulder

establishing shot

dolly a wheeled shot

depth:-of-field how much is in focus

dutch angle a canted angle

extreme long shot/extreme close-up

master shot the long shot which establishes a scene

rule-of-thirds the main action takes place at the center of the depth of field

tilt camera movement up and down

pan camera movement side to side

zoom camera focus comes to extreme close-up quickly

mise-en-scene from the Neorealist movement; through the scene elements

structure is accomplished

eyeguiding arranging cuts to bring the eye to where the director needs it

key grip

best boy

gnps

continuity

slate

usually key technician

primary manager for the stage manager(grip)

grunts

person who maintains continuity from shot to shot

person who synchs sound mark on set

logs person who maintains sound logs and lighting diagrams

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DIRECTOR

storyboard

shooting scripts

shooting plan

auteur

comic strip ofhow film will look

chronological list of script, shots and sound plans

grouping of scenes as to days to be shot

director's "fmgerprint"

SCREENPLAY

elements

one page = one minute

fade to: dissolve: fade out:

INT/EXT PLACE TIME

breaks; ABC stories

20:30; 56:30

Executive Producer, Manager, Agent, Producer, Writer