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# A B C D E F G H I J K L M N O P Q R S T U V W X Y Z |
If you have suggestions of terms that are missing from this glossary or for
improvements to definitions that are already here, please feel free to drop me a
line.
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10-1 (AKA: TEN-ONE) |
Movie & TV production walkie-talkie lingo for "I need to go to the bathroom" number one. It can also mean "I am currently in the bathroom" or that someone else being spoken of is for that particular function. | ||
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10-2 (AKA: TEN-TWO) |
Movie & TV production walkie-talkie lingo for "I need to go to the bathroom" number two. It can also mean "I am currently in the bathroom" or that someone else being spoken of is for that particular function. | ||
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10-4 (AKA: COPY or TEN-FOUR) |
Movie & TV production walkie-talkie lingo for "I understand your message." | ||
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20 (AKA: TWENTY) |
Movie & TV production walkie-talkie lingo for location, as in "What's your twenty?" i.e. "where are you?" | ||
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86 (AKA: EIGHTY-SIX) |
See STRIKE
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A |
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ACCENT COACH |
See DIALECT COACH
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ACTING VERBS (AKA: ACTION VERBS) |
Verbs used as tools by actors during the script and character analysis process of
developing their characters and their performances. Acting (or action) verbs are
assigned to words in a line, parts of lines, beats,
parts of scenes, whole scenes, perhaps even their characters' entire story archs,
and help actors find or determine motivations, desires, agendas, goals, emotional
or mental states, etc.
The director may be involved to one extent or the other in this process, and most certainly later might adjust whatever performances result from this work, sometimes just by tweaking, sometimes in great measure. |
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ACTOR'S REEL |
See REEL
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AD |
See ASSISTANT DIRECTOR or AD
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ADDITIONAL PHOTOGRAPHY (AKA: PICKUPS, sometimes RESHOOT) |
Footage shot after the portion of a production relevant to the scene has wrapped, in some cases after all production has wrapped. Additional photography is shot either because something was inadvertently missed or a decision has been made to add or change something in a scene or sequence. | ||
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ADR (AKA: AUTOMATED DIALOGUE REPLACEMENT, DIALOGUE LOOPING, or LOOPING) |
Also known as Dialogue Looping or simply Looping. The re-recording of dialogue by actors in a sound studio during post-production, most often with the actors speaking while watching playback of the scene to better accomodate lip synchronization. The most common reason to use ADR is due to bad audio from the production track (the audio recorded on the shoot site) or to change the delivery of a line. "Bad audio" may be anything from too much background noise, poor audio pick-up of the dialogue, or signal noise picked up and recorded. Sometimes new dialogue is written and ADR is used to add/insert such into a scene; though such added dialogue can only logically be placed in the footage where the actor who speaks it has his or her face away from the camera or is off screen. | ||
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AGAINST TYPE (as in CASTING AGAINST TYPE) |
To cast an actor in a role that seems unusual for her or him based on physical appearance, age, mannerisms, traits, or race/ethnicity. It also can be because that actor tends to be cast as characters extremely dissimilar to this role, perhaps even the opposite of the role in question. Such as an actor who has made a career of playing warriors, rough men, and gangsters, being cast as a very shy, feminine drag queen. Or an actor who usually plays a house wife and doting mother being cast as a hard-edge, no-nonsense politician. | ||
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AGE RANGE | The rage of ages than an actor can successfully play without the aid of makeup, other special effects or CGI. A category of type. | ||
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AP |
See ASSOCIATE PRODUCER and/or
ASSISTANT PRODUCER
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ARCHIVE FOOTAGE |
See STOCK FOOTAGE
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ASIDES | See SIDES | ||
ASSEMBLY EDIT (AKA: ROUGH CUT) |
An initial or early stage edit of part or all of a movie, video, or television episode done more for the purpose of seeing how the action of the story-telling works. Rarely will there be any special effects or post production, with the possible exception of making sure the production recording of the dialogue audio is synchronized if necessary. | ||
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ASSISTANT DIRECTOR or AD (AKA: FIRST ASSISTANT DIRECTOR, FIRST AD, SECOND ASSISTANT DIRECTOR, or SECOND AD) |
In general, AD's on a movie or TV set are in charge of production schedules,
communication coordination between all production people and departments, oversee
adherence to union rules (on a SAG/AFTRA production), labor rules, safety rules,
monitor budgetary spending.
The first AD prepares the shooting schedules and the script breakdowns for principal photography. He or she is the Director's right-hand person in managing the production during the entire process of principal photography, coordinates details of production operations, and often communicates directions to extra talent. The first AD also monitors filming against the production schedule, and ensures that union rules are adhered to as well as that labor contracts and location agreements are followed. She or he also ensures that safety regulations are followed on set (be it in the studio or on location). The first AD works with the unit manager and the line producer to be sure expenditures stay within budget. The second AD distributes information and reports, as well as cast notification. The second AD works with the first AD on production preparations during principal photography. He or she records all data relative to the working hours of the crew and cast, and is primary in actively managing the extras cast. Second ADs prepare cast and crew call sheets, production reports, and other documentation. Of course, in the absence of the first AD, the second AD will assume her or his duties and responsibilities. |
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ASSISTANT PRODUCER (AKA: JUNIOR PRODUCER) (AKA: AP) |
Assistant producers are literally assistants to a producer or producers, and assist
with the running of day-to-day operations and may have duties and responsibilities
related to the administrative, creative, or technical aspects of production, or any
combination of these, depending on the particular assistant producers, the particular
needs of the producers they answer to, or the particular productions for which they
are working.
Sometimes the title "assistant producer" can be interchangeable with "associate producer," when the associate producer's work is the same as above. The differences being that assistant producers always take this sort of particular active, substantive role in the project and associate producers often do not take on such a role. "Assistant director" is never an empty title given to someone in the way that "associate producer" sometimes is. |
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ASSISTANT SCRIPT SUPERVISOR (AKA: ASSISTANT TO THE SCRIPT SUPERVISOR or SCRIPT SUPERVISOR'S ASSISTANT) |
The assistant script supervisor reports to the script supervisor and helps him or her in the duties of script adherence and the maintenance of continuity. In conjunction with the latter responsibility, the assistant will take detailed photographs of the set and possibly the actors' appearances (wardrobe and any other notable condition) at the state they are in at the end of a shot or a scene, to have a visual record for continuity matching for the next shot or scene where such is needed against the just finished one. | ||
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ASSOCIATE PRODUCER (AKA: AP) |
The title associate producer, in the end, can mean a lot of things, with varying
degrees of substance to the role and to the project, be it a movie, TV or video
production.
Associate producers may be one of many types of people who are actively involved in a production or who initially contributed in some manner to the creation or pre-production of the project. In other words, sometimes an associate producer is a functioning part of the production who actively works on set or at least in administration for the project; others times he or she has some original involvement or made some passing contribution; or, especially in television, it may be functionally an empty title that reflects no duties that can be associated with "producing" the project. In all screen media, functioning associate producers are essentially junior producers with varying degrees of responsibility depending on the production or the specific experience level of a given associate producer. They assist the producer or producers with the running of day-to-day operations. People performing in such a manner may be titled "assistant producer" rather than "associate." Associate producers may be in the project's offices, working the administrative side rather than the production side. It may also be that they work only on a particular segment or location, for instance they only contribute to scenes shot on location in a particular place, either on set or somehow administratively with the arrangements; they may even be local to the region of the shoot. One who assisted or was involved but not the main force behind raising funds, making arrangements, organizing some portion of pre-production or production, may be titled Associate Producer. Also, Someone who has read and given feedback or advised on the script, perhaps even helping with a revision, may be an associate producer. Principal actors, especially in lead roles, may get an associate producers credit, which is usually in title only, and a way to bump the actor's wage without touching her or his actor's salary. This practice is more common in television than in movie productions. Also in television, especially studio live productions such as game shows or news programs, associate producers may be those who do some writing, editing, organizing scripts, running the teleprompter in news casts, or helping the editor by making beat calls. It may also be the title given to a first-time, or newer, producer who is on a project in an apprentice sort of relationship with another type of producer who is up the food chain.
Writer as Producer Star as Producer *see "Star as 'Prodcuer'" at Wikipedia |
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AUDITION |
A trial event for actors (or other performers) where they usually perform a practical
demonstration of their acting or other relative skills and talents in order to be
cast in a production. Most professional acting training programs hold auditions
for slots, as well. Talent agencies may also audition perspective performers before
agreeing to represent them.
Actors are typically required to do a screentests of a short performances, most frequently from sides that the producers have provided before the audition appointment (which may or may not have a requirement to be memorized). Occasionally they are asked to bring in a prepared monologue. Sometimes they are asked to do cold readings from the script, on the spot. An in-person, live audition may also be required, especially as a callback audition. Generally, the distinction between an "initial screentest" and a "callback live audition" is very gray as there will usually be audiences in the room for both, and both will be video recorded (or filmed). The big difference will be that the screentest live audience is usually the casting director and accompanying staff, and call backs will be viewed live by production staff. Other performers will be perform appropriate music, choreography, or other routines. Any auditioners may also be given pieces or challenges during the audition to demonstrate the breadth of their ranges within their disciplines. Often, now days, DIY screentests are requested or allowed. In some cases, an audition may be only an interview. In such cases it will typically be a situation where those conducting the audition are already familiar with the talent and skill level of the auditioner, thus only other variables are under question, such as availability or perhaps a sense of whether the performer will be a good match with the team and other performers involved in the project. The interview-only audition is most common in movie productions where the auditioner is a well-known actor. |
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AUDITION REEL |
See REEL
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AUDITION SPECS (AKA: AUDITION SPECIFICATIONS or AUDITION REQUIREMENTS) |
The specific details of what is expected at an audition or screentest. The specs will cover any or all of type (including age range), special skills (such as juggling, fencing, ballroom dancing, etc.), schedule availability, or length and type of monologue, if one is required. There may be other requirements, unique to individual auditions. Usually sides are made available before the audition, which the auditioning actor is expected to at least be familiar with have memorized. | ||
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AUTEUR (AKA: PRODUCER/DIRECTOR) |
In general today, an auteur is a film maker who is heavily involved in all or most
aspects of making a movie. He or she usually authors the screenplay, either solely
or as at least an equal collaborator. The auteur also directs, produces, and
controls the editing, if not being the actual editor. The preponderance of
short films can be considered
the work of auteurs. Such filmmaker is also as likely, if not more so, to be called
the "producer/director."
Originally the term applied solely to film makers who created a canon of films that have a theme or unified sensibility with a commonality of artistic styles and movie specific themes that showed the auteur's personal worldview. The context of these movies in terms of the auteur's vision and worldview and the overall cumulative artistic statement of the body of work was considered more critically relevant than the technical proficiency of the auteur and of the production values of the films themselves. |
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B |
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BABY LEGS | Slang for the legs of a camera tripod. | ||
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BACKGROUND or BACKGROUND ACTOR |
See EXTRA
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B-ROLL | Footage that is a cut-away during an interview or documentary type movie, video, newscast or other TV program. It's not principal footage in the movie or video or segment. For example, a person is on screen describing an action or event and the b-roll is shown while we still hear the person's voice. The b-roll will usually be footage that correlates with what is being said, such as footage from a crime scene while the news anchor tells of the crime, or footage of his/her dance sequence while an actor tells us about his/her first time dancing in a Broadway show. Though not always illustrative of the voice-over content, b-roll usually is. There's rarely audio, and when there is, it's rarely not low in volume, to not compete with the principal audio. | ||
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BEAT (AKA: BEAT CHANGE) |
1) Dramatically: the moment when a character's intent or emotional status changes,
either slightly or altogether. Also, when a character's train of thought changes.
2) "Beat" as in timing: a brief pause before a character begins to speak or take an action, each beat is usually a one count. *The beats in a scene are often controlled or manipulated by the editor. |
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BIBLE |
See STORY BIBLE
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BLUE SCREENING |
See CHROMA KEYING
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BOGIE or BOGEY | A person who does not belong on set or in the shooting area on location. It generally refers to people not connected to the production, yet cast or crew members who should not be there are also bogies. | ||
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BOGEY |
See BOGIE
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BOOM MIC (AKA: BOOM) |
A microphone at the end of a pole. The boom operator holds the pole so that the mic floats outside the frame of the shot but is close enough to the actors to pick up their dialogue. Often the boom floats above the actors, but can be underneath the area that is the frame of the shot, or to either side, as well. | ||
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BOOM OPERATOR (AKA: BOOM OP) |
The member of the sound crew who holds and extends the boom mic pole during the
shoot so the boom mic will successfully pick up the dialogue of the actors. The
boom op's goal is to keep the mic close enough to get the dialogue, but still
outside of the frame of the shot.
The history of film and television is replete with incidents of the boom mic unfortunately making it inside the shot frame in the final cut. |
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BREAKING THE FOURTH WALL | When an actor or his/her character acknowledges the existence of the veiwing audience (i.e.: the camera) thus ignoring the imaginary barrier (the fourth wall) between the viewers and the universe occurring on the screen. When "the actor" does it, it's usually an error, and will not likely happen except for in a live broadcast; often times the actor does not directly acknowledge the viewers or camera but instead breaks character, which in itself can destroy the illusion, or the suspension of disbelief, thus breaking the fourth wall. When "the character" does it, it is built into the script and magically does not destroy the suspension of disbelief -- it is the character speaking to the audience from the world on the screen. Crew members can break the fourth wall, as well, most commonly by dropping a piece of equioment off-screen. And cast or crew member's cell phone ringing will break the fourth wall. | ||
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BROADCAST TELEVISION (AKA: BROADCAST TV) |
Television programming made up of scripted and unscripted productions that are broadcast over UHF and VHF bands on the airwaves -- as opposed to Cable, On-line, and Satellite TV. | ||
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BUILDING SOUND (AKA: TO BUILD SOUND) |
A sound designer "builds a sound" when he or she assembles together two or more sound effects to create a new sound effect which is the product of those sounds being edited and mixed together. The sounds assembled together may be from the designer's sound library, they may be Foley, or a combination of the two. | ||
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CABLE PRODUCTION |
In general terms, it is the manifestation and actions of bringing together
the elements for, and the execution to, the final cut
of a series, movie, or documentary, for distribution on a cable TV network
The most common usage of the term is for the portion of the process of making a cable series, movie, or documentary that consists of any rehearsal and all major or minor filming or video recording, or shooting of live cablecast, of all action or performances involving all actors and other performers, or all subjects of a documentary. As well, the filming, video recording, shooting of live cablecast of all footage that does not include performers or other active subjects (people, animals, or animations) is part of the production phase. Thusly, "in production" means being in this period. |
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CABLE TELEVISION (AKA: CABLE TV) |
Television programming made up of scripted and unscripted productions with signals sent over cable systems -- as opposed to Broadcast, On-line, and Satellite TV. | ||
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CALL SHEET | A daily sheet that lists which cast and crew members need to be on set or location for listed scenes and what time each actor or crew member is to report to said place. Assistant directors (usually 2nd ADs or lower) or other PAs create and distribute call sheets. The call sheets may often be printed, but are also often sent in emails. They may also be posted in private groups on social media sites. | ||
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CALL TIME (AKA: CALL, CAST CALL, or CREW CALL) |
The time the cast and/or crew members are schedule to arrive on set, on location, or for any preproduction or postproduction sessions. | ||
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CALLED (as in: to be "called") |
To be scheduled to report to the set or location for rehearsal, performance, wardrobe fitting, make-up, or some variety of publicity activity (such as a photo shoot) | ||
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CALLBACK or CALLBACK AUDITION | Any audition that occurs after an initial audition. Actors being called back are being narrowed down for a part or parts in a production (usually one specific role). In movies and television there may be multiple callbacks, usually each additional audition is likely being seen by increasingly more important members of the production team. | ||
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CAST CALL |
See CALL TIME
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CASTING DIRECTOR (AKA: CD) |
Casting directors (CDs) organize, manage and conduct
screentests or other initial
auditions and interviews for most (if not all) roles for a production, sending
forward all candidates that are deemed good contenders for the roles. They may or
may not further manage callback auditions,
depending on the agreements for each project. CDs tend to be second-parties
contracted in by the producers to provide this casting service. Usually CDs are
owners or associates of a casting agency.
Casting directors do not make the decisions about who will be cast in a production, but they do act as filters, making available to the production only those auditioners that are deemed right for the roles being cast. Casting directors also are the liaisons between the actors (or other performers,) or their agents/managers, and the the production team, dealing with wage negotiations and other contractual agreements. See "Casting Director/Agent" at www.media-match.com for more detailed information. |
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CASTING CALL | A published announcement about an audition or series of auditions for a production which give all the vital information including dates, times, location, the specifications of the characters and requirements for the actors or performers, and any other details or requirements that are relevant. | ||
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CATTLE CALL AUDITION (or, simply CATTLE CALL) |
An open audition for a movie, TV, video, or theatrical stage production, where a large group of performers (actors, dancers, etc.) are gathered together to audition for the production. Usually there was only some sort of general casting call announcement made and specific appointments are not made; each performer auditions in order of arrival or by means of some other on-scene method of order selection. Rarely are cattle calls for bigger, principal roles for actors. Usually they are for small, supporting roles, or for extra work. | ||
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CGI (AKA: COMPUTER-GENERATED IMAGING) |
The creation of images on screen in a movie or TV program by means of computer
graphics programming. The images may be static, but rarely are not dynamic animations.
CGI can be 2D (two-dimensional) but usually is 3D (three-dimensional). The craft
is used to create many illusions that were once created through
special effects, especially
explosions and action which takes place in outspace.
Far more of a movie or TV episode may be CGI than most people realize. For example, most of the buildings of Atlantic City in the outdoor scenes in the popular HBO series Boardwalk Empire are actually CGI images added in post. Very often that lake in the background or that crystal-clear or ominously cloudy sky in a scene from your favorite movie is actually CGI. CGI is not to be confused with the afore-mentioned special effects, which are effects executed in the physical world: a car that actually is exploded with pyrotechnics, a great canyon that is painted on glass with actors then superimposed in front of it to make it look as if they overlook it, a projection on a screen in the back of the set of the vista on the side of a road moving as actors pretend to drive in a car in front of it -- these are all examples of special effects. |
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CHAMPAGNE ROLL | The 100th film roll (for a movie shot on film), or 100th digital down load (for a movie shot digitally). The advent of this point in principal photography is recognized and celebrated by a champaign toast. It might also apply to the 100th video tape cassette used, though video tape is infrequently used for DV movies, far less than memory cards and hard drives. | ||
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CHANGE PAGES | Pages for a script revision or rewrite that occurs during production. The new pages are usually a different color. There might be multiple revisions of a section of a script and each revision/rewrite will have its own color. | ||
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CHASE PRODUCER | A chase producer works for talk shows and news programs as the one who finds and schedules guests for interviews, i.e.: "chases guests." On news programs the guests will be experts on relevant subjects, analysts, and other "talking heads" for commentary segments. For talk shows, the chase producer is responsible for all guest appearances, including musical guests, though the idea for a particular guest may come from other producers or the host. | ||
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CHEATER or CHEATER SHOW |
See CLIP SHOW
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CHEWING THE SCENERY |
A term more common to theatre than film or television production.
See OVER-ACTING
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CHIEF LIGHTING TECHNICIAN |
See GAFFER
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CHOKER | An extreme close-up of an actor's eyes, only. Think the classic stand-off sequence between two gunslingers. | ||
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CHROMA KEYING (AKA: CHROMA KEY COMPOSITING, KEY MATTING, COLOR KEYING, COLOR-SEPARATION OVERLAY, GREENSCREENING, or BLUE SCREENING) |
Also known as key matting. The technique of replacing a specific color ("chroma") with images that are not part of the shoot and do not include that specific color, which is usually green or blue, as in greenscreen or bluescreen. | ||
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CINEMATOGRAPHER (in most cases, the DP: DIRECTOR OF PHOTOGRAPHY) |
An expert in the art of filming or electronically recording images for a motion
picture by use of the appropriate camera or other recording device, with aesthetic
composition and selective lighting techniques.
The chief cinematographer for a movie is called the Director of Photography (or "DP" for short), and is sometimes referred to simply as "The Cinematographer," |
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CLAPBOARD or CLAPPER |
See SLATE
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CLEAN SPEECH | A block of dialogue that was recorded with no audio errors or problems, and thus it's unlikely that any ADR will be necessary. Usually, clean speech needs to span a whole take, but sometimes a significant portion of a take might be considered clean speech if it meets the criteria, even if another portion does not. | ||
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CLIP |
An excerpt from a movie or a TV program. The most common use of a clip is when an
actor or other person associated with a movie or a TV series (such as director of
a movie) appears on a talk show to
promote said movie or program. If it is an actor, which it usually is, the clip
most likely to feature his or her work.
Clips are also shown at broadcast and cable television network upfronts. Clips are also sometimes shown at fan conventions such Comic-Con or other similar conventions for genre film and TV. Clips are also what make up an actor, director, designer, or other production person's sample reel, which will highlite their past work. Lastly, clips are used in clip shows. |
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CLIP SHOW (AKA: CHEATER or CHEATER SHOW) |
An episode of a television series that uses a heavy amount of
clips from previous episodes. The story
in this clipshow episode will usually center around characters recalling past events
for whatever contrived reason, then the clips are used as flash-back. The main reason
for clipshows is to shoot an episode at a lower cost and at a quicker pace. Often
the shooting of new footage will be only one or two total days, and often using only
one set -- where the characters are doing their reminiscing. Usually there are no
guest stars appearing in
the new footage shot for a clipshow.
Sometimes a clipshow may be produced close to a series finale more to generate more nostalgia and sentimentality than for budgetary reasons, though the lower production cost is likely never unwelcome. |
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CLOSE-UP (AKA: CU) |
A film, video, or still photography image where the subject image takes up a
significant portion of the frame. Usually the camera is close to the subject, but
sometimes the affect is achieved from using a zoom lense.
Not to be confused with an "extreme close-up," where the subject is even larger in the frame. |
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CO-EXECUTIVE PRODUCER (AKA: CO-EXEC) |
The co-executive producer is second in rank to the
executive producer in both movie
and television productions.
In a movie productions the co-exec will be delegated to directly handle or to assist in responsibilities for production that are under the executive producer's umbrella -- which means pretty much all operations -- reporting back to the exec. There may be more than one co-exec, each taking on various parts under that umbrella. one may deal with business management and administrative things; another may handle creative aspects. In a TV production the co-exec is very often a writer for the show, and may be the head writer. Co-execs otherwise will often have the responsibility to attend or monitor writing team meetings, if not a writer, and perhaps other production team meetings. Co-execs are usually heavily involved in the creative development of the show or series. |
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CO-PRODUCER | In both movie and television productions, the co-producer is a writer who wrote little or nothing in the screenplay or teleplay but made significant contributions at table reads, or during the revision or re-write process. In the United States, the co-producer credit usually requires Writers Guild of America approval. | ||
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CODEC | A computer program for encoding and decoding digital data streams or signals for transmission and storage. A codec is used for video editing, streaming media, and video conferencing. | ||
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COLD BRICK | A battery for any piece of equipment on a movie or TV production that is dead or near dead and needs to be replaced in the equipment with a good battery and recharged. The term is not often used as opposed to its opposite: hot brick, as in, "DP needs a hot brick." | ||
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COLD OPEN (AKA: TEASER SEQUENCE -- sometimes "teaser") |
A scene or scenes from a TV program or a film, shown at the beginning before the
title sequences or opening credits. In sketch comedy or variety TV shows it will
usually be a sketch, often with a recurring theme or gag -- such as how the cold
open of Saturday Night Live
always ends with someone yelling, "Live from New York! It's Saturday night!"
Another good example of a recurring cold-open gag would be the purposefully bad puns that always ended the cold opens of episodes of CSI: Crime Scene Investigation. |
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COLD READ (AKA: SIGHT READ) |
To read aloud from a script or other text, usually an actor during an audition for stage or screen, with little or no rehearsal, practice or study in advance. Cold reads are also common in acting and public address classes. In auditions, where they are most common, they allow the auditor (director, producers, casting director, or writers) to judge the actor's ability to quickly grasp at least the fundamentals the character and can help judge the actor's appropriateness for the role being considered. Casting auditors are often split on the merits of cold reads. Some find them very useful; others do not believe such audition method helps in successfully casting a project. Actors, too, are split on the merits of the cold read. | ||
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COLOR CORRECTION | The process of making the colors in each shot match those from shots around it. It also is the process and technique of changing the overall color temperature, shading, vibrance, and/or intensity for an entire movie or program or some particular section or sequence within such. | ||
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COLOR KEYING |
See chroma keying
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COLOR-SEPARATION OVERLAY |
See chroma keying
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COME BACK ON THAT |
See GO AGAIN
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COMPUTER-GENERATED IMAGING |
See CGI
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CONSULTING PRODUCER |
Consulting producers consult on screenplays or teleplays with the writers, often
because of expertise or a specialization in a particular subject or concept. They
frequently are former executive producers
or co-executive producers who
are no longer connected or no longer much involved with the production.
In some rarer cases, directors or cast members will be consulting producers; such cast members are more likely to be in a television series, and are very likely to be lead actors who have gained the clout to have input on the further development and story lines of their characters. Though, in film, major movie stars can be in this position, as well. |
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CONTINUITY |
1) The supervision of principal photography that keeps track of all properties,
settings, costuming and actions for each shot to make it possible to seamlessly
edit all shots in a movie together for correct and logical sequence of the movie
events regardless of what order each scene or part of a scene was shot. It
facilitates the appearance of consistent movement and occurrence of action, events
and images in the final cut of a motion picture, TV show or video.
2) in conjunction, Continuity is also the degree of which a film is self-consistent without errors, jump cuts, or mis-matched shots and details; Continuity shooting and editing moves the viewer seamlessly, unobtrusively, and logically from one sequence or scene to another, propelling the narrative. |
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CONTINUITY ERROR | Any point in a movie, TV show, or video that has mis-matched elements from a previous point, usually from one scene or shot to the next. An example of a continuity error would be an actor holding an object in the left hand in one shot, but in the next shot -- representing the same action only an instant later -- the object is in the right hand. It can also be a mis-match in lighting, or wardrobe, or any noticeable change in appearance of an actor, the set, the location, a prop, a set piece, or sound that is clearly not intended to have occured. | ||
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CONTINUITY REPORT (also known as the CONTINUITY SCRIPT) |
A detailed report of all the conditions and elements of each shot photographed, noting actions and movement from start to end by each actor (or animal), the placement of props at the start and stop of the shot, weather conditions, lighting, sound, the appearances of the set, the environment and the actors (including wardrobe, hair, facial hair, makeup, etc.) -- basically any condition that should be the same when the shot is married with the shot before and after it. This report is the responsibility of the script supervisor. | ||
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CONTINUITY SCRIPT |
See CONTINUITY REPORT
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COORDINATING PRODUCER (AKA: PRODUCTION COORDINATOR) |
The coordinating producer (or production coordinator) manages and oversees the overarching production schedule and organizes the staff teamwork. In the production team hierarchy, coordinating producers/production coordinators are typically positioned just below co-producers. | ||
COPY (AKA: 10-4 or TEN-FOUR) |
Movie & TV production walkie-talkie lingo for "I understand your message." | ||
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COSTUME DESIGNER |
The person who designs costumes for a movie, television, video, or music video
production. Based on the script and in collaboration with either the
executive producer (or other
producers) or the
director, or both, the
costume designer creates the look of the characters by designing clothes and
accessories that fit each character and the era being depicted. As well they design
to meet the intended mood and concept of the production, choosing appropriate shapes,
colors and textures. The Costume designer also usually collaborates and cooperates
with the director of photography,
or the gaffer, and the producer and/or
director to be sure the costume design fits the production as a whole in terms of
thematic and visual correlation.
The designer may make or "build" costumes, use costumes in the production company's or studio's collection (often with augmentation and tailoring), or buy, rent, or lease costumes. The costume designer is also responsible for the accessories the actors will need for their characters, such as canes, hats, gloves, shoes, jewelry, etc., with such items often being key to helping define the perception of a particular character. The costume designer usually is who creates the costume plot, which is the written chart of what particular costumes or pieces of clothing the actors need for each scene or segment of the movie, program or video. |
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CRAFT SERVICE |
The department that provides food and beverages on-set and on-location throughout
the production day for the entirety of the company, all crew, all cast. Craft
service may be as simple as a table with snacks and bottles of water to a room
with a large variety of foods and beverages -- much depends on the size of the
budget and the production.
The food and beverages provided throughout the day are, themselves, called "craft service," like the department. Full, hot meals are called "catering," and though the Craft Service department is usually responsible to provide those meal (on a union shoot, it is), such meals are usually brought in from an outside source -- a restaurant or independent catering service. On a SAG/AFTRA production, the Craft Service department is responsible to provide a full hot meal for cast and crew every six hours. For non-union shoots, it's best practice but not a requirement.
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CREW CALL |
See CALL TIME
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CU |
See CLOSE-UP
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CURTAIN CALL |
In a movie production a "curtain call" is a sequence at the end
of the film, of short clips, outtakes, or still photographs, usually before the
closing credits, featuring each main principal actor with her or his name
accompanying. It is tantamount to the recognition of each actor by the audience in
a stage production curtain call. Though
not a standard practice in films, when it does occur, it's likely in a comedy or
other lighter movie, and usually when there are many principal actors, or a large
amount of cameo appearances.
In a television production a "curtain call" will appear at the end of the series finale for a program (usually a situation comedy) that was filmed or taped in front of a studio audience. The cast will, after finishing the last scene of the series, take their bows in front of the studio audience in the exact fashion of a theatrical production. In many of these cases, the cast took bows in front of the audience as a standard practice after each episode was wrapped, but the difference here is that the finale curtain call is shown as part of that last episode. Sketch comedy shows such as Saturday Night Live also have a curtain call as the last minute or so of each show, where the cast members and guest players gather on stage to thank and say goodnight to the studio audience and the viewing public. Late night talk shows and variety shows have a similar practice, but usually it is just the host. |
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CUTAWAY (AKA: INSERT) |
An inserted shot, though usually related shot, to interrupt a continuous shot of action. Usually after the cutaway shot we return to the first shot. The cutaway almost always relates to the action of the continuos shot: some action or other visual that sets up or introduces a broader scope of action or illustrates the point of the main footage. In conjunction with these other purposes cutaways are often also used to cover obvious edits in the main action (jump cuts or deletions of portions of the main shot) or to allow the marriage of portions of two takes, versions, or shot setups of the main footage. In non-fiction work (such as news or documentaries) cutaways are similarly used. They are especially used in such work to cover jump cuts and to insert what are known as "noddies." Noddies are insertions of the interviewers being shot, after an interview, repeating their questions and nodding, since on location, there is usually just one camera to shoot an interview, and it's usually trained on the interviewees. These post-interview pick-ups are then inserted, in continuity, to break up the monotony of only seeing the interviewee, and to cover edits. | ||
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D |
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DAILIES |
See RUSHES
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DAY PLAYER | Supporting actors with speaking roles in a movie or TV program who work on set on a daily basis without a long-term contract or agreement. In movies, day players may be in several scenes, in television productions they frequently are only in one scene. | ||
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DAYTIME TALK SHOW | A talk show that appears during the day, usually between mid-morning to late afternoon, Monday through Friday. | ||
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DAYTIME TELEVISION (AKA: DAYTIME TV) |
The programming period of the week for Broadcast Television generally considered
to be 6:00 a.m. through 8:00 p.m. (U.S. Eastern Standard Time), Monday through
Friday. The programming aired during this period is generally morning shows, news
magazine formatted shows (usually in the morning), talks shows, network game shows,
and serialized soap opera. With very
few exceptions, all these types of programs have a new episodes for each weekday.
Most of the morning shows and news magazine shows are either produced by a
national television network or produced locally by the station on which they air.
Soap operas are network productions. TV talk shows and game shows are a mix of
network and syndicated productions with the occasional locally-produced show.
Often the earlier morning hours feature local morning news broadcasts. Most local stations produced their own local evening news at 6:00, and often with a 5:30 p.m. edition as well. At 6:30 p.m., there is usually an edition of the network-produced nightly news on network-affiliated stations. Many local stations produced their own programming for children, with such programs often airing in the afternoon after children have come home from school or early morning before they leave for school. Networks have gotten out of the business of such programming for children, but at one time, CBS produced the long-running < HREF"http://www.imdb.com/title/tt0047718/">Captain Kangaroo (starring Robert Keeshan), which aired in the pre-school hours from 1955 till 1984, though some of its run toward the end was during weekend programing. *Sometimes "Daytime TV" is defined as starting at about 9:00 a.m., after the morning shows and news magazines are over. For more, see "Daytime television" at Wikipedia. |
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DEUS EX MACHINA (AKA: "GOD FROM THE MACHINE," sometimes "MACHINE OF THE GODS") |
A plot device in a movie, TV program, play, or prose fiction literature that employs
a sudden, unexpected resolution to an insurmountable dilemma. This resolution is
invariably an unlikely, often hard-to-believe, occurrence, often executed by a new
character or one who was previously so minor to the story she or he could have been
cut. Modern audiences tend to not be willing to accept such a resolution with the
possible exception of in farcical comedies.
"Deus ex machina" was a convention of ancient Greek theater, where actual machines, usually cranes, were used to push an actor up through a trap door or lower them from above. In present day it is most frequently criticized as lazy writing. |
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DIALECT COACH (AKA: ACCENT COACH [British]) |
An expert in national and cultural accents and dialects who works with an actor to
create the accent, voice, and speech pattern of a character for a stage or screen
production or for voice-over work. If
dialect coaches are not wholly familiar with the dialect in question they will do
original research into the dialect, accent, speech patterns, etc., in some cases
immersing themselves in the geographic region where the dialect (etc.) is common
or native. Coaches usually prepare and provide written and often recorded materials
for their students, and will run them through exercises, both generic and usually
also consisting of the actors' lines from their script. The coaches also give their
students feedback as to the authenticity and clarity of the students work with the
dialect.
Often in the dialect work with students the International Phonetic Alphabet (IPA) is employed. |
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DIALOGUE LOOPING | See ADR | ||
DIRECTOR |
In general terms, the director on a film project can be considered the captain of
the ship; in television she or he is best called the traffic cop.
Directors for the camera have a wide and varied scope of duties and authorities, depending on the medium in which they are working, and also depending on the particular projects they are working on. In movie productions the director is the primary artistic leader who governs the creative content in all aspects from the performances by the cast members, principal photography, sound effects, Foley sound, special effects, and the editing all the way to the final cut. Usually the director has a significant amount of creative control, if not total creative control, over the artistic elements of the production. Sometimes there will be restrictions on artistic freedom that is dictated by the producers or the studio, based on goals and visions set for the project during its development. Often a director's artistic decision is vetoed simply due to budgetary concerns. Depending on the project, the film director will have authority, responsibility, or input over any and all of casting, script development, script editing, cinematography (any or all of shot composition, shot selection, and perhaps even lighting), and the film editing of the movie. It's not uncommon for film directors and their directors of photography (DPs) to work in collaboration which each other, the DPs using their expertise to give the directors screen images and the visual feelings they want, while the directors relay on the DP's skills and are open to creative ideas and suggestions from the DPs. On a production where the director can be called an auteur, he or she will have much tighter control over all creative, and probably many managerial, aspects of the movie. Quite often such directors will be primary or solely responsible for casting, and may be the director of photography, or will at least occasionally operate the camera. They'll probably also be the primary driving artistic force behind all other creative design aspects such as costuming and and set design. Auteurs' film productions are almost always independent films. New film makers, just starting out, frequently shoot several short-subject films that are independent auteur productions, sometimes with that director performing almost all the production duties, or with a small crew, with each member wearing more than one production hat. In large, big-budget movie productions, the directers might relinquish some director's duties by delegating the shooting of some scenes or sequences of less dramatic principality or complexity to the second unit. This is also true in episodic television productions, especially such programs as single-camera procedural dramas like CSI. In television productions the director traditionally directs the activities involved in making a television program and is part of a television crew. The duties of a television director vary depending on the type of production: multiple-camera or single-camera, and variants within those two categories, with directors generally having more overarching creative input in single-camera productions, which are shot and produced virtually like movies, with the caveat that the EXECUTIVE PRODUCER (the show runner) has ultimate creative control. In multi-camera productions, especially such things as news, sports news, sporting events, talk shows and game shows, the director is responsible for "calling" the broadcast or video recording, supervising the placement of professional video cameras (camera blocking), lighting equipment, microphones, props, graphics, and the overall pacing and feel of the production. In a dramatic arts production, the television director's role can be similar to a film director's, giving cues to actors and directing the camera placement and movement. In a television show composed of individual episodes, the television director's role may differ from a film director's in that he or she will usually work only on some television episodes instead of being the auteur of the entire production. In an episodic television production, the major creative control will likely reside with the television producer(s) of the show. However, the director has input, whether it be how, if, and why something can or can't be done. Other than quickly calling out commands, the television director is also expected to maintain order among the staff in the control room, on the set, and elsewhere. A news studio might have multiple cameras and few camera movements. In a sports broadcast, the director might have 20 or 30 cameras and must continuously tell each of the camera operators what to focus on. While the director is responsible for specific shots and other production elements, the producer (typically seated behind the director in the second row of chairs in the control room) coordinates the "big picture," including commercial breaks and the running length of the show. |
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DIRECTOR OF PHOTOGRAPHY (AKA: DP, sometimes simply, "Cinematographer") |
The Chief Cinematographer on a movie or TV production set, responsible for the design and processes of filming or digital video recording the movie or TV show to meet the specified vision of the director. The DP will directly or indirectly administrate all of the following duties: selection of film stock (if the project is shot on film), number and types of cameras, and what lenses will be employed; with digital video, the sort of movie types used or converted to, and adjacent DV equipment; the design of the lighting for each scene and selection of lights and paraphernalia to accomplish that design; and the composition of all shots in collaboration or consultation with the director; and any film developing and film printing or digital rendering. Some directors will take a more involved stance with some of these responsibilities, others will leave most or all of this entirely to the DP's discretion. | ||
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DIRECTOR'S REEL |
See REEL
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DIY SCREENTEST *as in "Do It Yourself" (AKA: SELF-TAPED AUDITION, DIY AUDITION or DIY VIDEO AUDITION) |
A self-made digital or analog video recorded audition by an actor or other performer for consideration of being cast in a screen or stage production project. | ||
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DISASTER SHOW |
1) An episode of a television program where a large series of problems occur during
production. Disaster shows are more likely during shows with live broadcasts, such
as sketch comedy, or shows that tape in front of live studio audiences. The problems
may be one, some, or all of camera or other technology malfunctions, mis-cuing of
sound or light cues, malfunctions of special effects, props or set pieces missing,
breaking, or somehow not working properly, performers making errors or having
accidents during performance. Sometimes a particular performer or crew member can
have their own personal distaster show, with only their own work having a series of
problems. Theatrical productions or their casts/crews can also have a disaster show.
2) a program where the subject is one or more disaster, usually a documentary, but might also be a narrative program. |
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DOLLY (AKA: CAMERA DOLLY or DOLLY TRUCK) |
A platform for a camera that is mounted on wheels that usually are laid over tracks
(dolly track) so that the camera may smoothly move toward or away, on a horizontal
plane, from the subject being shot. The camera and camera operator are on the
platform which is pushed or pulled by a crew member known as the dolly grip. The
resulting shot is known as a dolly shot *(see below).
Steadicams now often replace the dolly use, though the resulting shot is still known as a dolly shot. Independent film makers have improvised their own dolly trucks, with film maker Kevin Smith innovating the use of a wheel chair as a dolly for dolly shots, a practice that has since become common. |
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DOLLY SHOT | To dolly a shot means to move the camera into (toward) or out from (back away from) the subject of the shot. This is not a "zoom in" or a "zoom out" where the focal point of the lens is changed to make the subject image closer or farther away while the camera stays stationary. In a dolly shot the camera may or may not be mounted on a dolly truck, which may be mounted on tracks or have wheels. Now the term means any shot where the camera operator moves the camera toward ("dollies-in") or away from ("dollies-out") but with the same lens zoom for the whole shot, and regardless of the means of transport (walking, dolly truck, wheel chair, the latter made famous by Kevin Smith as a dolly method). | ||
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DOPE SHEET | A document that lists what scenes and shots have been completed for a movie or television production. The dope sheet is usually maintained by the assistant camera operator, if not, then it is maintained by a second AD, a PA, or an AP. | ||
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DRESS REHEARSAL (AKA: DRESS) |
The final rehearsal of an episode of a television production, generally
sitcoms, entertainment talk shows, and
sketch comedy shows, that is a full run with all actors in full costume & makeup,
and that includes all the technical aspects of lights, sound, special effects that
will not be incorporated during post.
Usually it will be the only full-run rehearsal, and the only rehearsal done in
continuity from first segment to last segment. For sitcoms and sketch comedies, the
dress will almost always be run in front of a studio audience*; there will be no
stops unless something goes far amiss. Since the camera work is rehearsed, dress
rehearsals are recorded and the some footage may be used as coverage in case there
is a problem during principal photography,
which is the official production recording of the episode, and is shot later the
same day as the dress. For instance, the dress rehearsal for
Saturday Night Live
begins at 8:00 pm on Saturday, with the live broadcast performance at 11:30 pm.
*Dress rehearsal and the actual production shooting have seperate audiences. Sitcom and sketch comedy show dress rehearsals are performed in front of a studio audience so the producers and writers can gage the effectiveness of jokes and gags based on the audience response. Moments that fail will be revised, rewritten, or possibly cut, before the principal photography or live broadcast later that day. |
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E |
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EASTER EGG | A message, image, reference, or feature hidden, sometimes in plain sight, in a movie, TV program, video game, or other medium, usually electronic. Derived, of course, from the traditional definition of an Easter egg (the actual colored egg), this connotation originated in video games, but has been adopted by the entertainment industry in general. The egg may somehow relate to another story in the same universe, it might be a private joke between designers or techs, or it could be some sort of homage. The term is increasingly be applied to theatrical plays and novels and short fiction stories. | ||
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ECU |
See EXTREME CLOSE-UP
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EDIT PRODUCER | Edit producers are assistant producers who coordinate the editing process. They work directly with project editors and are liaisons between the editors and producers up the food chain. On some television productions, the editing producers may take part in conceiving stories or story ideas and/or be involved in the development or writing of scripts. | ||
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EDITOR (AKA: FILM EDITOR, MOVIE EDITOR or VIDEO EDITOR) |
The editor of a movie, TV or video production literally assembles the scenes of
the project in the correct order, either by means of a computer editing software or
by attaching each piece of film or video tape in the correct sequence (though the
latter two are not often practiced anymore, especially the physical assembly of tape,
which was always rare). The editor also incorporates the specific shots used for
each moment in each scene. Along with putting each scene in proper order, the editor
also controls the timing and rhythm of each scene by how much of the pauses between
action and dialogue are used or removed from the footage. The editor usually works
in consultation with the project director. Some directors give the editors a lot of
discretion to use their own judgement, others keep tight control over the decisions
of both shots used and pacing.
Often, in independent productions, and in some case, studio productions, the director is the editor, especially if she or he is an auteur. Many short films have the director as editor. |
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EIGHTY-SIX (AKA: 86) |
See STRIKE
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EP |
See EXECUTIVE PRODUCER
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ESTABLISHING SHOT | In both movie and television productions, it is the first shot of a scene, which introduces the audience to the location or the space where the scene is taking place. Occasionally there will be titles at the bottom of the screen to identify the location, such as "FBI Headquarters, Quantico, Virgina," or "The Office of Smith, Jones, and Doe, Esq." Sometimes an establishing shot is simply a still photograph, such as the establishing shot of the New York City apartment building used frequently on Friends. | ||
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EXECUTIVE PRODUCER (AKA: EP -- *In television, often SHOW RUNNER and/or HEAD WRITER) |
In the hierarchy, only top executives at the movie studio, television network, or
streaming service have more authority over a project than the executive producer,
and that is only because such entity is commissioning or has bought a franchise on
the product to put out through their respective venues. But in terms of the direct
hierarchy of the production, the executive producer is the top boss.
In movie productions executive producers are the masters of the finances, either putting up some -- perhaps all -- of the money themselves, or pitching to potential financial backers (for an independent film) or pitching the movie to a studio in hopes they will pick it up and back its production. In the case of independent films, they also are responsible to secure the distribution deals. Often executive producers are in some manner involved in the development of the project, beyond finances, from somewhat to heavily. In some cases the concept for the movie was their idea. Once a movie gets the greenlight the executive producer may or may not be involved with any further production development, but they are very likely to be heavily involved with the financial and business aspects, such as budgets, contracts and executive operations. In television productions (network, cable, & streaming) there are several types of executive producer, and a particular show may have more than one, and a particular executive producer may fit into more than one of these categories:
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EXPOSITION |
The dissemination (or "exposing") of information about characters or
other aspects of the universe of a story in order to make the story being told
clearer and in the right context for the audience.
Exposition can be done in clever manners that make the introduction of the information smooth and perhaps even matter-of-fact. The danger is that exposition can also be clumsy and seemed forced and unnatural, which calls attention to it and may take the audience members out of the story, out of their suspension of disbelief. |
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EXT. | A part of the slug line at the top of a scene in a script for a movie, TV show, or video production, that indicates that the scene will take place in an exterior location, i.e.: outdoors. The scene will not necessarily actually be shot outdoors, but, might be shot on sound stage simulating the outdoors. | ||
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EXTERIOR SCENE (AKA: "EXT.") |
A scene from a screenplay, teleplay, or video script that happens in the outdoors. The term applies to where the scene takes place in the universe of the script, not where it is actually shot. The slug line may read, "EXT. THE TAYLOR BACK YARD...." but it may be shot on a sound stage made to look like the Taylor back yard, rather than an actual outdoor location. | ||
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EXTERIOR SHOOT (AKA: "EXT.") |
A shoot for a movie, TV show, or video production that is done in the outdoors,
rather than on a sound stage or inside any other building.
*Though an "EXT." slug line in a script only indicates that the scene takes place in an exterior location, within the universe of the story -- the scene may have actually been shot on a sound stage made to look like the outdoors. |
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EXTRA (AKA: BACKGROUND or BACKGROUND ACTOR) |
A cast member in a movie, television, video or streaming production who has no lines and is usually part of some sort of crowd or group, be it on a street or other exterior location, or an office or other interior location. | ||
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EXTREME CLOSE-UP (AKA: ECU) |
A film, video, or still photography image where the subject image takes up all or most of the frame, even more so than a close-up. Usually the camera is close to the subject, but sometimes the affect is achieved from using a zoom lense. | ||
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EYES ON | Movie & TV production walkie-talkie lingo for when a needed item or person is spotted or found, as in "I have eyes on the prop gun," or "I have eyes on Mr. De Niro." | ||
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F |
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FEATURE FILM (AKA: FEATURE-LENGTH, FEATURE-LENGTH FILM, FEATURE, FULL-LENGTH, FULL-LENGTH FEATURE, FULL-LENGTH FILM) |
A movie that is at least forty minutes in length, but is usually over seventy minutes, with the standard being eighty to one-hundred-twenty minutes. | ||
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FEATURED ROLE or FEATURED PLAYER | Usually means a "supporting role," but sometimes is used to parse out supporting roles that are of more significance to the story arch, such as the lead character's best friend who acts as a sounding board throughout the movie, or the antagonist of the film, if such roles are not at lead role status. | ||
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FIELD PRODUCER | Field producers select or recommend shooting locations outside of a movie or TV studio set and coordinates the productions at those locations (or "in the field"). Along with managing and coordinating field production, field producers may also be the location scouts, if not having scouts report to them, they may operate cameras (for such things as news magazine or talk show productions), and they may be considered production assistants reporting to a producer up the food chain (possibly one of the segment producer, coordinating producer, or line producer). For TV productions such as Reality TV, news magazine, or TV talk shows, it's generally expected that field producers develop a good, strong report with the cast or the participant subjects, who will be on screen, to get smoother cooperation and/or better interviews from such people. | ||
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FILE FOOTAGE |
See STOCK FOOTAGE
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FILM |
1) as a noun: a thin flexible strip of celluloid or other material coated with
light-sensitive substance for exposure in a camera, used to produce photographs or
motion pictures.
Also, a synonym for movie (as in motion picture). 2) as a verb: "to film" is the act of photographing moving pictures for a movie, television (broadcast, cable, or streaming), or video production via film. The recording of the audio in the action is typically, but not always, involved. *Often the photographing (recording) via digital video is referred to as "a film" or "filming," though such uses are technically incorrect. |
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FILM EDITOR |
See EDITOR
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FILMING |
1) as a noun: the portion of the production of a movie, television
(broadcast, cable, or streaming), or video production that involves photographing
in moving pictures via film. The recording of the audio in the action is typically,
but not always, involved. "A filming" may refer to the overall process for
the production, or some smaller segment, such as a day or a scene.
2) as a verb: the act of photographing moving pictures for a movie, television (broadcast, cable, or streaming), or video production via film. The recording of the audio in the action is typically, but not always, involved. *Often the photographing (recording) via digital video is referred to as "filming," though the use is technically incorrect. |
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FINAL CUT |
The final edited version of a movie, television program, or video, with all aspects
of the production locked in place as "finished": scene edits, any and all
special effects, post-production animations and CGI, all color correction, all
sound mixing, sound effects, ADR, Foley sound, all music score and incidental
music added in, and all titles imposed. The absolute finished version of the movie
as approved by the director and producer. May also be called the "locked
version" or "locked edit."
Related: IN THE CAN |
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FINAL DRAFT (AKA: LOCKED DRAFT) |
The final version of a (screenplay or teleplay, ready to submit to the producers for production. This does not mean that further rewrites or revisions will not be made during production, in fact, such are likely, and sometimes (often) considerable changes are made. | ||
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FIRST ASSISTANT DIRECTOR or FIRST AD |
See ASSISTANT DIRECTOR or AD
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FIRST TEAM | The principal actors on a set or on location. | ||
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FLYING IN | When a person or item is in route to its destination on set or location, as in "The prop weapons are flying in," or "There are two grips flying in, right now." Especially used over walkie-talkies. | ||
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FOLEY | Sound created and designed for a movie to be synchronized with action or to otherwise enhance the action of a scene. Most sound in a movie is actually Foley sound (created sound) that represents the sound associated with the action but often in reality is something else: twisting a rack of celery in front of a microphone to create the sound of cracking bones is a famous example. The term "Foley" may be used as a general term to mean all added sound and sound effects; purist will only refer to newly created sounds, done originally for the sequence in a movie, as Foley, and will call all other sound, brought in from the sound library as SFX (sound effects), or simply as "library sound." The term Foley is derived from the name of early sound effects artist Jack Foley, who pioneered the processes and artform of Foley work in motion pictures. | ||
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FOLEY ARTIST | The sound designer who creates sound effects and noises to the edit of the movie in post-production. Far more than half the sound heard is added by the Foley artist, including things as simple as footsteps, liquid poured into glasses, papers being shuffled, to more exotic and dramatic sounds as gunshots, punches, thunder, explosions, and much more. Traditionally Foley artists would watch a run of a film sequence as it was projected with props that mimic the sound of the action, and record the Foley sound in synchronization with the action on the screen. Today Foley is often added by computer synchronization; sometimes it is a mix of both methods. | ||
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FOUR BANGER | A long trailer for a movie or TV production, with four doors, that may be used for one of several purposes: as an office area on location, as any of a variety of production rooms (editing suites, storage, etc.), as one or more dressing rooms, or as a green room. | ||
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FOURTH WALL | The imaginary barrier, or "wall," between the veiwing audience and the world on the screen. Poetically the Fourth Wall means the veiwers witness the action in the world of the movie or TV show, and the characters in that world are not aware of the veiwers' presence (i.e.: the camera). The veiwers are "eaves dropping" on the story being played out on the screen. When the actors or characters acknowledge the existence of the veiwers, that is known as "breaking the fourth wall." | ||
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FPS (Frames Per Second) (AKA: FRAME RATE) |
The number of frames (still images; pictures) per second in a video or movie. Usually lowercase: fps. | ||
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FRAME RATE |
See FPS
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FRAMING | The visual composition of the images that will be seen on the screen in a movie, TV, or video production. The framing includes consideration of what will be included in the shot, and where all objects and elements will appear in the frame, and thusly on the screen. | ||
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FRANKENBITE (OR: FRANKENBITING) |
A frankenbite is an edit of two or more pieces of partially-to-completely unrelated events, moments, or dialog, to create the illusion that something has happened that did not. It is a staple editing technique on Reality TV productions. On occasion, some of these events, moments and dialog may be deliberately coached or manipulated out of the cast members of the show. The purpose of frankenbiting is to create or enhance dramatic tension and conflict to better appeal to the viewing audience. | ||
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FULL-LENGTH FEATURE, FULL-LENGTH FILM, or FULL-LENGTH MOVIE |
See FEATURE FILM
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FULL SHOT |
See WIDE SHOT
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G |
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GAFFER (AKA: CHIEF LIGHTING TECHNICIAN) |
Heads the electrical department on a movie or television production. The gaffer oversees the execution of the lighting design, supervising the setup of lights or other light sources for each shot in the production. Gaffers could be involved in creating the lighting design, either designing by themselves or in collaboration with their directors of photography, if the DPs are not the sole designers, which occasionally they are. | ||
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GAFFER TAPE (AKA: GAFF TAPE, GAFFER'S TAPE, CAMERA TAPE, or SPIKE TAPE) |
A tape used in movie, TV, video, and theatrical productions, as well as still photography. It is a heavy cotton cloth pressure-sensitive tape that has strong adhesiveness. Gaffer tape is designed for temporary usage so when removed it does not harm what it is applied to and it leaves no residue, even if it has been applied to surface or object for an extended period of time. It is used to secure things together and is frequently used to tape cords to the floor or wall so they do not become a hazard to the artists and crew members who need to work in the areas where the cords are. Gaffer tape is most commonly matte black (or dark gray) but also comes in other colors, which are often used to "spike" where items on a set (movie, TV, or theatrical) are to be place, and used as "marks" (in movie or TV productions) where actors are to move to or to stand. | ||
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GO AGAIN or COME BACK ON THAT | Movie & TV production walkie-talkie lingo for "I didn't understand or catch that; please repeat the message." | ||
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GO FOR (NAME THAT WAS CALLED) | Movie & TV production walkie-talkie lingo response from a crew member when her or his name was called by another, who said, perhaps, "John for Jane." Jane would respond, "Go for Jane," meaning, "I hear you calling for me, what do you need to tell or ask me?" | ||
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GOFER | A lower-rung production assistant or personal assistant who runs a variety of personal errands and tasks for production staff or talent. | ||
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GOING BIGGER |
For an actor to "go bigger" means he or she intensifies or exaggerates
whatever emotional state her or his character is relaying. It does not mean to
"get louder" (though in some instances volume may be part of the
equation). It simply means to amplify whatever emotional state is in question,
slightly, greatly, or somewhere in between.
The director may also say "give more." *as opposed to pulling back |
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GOING OFF WALKIE | Movie & TV production walkie-talkie lingo for when a crew member is turning off her or his walkie-talkie for any reason during the production day. The crew person will simply say something like, "Jane here, going off walkie." | ||
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GOING SMALLER |
See PULLING BACK
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GOOD CHECK | Movie & TV production walkie-talkie lingo that is a response to affirm to another crew member who has called "walkie check" over the system to be sure their unit is working that it is indeed working. | ||
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GREENLIGHT |
To approve a movie or television project and allow it to go into production. The authoritative perogatives of executives and movie, television, streaming or independent production studios, or of executive producers for independent film productions. | ||
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GREENSCREEN | The technology of placing actors or objects in front of an evenly lit greenscreen background. Through computer programming, the green is then rendered invisible and other footage or images can be imposed as the background imagery. Greenscreen work now replaces the older bluescreen because it has been proven easier to separate key green from other foreground colors. The general technology, regardless of color, is known as chromakeying. Greenscreen work can also be completely computer graphic generated, rather then being shot on a set with a greenscreen backdrop, so long as the background is pure green. Computer generated characters that are blended with real life footage, are an example of such totally graphic generated greenscreen footage to superimpose over other footage. | ||
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GREEN ROOM | In both television and theatre productions (not so much movie productions) the greenroom is a room or designated space in a back stage or close by area that serves as a waiting room and lounge space for performers before, during (when they aren't "on") and sometimes after a performance, especially in theatre if there is another performance of the show later in the same day. The origin of the term is usually attributed to the account of the rooms historically being painted green, though green rooms are rarely, if ever, green, today. | ||
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GUEST ROLE, GUEST SPOT, or GUEST STAR | Any supporting role on episodic television that is key to the plot of an episode or a story arch. Most guests roles are for one episode only, but some characters return in subsequent episodes (making them recurring). The character is usually in multiple scenes during the episode, but may only be in one if it is a key scene for the story, or especially because of the star-status of the actor. For instance, a cameo by a particularly famous and successful actor may be billed as a Guest-Star appearance (and with a hefty paycheck) when it would otherwise be considered Day Player work at, or only a little more than, SAG/AFTRA scale (the minimum allowable wage). | ||
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GUIDED IMPROV (AKA: GUIDED IMPROVIZATION or GUDIED IMPROVIZATIONAL ACTING) |
A form of improvizational acting where
the actors have no script of lines but do have facts, details, or goals that are
to be reached (perhaps all of these), so that they are not free to go wherever
they wish with their improvisations, but still are free in terms of their lines and
usually some big measure of the emotional life of their characters in the scenes or
the story.
A situation where this most prevalent is with actors who have been hired by medical schools or law schools to play the roles of patients, clients, or witnesses, armed with fact sheets but no script and expected to improvise based on the details they've been given to help teach the medical or law students. |
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H |
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HEAD WRITER | The top ranking writer for a television program, in charge of the writers room, who is virtually always either an executive producer or a co-executive producer, and if an executive producer, may also be the show runner. The head writer may be also be a supervising producer rather than exec or co-exec producer. | ||
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HEADSHOT |
A close-up or medium close-up portrait photograph of a performer, usually in portait
orientation, and usually 8"x10" sized, submitted with the performer's
résumé at audition.
Traditionally headshots were in black-and-white, but that custom is generally out
of favor for color prints.
Some producers and/or CDs may also accept 5"x7" or 4"x6" headshot prints. |
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HOLLYWOOD REVERSE |
See REVERSAL SHOT
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HONEYWAGON | A port-a-potty | ||
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HOT BRICK | A fully-charged battery for any piece of equipment on a movie or TV production. Most often referring to a walkie-talkie battery, but also to a camera battery, or any other battery for any equipment. | ||
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HOT SET (AKA: LOCKED SET) |
A movie or TV set (sound stage or on location) where shooting a particular scene, or shooting in general, has not concluded and set pieces, props, and all other visual conditions must not be moved or altered so that when shooting resumes continuity is not compromised. Only authorized persons may be on the set for any reason, and even fewer are authorized to touch or move anything. | ||
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I |
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IMPROVIZATION (AKA: IMPROV or IMPROVIZATIONAL ACTING) |
The genre of acting that uses the art of improvising lines and scene development
on the spot without a script or previous preparation, or with very vague outlines
of one or both. The most important element is that no author has written any
specific lines for the actors to say, even if intent has been previously determined
to one extent or another.
The most prolific examples of improv are improv comedy troupes such as the famed Second City, which originated out of Chicago, The Upright Citizens Brigade, also founded in Chicago, or The Groundlings (Los Angeles). But there is also dramatic improv acting both on stage and in movie or TV productions. Often in the latter two there will only be moments that are improvised rather than whole productions. It may be as simple as an actor improvising one line in a scene, or some, most or all of a particular scene may be improvised. Actors may also be hired by medical schools or law schools to play the roles of patients, clients, or witnesses, armed with fact sheets but no script and expected to improvise based on the details they've been given to help teach the medical or law students. This may be referred to as "guided improv." |
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IN THE CAN | Usually referring to movie projects, "in the can" means the movie (or other production project) has reached final cut and is awaiting release or disposition of release. In the case of a television or on-line program (episodes or whole seasons), it is awaiting broadcast, cablecast, streaming, or upload to on-line availability. | ||
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IN PRODUCTION |
See PRODUCTION
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INDEPENDENT FILM (AKA: INDY or INDY FILM) |
Any movie not produced by a major studio. Indies may have a big budget, going into the millions, or may have a small budget to no-budget. The ones with a bigger budget may have well-known actors attached, even "stars," often why the producers were able to raise large liquid capital to make the film, because a distribution deal and a box-office return is more likely with a high-profile actor or two attached. Small or no-budget movies are less likely to have known actors and less likely to be SAG/AFTRA union productions. Small indies are produced for the film festivals or other non-commercial purposes including simply the love of the craft. | ||
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INDUSTRIAL FILM (AKA: INDUSTRIAL, INDUSTRIAL MOVIE, INDUSTRIAL VIDEO, INSTRUCTIONAL FILM, INSTRUCTIONAL MOVIE, INSTRUCTIONAL VIDEO) |
A movie or video produced for a business, institution, organization, industry, or some other form of organization, with the purpose of any or all of instruction, education, orientation, or persuasion. Such projects are not produced for, nor intended for, commercial sale or use, but are for consumption by the specific intended audiences in an exclusive and non-public fashion. | ||
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INSERT |
See CUTAWAY
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INSTRUCTIONAL FILM, INSTRUCTIONAL MOVIE, or INSTRUCTIONAL VIDEO |
See INDUSTRIAL FILM
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INT. | A part of the slug line at the top of a scene in a script for a movie, TV show, or video production, that indicates that the scene will take place in an interior location, i.e. inside a building or other enclosed structure, such as a car, airplane, etc. | ||
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INTERIOR SCENE (AKA: "INT.") |
A scene from a screenplay, teleplay, or video script that happens inside a
building or other enclosed structure, such as a car, airplane, etc.
Though the term applies to where the scene takes place in the universe of the script, not where it is actually shot, it is unlikely in modern productions for an interior scene to be shot outdoors. In early film making, sets were built outside with three walls and no ceiling or roof in order to utilize sunlight as the lighting for the shoot, often with portable side walls that could be removed to even further utilize sunlight. Such technique has long been antiquated and unnecessary with ever advancing studio lighting technology. |
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INTERIOR SHOOT (AKA: "INT.") |
A shoot for a movie, TV show, or video production that is done on a sound stage, or inside any other building or human-made structure, rather than in the outdoors. | ||
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INTERNAL DIALOGUE | Thought, emotions, and attitudes conveyed to the audience by an actor through physicality, facial expressions and/or other movement, without the use of dialogue. | ||
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J |
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J CUT (AKA: J EDITS) |
A type of split editing technique in movie, TV, or video editing where the audio
from the following scene or shot overlaps the picture from the preceding scene or
shot, so that the audio edit happens before the visual edit, so that it starts
over the end of that previous scene or shot.
The J cut is a soft transition, much like a lap dissolve, from one scene to the next, or one shot to the next. It is used frequently as part of reversal edits for scenes when characters are in conversations that have been shot over the shoulder. |
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JOHN FOR JANE | Movie & TV production walkie-talkie lingo when one person is asking to speak to another specific person on the walkie-talkie network, as in "John for Jane." | ||
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K |
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KEN BURNS EFFECT |
A pan and/or zoom effect used in motion picture production from still
photography or graphics. It is a technique to place still imagery in motion
pictures but, due to the usually slow zooms and pans (as well as fade-ins,
fade-outs and cross-dissolves), keeps the incorporation of the stills from being
static. The effect can be achieved by actually physically moving a camera across
an actual printed photo/graphic or zooming in/out of the image; however most
digital movie editing software have applications to achieve the Ken Burns Effect.
The name of the effect comes from Documentary Director Ken Burns' extensive use of the effect in his documentaries, but the effect predates his work. He credits Documentary Filmmaker Jerome Liebling as teaching him, but the process goes back to the early 1960's, at least. |
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KEY MATTING |
See CHROMA KEYING
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KEYING (RE: WALKIE-TALKIE) | Movie & TV production walkie-talkie lingo for when someone is accidentally holding down the Talk button on his or her unit, sending out unintentional dialog or sound. | ||
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KILL | To turn off a piece of equipement or machinery. | ||
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KILL YOUR DARLINGS (AKA: KILL MY DARLINGS, KILL MY LITTLE DARLINGS, KILL YOUR LITTLE DARLINGS, MURDER MY DARLINGS, MURDER MY LITTLE DARLINGS, MURDER YOUR DARLINGS, MURDER YOUR LITTLE DARLINGS, ETC.) |
A poetically phrased editorial edict attributed to novelist William Faulkner. To
"Kill your darlings" means, in the literary sense, to go back during the
revision process and cut any elements, any words, sentences, passages, perhaps
entire chapters, that though you, as the author, love, you must concede do not
serve the work, and may be detrimental to it.
In the terms of film making or television production this will mostly apply to the director and/or the screenwriter (or executive producer) but will also apply to anyone else on the creative team: any of the myriad of designers, or anyone contributing creative input, and translates into whatever creative elements such are responsible for. see "How to 'Kill Your Darlings' and Survive the Process," by Ruthanne Reid. |
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L |
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L CUT (AKA: L EDIT) |
A type of split editing technique in movie, TV, or video editing where the audio
from the preceding scene or shot overlaps the picture from the following scene or
shot, so that the audio edit happens after the visual edit, so that it continues
over the beginning of that next scene or shot.
The L cut is a soft transition, much like a lap dissolve, from one scene to the next, or one shot to the next. It is used frequently as part of reversal edits for scenes when characters are in conversations that have been shot over the shoulder. |
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LAP DISSOLVE | A transition in a movie, TV program or video which is a double-exposure of a fade-out of one scene or shot overlapping a fade-in of the next scene or shot, making the former seem to dissolve into the latter. Though they can be used for transitions from one shot to the next within a scene, they are far more common as transitions between scenes. | ||
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LATENIGHT TALK SHOW | A talk show that appears late at night, usually no earlier than 11:30 pm, (after the 11:00 news, if on Broadcast TV), and usually Monday through Friday nights. | ||
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LEAD ROLE, LEAD CHARACTER, or LEAD ACTOR (AKA: MALE LEAD, FEMALE LEAD, LEADING MAN, LEADING WOMAN, or simply "THE LEAD") |
The most important role/character in a movie or TV program. In some cases there are
more than one lead role, such as in a romance film or romantic comedy, where both
"the guy" and "the girl" are equally important -- think
Sleepless in Seattle.
Also, some movies or TV shows feature an ensemble cast where several characters are
considered as leads, such as in The Monuments Men
or The West Wing.
The lead role, or roles, will be the character, or characters, the story is about or centered around, and the lead tends to be one of the, if not the, driving force behind the plot. Of course, lead roles are always principal roles. |
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LIBRARY FOOTAGE |
See STOCK FOOTAGE
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LIGHT SOURCE |
1) on screen, the direction and quality of light as it hits a scene and the
subjects in the scene.
2) the actual source of illumination of light for a given scene or situation. It may be electrically generated, created by some sort of flame or other natural source, such as sun light, moon light, or star light. On a movie or TV set, it is electrically generated, with or without diffusion of other manipulations. At an exterior location, it is usually natural light, which is most likely to be sun light, somehow filtered, diffused or reflected; sometime this natural lighting is enhanced by an electronic source. |
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LIGHTING CONTINUITY | The degree in which lighting in a scene is consistent in terms of quality and perceived directionality from shot to shot. Also the degree in which the overall lighting in the film is consistant from scene to scene, wherever such continuity is necessary. | ||
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LINE PRODUCER | For both movies and televison, line producers are next in rank after the co-executive producer. They are the hands-on managers of production staff and daily production operations. Line producers hire (and usually fire) production staff. Usually they receive the credit: "produced by (....)." | ||
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LINE READING | The manner in which the actor says the line as the character, the emotional and attitudinal interpretation and expression given to the line as performed. It also touches on the pacing and any pauses between two or more words or portions of the line. | ||
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LINE STUDY | The process actors go through to learn their lines. It can be as simple as the act of memorizing the lines, but may also mean the actors work to interpret the characters' emotional and mental motivations for the things they say *(see script analysis). | ||
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LOCATION SHOOT (AKA: ON LOCATION) |
Filming or DV recording that takes place in a location that isn't fabricated for the production (i.e.: not a soundstage or an exterior structure that was built by the art department), but is a real area or structure. Very often it is an outdoor location (Exterior shooting), it may be a famous or otherwise well-known location, or a real place such as a home, an office, a store, a hospital, etc. | ||
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LOCKED DRAFT |
See FINAL DRAFT
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LOCKED SET |
See HOT SET
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LOCKED UP (AKA: TO LOCK IT UP) |
A set or location is locked up when it is declared a
hot, or locked, set. All cast, crew,
and staff are on alert.
"Lock it up" means "Don't let anyone unauthorized through, and don't touch anything." Very frequently this command goes over the walkie-talkies to PAs stationed at strategic points on the set or on location. |
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LOCKED EDIT |
See FINAL CUT
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LOCK IT UP |
See LOCKED UP
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LOCKED VERSION |
See FINAL CUT
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LONG SHOT |
See WIDE SHOT
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LOOPING | See ADR | ||
LOW-BUDGET PRODUCTION/MOVIE (AKA: LOW-PAY MOVIE PRODUCTION/MOVIE) |
A non-union (i.e. non-SAG/AFTRA)
independent movie production or video with a budget for the production that in
general is low. In accordance, the pay for all or most participants, especially
the actors, is at low wages, sometimes simply token stipends. There is no
minimum salary required.
This is not to be confused with a SAG/AFTRA Ultra-low Pay contract production, which is sanctioned by the union, but has minimum wage requirements and various rules that the producers must follow. |
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M |
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MacGUFFIN | An object that the main character or characters pursue for which is a plot devise of the script but fore which the nature of the object has no true importance to the story. Any object would work just as well as the MacGuffin: jewelry or money or bricks of gold in a heist movie would all work equally. In the other hand, The Sword in the King Arthur tale or The One Ring in Lord of the Rings are not replaceable as they are integral to the story and thus are not MacGuffins. | ||
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MAGIC LIGHT (AKA: MAGIC HOUR, or GOLDEN HOUR) |
Natural sunlight just before dusk and just after dawn that gives a movie scene a warm, soft look that is golden-orange in color. These times of day are known as the "Magic Hours"; again, they occur for that half hour before sunset and after sunrise. They're also known as the "Golden Hours." | ||
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MAKE THE DAY | During the shoot of a video, motion picture or television production, "making the day" means to get all shots done that are on the schedule for the day. | ||
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MARTINI SHOT | The last shot of the day. | ||
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MASTER SHOT | A wide shot with the camera positioned far enough away that all or most action in the scene, as well as all or most of the set for the scene, are in the frame of the shot. A good example of a master shot would be a scene of a family eating dinner, where all characters at the table are in the shot. Close-ups of individuals might be intercut into the scene in post production. | ||
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MASK (as in to obscure a view) |
The act of putting up an object or material (masking) that blocks the view of anything from the camera lense. | ||
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MASKING (as in obscuring a view) |
1) as a noun: Any object or material that blocks the view of
anything from the camera lense.
2) as a verb: the act of putting up an object or material to block the view of anything from the camera lense. |
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MCU |
See MEDIUM CLOSE-UP
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MEDIUM CLOSE-UP (AKA: MCU, sometimes MEDIUM SHOT) |
A film, video, or still photography image where the subject image is large enough
in the frame to be the obvious focus, but does not take up most or all of the frame.
The camera is pulled back enough from the subject that they or it is not in
close-up, but still featured in the
frame. Sometimes the affect is achieved from using a zoom lense.
Sometimes also referred to as a medium shot, though medium shot is more often used when there are multiple subjects, such as several people or several items. |
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MEDIUM SHOT (sometimes MEDIUM CLOSE-UP) |
A film, video, or still photography image where,usually, multiple subjects are large
enough in the frame to be the obvious focus, but do not take up most or all of the
frame. The camera is pulled back enough from the subjects that they are not in
close-up, but still featured in the
frame. Sometimes the affect is achieved from using a zoom lense.
Sometimes also referred to as a medium close-up, though medium close-up is more likely used when there is only one subject. |
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MONOLOGUE or MONOLOG (AKA: SOLILOQUY) |
An extended delivery of spoken word, which can be considered at least a long
paragraph in length, spoken by an actor who is often alone in a scene or shot. Even
when other characters are in the scene and are shown, there may only be quick
reaction-shot cutaways of them.
Monologues are much rarer in movies and television programs than they are in stage plays, but they do occur. Often they will be a narrative voice-over. Most frequently they will be key moments at a dramatic high spot in a movie, such as Jack Nicholson's speech from the witness stand as Col. Jessup in A Few Good Men or Tom Hanks' soliloquy, toward the end of Castaway, as his Chuck Nolan pines over the loss of his true love, Kelly (Hellen Hunt). Auditions for screen productions, including screentest auditions, may require, or at least allow, actors to perform a monologue that would be considered relevant to the role or roles the actor seeks. There probably would be a time restriction in length (such as one minute) and there might be a request for contrasting dramatic intent (i.e.: dramatic and comic). |
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MOS |
To shoot a scene "mos" means to shoot without purposefully recording
associated sound to the action. Audio may be recorded off a camera's on-board
mic but will not be used. Omitting or not utilizing sound from a shot, when the
subjects don't speak or create useful sound can save time and relieve the film
crew of certain requirements, such as remaining silent during a take. In
post-production, a mos take may have added to it one or more of miscellaneous
sounds recorded on location, music, voice-overs, ADR (Additional Dialogue
Recording), or sound effects. In production reports "MOS" is used to
indicate that the shot has no synchronous audio track.
"MOS" stands for "motor only sync" or "motor only shot." Although legend purports that Director Erich Von Stroheim couldn't pronounce "without sound" correctly due to his accent so he said "Mit out sound." |
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MOVE IN (AKA: DOLLY IN) |
As suggested, to move the camera forward and closer to the subject of the shot.
This is usually not used to describe zooming in with the lense, but rather the
action of actually moving the camera closer.
The camera may be handheld, shoulder-mounted, on a dolly truck, or any other means by which the camera is put into motion. *see also dolly shot |
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MOVIE EDITOR |
See EDITOR
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MOVIE TRAILER | A short film or video, shown in movie theatres, on TV, and on-line, using specifically picked moments from a film to promote said film to potential audiences. The trailers for TV are usually commercials and thus are no longer than 60 seconds, and are sometimes only 30 seconds, or even shorter. The trailers shown in movie houses and on-line can be longer, sometimes even several minutes. The longer trailers may include soundbytes from cast members, the director, or others on the production team. | ||
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MP4 | A compressed movie file format used primarily for on-line streaming. The MP4 is compressed in size considerably from the uncompressed file version and is thus easier for computers and smart TVs to download and play. | ||
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MULTIPLE-CAMERA PRODUCTION (AKA: MULTI-CAM PRODUCTION, MULTI-CAM, MULTIPLE-CAMERA SHOOT, MULTI-CAM SHOOT, MULTIPLE-CAMERA PROGRAM, or MULTI-CAM PROGRAM,) *(historically "three-camera....") |
A method of movie, television or video production where all or most scenes are shot
using several cameras, all focusing on different elements of the scene, usually
meaning different actors in the scene, or different angles of the same actor or
actors.
It is the standard for live studio television programming such as news programs, talk shows and game shows, with the first being a live broadcast or cablecast and the latter two video tape for later broadcast/cablecast. It is also the standard method to produce television situation comedies, which are also usually shot in front of studio audiences. The typical method of multiple-camera shooting will have two cameras left and right in camera area (occasionally including portions of the scene area), which will angle in to shoot close-up shots ("crosses") of characters primary in the scene, keeping trained on these actors during the performance. Meanwhile one or two cameras will shoot master shots. Multiple-camera shoots facilitated a great expedience and continuity by capturing multiple images and actions during one performance take of the scene. It eliminates to do multiple shot set-ups, and greatly reduces the amount of takes necessary to capture the different action elements of a moment in the story line -- I.E.: there are much fewer starts and stops, and no waits as the crew re-sets everything for the next shot set-up of the same moment. And, as suggested above, it almost virtually eliminates the chance of continuity errors. For live studio television productions, like game shows or talk shows, multiple-camera shooting simply creates a more interesting visual look, by being able to switch to different cameras to better capture interesting things happening on the sound stage. In these situations there may also be cameras, often shoulder mounted steady-cams, that will shoot images of the audience reacting to the action on stage. Think Ellen or A HREF="http://www.imdb.com/title/tt0120974/">Jerry Springer. Such multiple-camera shoots do constrain choices for lighting and camera angles. The lighting has to be more general, and usually brighter, to assure good light for all the areas of the stage. Some camera angles are impossible, at least in scripted fictional shows, because of the risk that other cameras or portions of the studio that are not part of the set come into frame, thus breaking the fourth wall. There is more flexibility in terms of camera angles on the set of a game show or talk show, since the fact that it is on a sound stage is acknowledged by everyone, so there is no fourth wall to break. In scripted multiple-camera television productions the directors will likely be on the floor; choices of shots from each of the cameras will be chosen during the editing process. In live broadcast or live studio audience studio multiple-camera television productions (news, game shows and talk shows), the directors are usually in the control booth calling which camera (and its shot) will be the one going to the broadcast or the master recording, at any given moment. Though all camera shots are recorded throughout the take or the broadcast for shows that will be distributed later rather airing live, in case there is a need to re-edit the master recording, substituting one or more shots. In dramatic TV series or TV movies productions may occasionally employ multiple camera shooting, usually at specific locations, or for particular sequences or scenes. This will be more likely a special circumstance, with such productions far more likely to shoot most of the episode and the production in general as single-camera. Historically, multi-camera shoots were "three-camera shoots," as three cameras were traditionally used. Now at least four cameras are very frequently used. Though on a movie production set, multi-camera can simply mean two or more. |
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MURDER YOUR DARLINGS |
See KILL YOUR DARLINGS
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MUSIC SCORE (AKA: SCORE or SCORED MUSIC) |
Music (most often original instrumental music) used to enhance or influence a particular ambience, mood or emotional feeling for a moment, a scene, or the overall movie or episode. | ||
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MUSIC VIDEO |
A video that is shoot on digital or analogue video, or in film that features a
musical recording. Usually the artist or band who recorded the music is shown in
video, often performing the song, and most frequently in a pantomime performance
set to the finished studio recording. The music is also usually a single from an
album the artist, and the main purpose of the video is promote sales of the song
and of the album it os from.
Music vides also pften show scenes that illustrate the lyrics or meaning of the song. The artists may or may not appear in such renditions. Often actors or models appear in such videos. Some videos show a mixture of the artist performaning the song and illustrative footage. In the 1960s and early 1970s these videos were known as "promotional clips." The first promotional clips that were shot specifically as their own entities, what can assertively be called the first Music Videos, were for The Beatles' double-A-side single "Paperback Writer" and "Rain," which were shot and released in 1966. Before that, any musical clips that were used in this fashion (usually variety shows). |
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N |
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NARRATIVE FILM | A film that tells a story (usually, but not necessarily, fictional) with characters who act and usually speak to illustrated the story line. The characters are portrayed by actors, trained animals, or are animated representations of such, or even anthropomorphism of objects, with any voicing done by human voice actors. The story is presented as reality regardless of any fantastical elements of the supernatural, science fiction, fantasy, magic realism, etc. | ||
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NO-BUDGET PRODUCTION/MOVIE (AKA: NO-PAY PRODUCTION/MOVIE) |
A non-union (i.e. non-SAG/AFTRA) independent movie production or video with no budget for the production. In accordance, all the participants, actors and crew are volunteering their time and efforts to the project with no financial compensation. Union members can only participate in such projects in the narrowest of circumstances that all involved official acts of charity or some political action situations. | ||
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NON-UNION PRODUCTION |
A film, video or webcast production that is produced without the use of members of
any of the professional unions associated with movie or video production. None of
the crew or cast members are in any of the associated unions. All such productions
are independent productions (i.e.: not associated with any corporate movie studios,
nor broadcast, cable and streaming networks). Typically such productions are either
low-budget or
no-budget productions. In some
rare cases, the producers pay the cast and crew reasonably well.
"Non-union production" does not necessarily mean "non-commercial venture"; sometimes the producers do attempt to market the finish product, and are not always unsuccessful. In some circumstances SAG/AFTRA actors can appear in a non-union production, but it must meet narrowly specific criteria as stipulated by SAG/AFTRA, and it cannot be a feature-length film. |
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NON-VERBAL |
See INTERNAL DIALOGUE
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NOTES |
Critiques, instructions, and FYIs from various members of the production team to
other members. Notes are intended to improve and enhance performances and the
production.
Directors will give notes to actors and production staff. Designers may give notes to directors and other production staff, and sometimes actors. In television, the executive producer, who runs the show, will give notes to any and all production staff and cast. In both movies and televisions, studio executives usually give notes to the producers and directors. Kudos about what was done well also fall under the term, "notes." Notes will also be given during any post mortem meetings. |
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O |
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OFF-BOOK | Actors are "off-book" when they have their lines committed to memory and do not need to refer to their scripts. | ||
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OFF WALKIE | Movie & TV production walkie-talkie lingo for any time a crew member has his or her walkie-talkie turned off during the production day. | ||
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ON IT | Movie & TV production walkie-talkie lingo for "I understand what you want and I'm working on it."-- Only to be used if the task has begun, otherwise, the response should be "10-4" or "copy" to indicate understanding of the task but that it hasn't been started. | ||
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ON-LINE PRODUCTION (AKA: STREAMING PRODUCTION, or WEB PRODUCTION) |
1) Productions that are produced to be view via the internet,
either by downloading from a server to one's computer or smart device or streaming
to one's computer, smart device or on one's TV via a streaming device, such as
Apple TV,
Fire TV,
or Roku TV, through a streaming service
such as
Amazon Prime Video,
Apple TV+,
Hulu,
or Netflix.
Also productions meant to be viewed on websites such as from a domain owned by the producer or on such websites as YouTube, as well as in podcast form (which may be either streamed or downloaded). 2) the production process of making any such programming. |
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ON-LINE SERIES |
See WEB SERIES
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ON-LINE TELEVISION (AKA: ON-LINE TV, STREAMING TELEVISION [TV], or WEB TELEVISION [TV]) |
Television programming made up of scripted and unscripted productions that is
uploaded to a server and can be downloaded for viewing on a computer or a smart
device, or streamed to a computer, smart device, or a television through the
facility of streaming equipment, such as
Apple TV,
Fire TV,
or Roku TV, through a streaming service
such as
Amazon Prime Video,
Apple TV+,
Hulu,
or Netflix.
On-line tv programing may also be viewed at websites such as on a domain owned by the producer or on such websites as YouTube, as well as in podcast form (which may either be streamed or downloaded)-- as opposed to Broadcast, Cable, and Satellite TV. |
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ON LOCATION |
See LOCATION SHOOT
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ONE-CAMERA TELEVISION PRODUCTION |
See SINGLE-CAMERA TELEVISION PRODUCTION
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"ONE NAME" FOR "ANOTHER NAME" | Movie & TV production walkie-talkie lingo when one person is asking to speak to another specific person on the walkie-talkie network, as in "John for Jane." | ||
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OPEN AUDITION | Any audition being held (for actors or any other performers) that is open in general for anyone to audition, rather than for specific actors (etc.) being called in. Usually there are no appointments set, but even appointment based auditions can be considered "open" if anyone who calls can get a spot as long as one is available. Call backs will not be "open," as the production team is now being selective about whom they audition. | ||
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OVER-ACTING |
When actor gives a broad, hammy, over-the-top performances when such is not called
for. Often such a performance will up stage
any other actor in the scene.
Note 1: some roles or some projects, on the contrary, actually call for such big, overbearing performances, especially if the role or material is comedic, or stylized. Note 2: sometimes, "over-acting" does not quite meet the heights of "chewing scenery," but still may be too big for what is needed for the moment; or simply means that the perfomance is not appearing like natural behavior. |
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OVER THE SHOULDER SHOTS |
See REVERSAL SHOT
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P |
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PA |
See PRODUCTION ASSISTANT See PERSONAL ASSISTANT |
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PAN SHOT | A movie shot taken where the camera is stationary (usually fixed on a tripod or jib) and turns on an axes from left to right or vise versa for a shot that spans a geographical area, such as the horizon, or a room. The shot motion may to some extent be diagonal, but going from left to right or right to left must be the main element of the movement. If the camera is not fixed in one spot but is literally moves from left to right (right to left), meaning if the camera is in side ways motion via the camera operator walking or otherwise moving from place to another, that is not a pan shot but rather a tracking shot. | ||
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PEDESTAL SHOT | To moving the camera up or down while maintaining a stationary axis, i.e.: not tilting the camera up or down, but actually moving the entire camera up or down. The shot motion may to some extent be diagonal, but going up or down must be the main element of the movement. | ||
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PERSONAL ASSISTANT (AKA: PA or GOFER) |
Personal assistants in a production are usually assigned to a particular talent (actor or other performer) or one of various upper-echelon members of the production team, such as the director, the line producer, the assistant director, the director of photography, etc. to help meet that person's personal needs. These PA's may run personal errands, drive the talent or production staff, get refreshments and food from craft service or restaurants, or help with many behind-the-scenes personal needs. Sometimes PA's may also be called "Gofers." Some of these duties may cross over into the territory of duties performed by production assistants, also called "PA's," but personal assistants, again, usually are specifically assigned to particular talent or production people, and their duties rarely if ever are directly involved in production. | ||
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PICKUPS |
See ADDITIONAL PHOTOGRAPHY
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POST MORTEM (AKA: POST MORTEM MEETING or POSTPRODUCTION MEETING) |
More common in televeision productions than movie productions, a post mortem is a meeting of production staff after a production has wrapped -- in TV it would be when the production of an episode has wrapped. The team discusses the successes and the failures of the production and how to make improvements. | ||
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POST PRODUCER (AKA: POSTPRODUCTION PRODUCER) |
Typically employed at a postproduction house, the post producer manages the postproduction process, including editing, color correction, grading and enhancing, the dubbing of all sound and music, computer generated images, animation, other visual effects, and all opening and closing titles. | ||
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POSTPRODUCTION (AKA: POST) |
The editing (choosing and assembling shots/scenes) and other work done on a movie, TV show, or video after the end of principal photography. Besides the basic editing to put the scenes and their chosen shots together in the correct sequence, it will consist of other work to get the project to its final cut, such as color correction, grading and enhancing or adding any and all of the following components: sound, Foley sound, ADR (Automatic Dialogue Replacement), music (themes, scores, & any sound-effect music such as music coming from a radio in a scene), computer generated images, animation, other visual effects, and opening & closing titles. Depending on the amount and complexity of the components to be incorporated, post-production can take months, and in some cases more than a year, to complete. | ||
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POV | I.E. "Point Of View"; A camera angle in which the camera shows the visual perspective as seen from any particular person's or object's position. | ||
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PREPRODUCTION | The process of bringing the elements together to make a film, a TV show, or a video production. Preproduction includes any and all of developing the script, funding the project, recruiting the production team, auditioning and casting the actors, finding the studios and locations where the production will be shot, and the major organization and planning of shooting the movie, program, or video, once most or all these previous elements are in place. It's also not uncommon for some hefty portion of the promotional gameplan to be laid out in preproduction. | ||
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PRIMETIME TELEVISION (AKA: PRIMETIME TV) |
The programming period of the week for Broadcast Television generally considered
to be 8:00 through 11:00 p.m. (U.S. Eastern Standard Time), every day of the week.
The programming aired during this period is generally television network
produced scripted productions such as dramas and comedies, along with unscripted
productions such as reality TV shows (such as Survivor) and evening game
shows (such as Who Wants To Be A Millionaire?), news magazines (like
60 Minutes), seasonal sports (think Monday Night Football), and
variety shows, though this latter genre has fallen out of fashion in the Third
Millennium. With few exceptions these programs are schedule to air once a week at
the same time each week.
Networks also show special programming that is not part of the regular scheduling, such as special holiday programming (scripted movies or specials, variety specials, concerts), mini-series, new magazine specials, special sporting events ( like The World Series or the Summer Olympics), special news coverage (major breaking news, Presidential Conventions, The State of the Union, etc.), and major awards shows (such as The Academy Awards). Primetime is traditionally the period of time with the most television viewers, thus it is the block when networks and local TV stations can charge the most for commercial advertising slots. The more popular a program, the high its ratings, the more can be charged. The advent of cable and satellite television, and now streaming television services is challenging this financial landscape by offering more alternatives (especially with the on-demand capabilities of all three), yet, Primetime TV is still lucrative. *Technically, 60 Minutes begins its broadcast at 7:00 p.m on Sunday, but it is still considered to be primetime programming. For more, see "Everything You Need to Know About Primetime TV " at the balance. |
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PRINCIPAL ACTOR | An actor who is in a principal role. | ||
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PRINCIPAL PHOTOGRAPHY | The major, significant filming or video recording of a movie, TV program, or video involving the lead and supporting actors or, in a documentary, the subjects. It can also mean the shooting of the major footage as opposed to supplemental b-roll. | ||
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PRINCIPAL ROLE | A role for an actor in a movie, television program or video that is not an extra or a background role. Any speaking or singing role is principal. Certain types of non-speaking roles are also principal if the actions taken by the performer are somehow specialized or critical to the story, such as dancers or the non-speaking thug who kills the lead character's wife in Act I then leads the lead character on a ten-minute, on-screen chase through Queens. Certainly a lead character who is deaf, will be "non-speaking," but will meet the classification of a principal role, rather than being an extra or background. | ||
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PRODUCER |
As a generic, umbrella term, the producers in both film and television are
those in charge of all operations, responsible for financial backing, budgets, the
hiring of production and administrative staff, the casting of performers, and all
technical, and logistic elements of the project. However, usually the director of
a film has artistic autonomy over the project, subject to the budgetary or marketing
prohibitions set by the producers.
As the specific term of "producer" as a level in the rank-and-file of producer categories the producer is just below the supervising producer on the totem pole and is further defined thusly: In movie productions producers are responsible for physical facilities, including equipment. A writer who has contributed a small amount to a screenplay, in a U.S. production, and thus is not eligible by the Writers Guild of America rules to be credited as a writer will be titled as producer. In both cases the producer's credit will read: "produced by (....)." In some smaller indepedent movie, video or webcast productions, whether they be low-budget, no-budget, well-paying, short-subject, or feature-length, the "producer" may be the project's auteur and essentially the cheif executive producer and may fill the roles of many of the varying classifications of producers as listed below. In television productions, as well as governing physical facilities and equipment, like for a film, a TV producer may have written all or most of a series episode or of a stand-alone project. Former executive producers who have stepped out of that role but still write for the show are categorized as producers, as well. For episodic TV, producer credits are used for individual episodes and usually require approval from the Writers Guild of America if work on the teleplay is involved. Again, in all these cases, the producer's credit will read: "produced by (....)."
There are many classifications of producers, in both film and television, listed here in typical order of rank and authority:
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PRODUCER/DIRECTOR |
See AUTEUR
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PRODUCTION (AKA: PRODUCTION PERIOD) (Related: IN PRODUCTION) |
In general terms, it is the manifestation and actions of bringing together
the elements for, and the execution to, the final cut
of a movie, television program, video. or documentary.
The most common usage of the term is for the portion of the process of making a film, video, TV program, or documentary that consists of any rehearsal and all major or minor filming, video recording or shooting of live broadcast, of all action or performances involving all actors and other performers, or all subjects of a documentary. As well, the filming, video recording, shooting of live broadcast of all footage that does not include performers or other active subjects (people, animals, or animations) is part of the production phase. Thusly, "in production" means being in this period. Sometime used as a synonym for "movie&qupt;, "program," etc. |
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PRODUCTION ASSISTANT (AKA: PA, or GOFER) |
Production assistants may be responsible for one or more of many different duties to help with production, depending on who the PA works for or with, and depending on the size and scope of the production. In the production office environment personal assistants will do clerical work, handling phones, run errands, and other miscellaneous office work. On the set they may directly assist producers, directors, and other upper-echelon members of the production team, helping with many behind-the-scenes needs or they may do "gofer" work: driving production people or talent, making pick-ups and delivering things, or getting refreshments and food from craft service or restaurants. Some of these duties may cross over into the territory of personal assistants, also called "PA's," but the latter usually are specifically assigned to particular talent or production people. | ||
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PRODUCTION COORDINATOR |
See COORDINATING PRODUCER
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PRODUCTION SOUND | All sound that is actually recorded when a scene is shot, including all dialogue and any other sound, whether it is intended to be there or not. | ||
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PRODUCTION SOUND MIXER (AKA: PRODUCTION SOUND ENGINEER, SOUND MIXER or SOUND ENGINEER) |
The recording engineer who is responsible for the recording all actors' dialogue and other purposeful sound or sound effects as performed in a scene on set or on location. The Production Sound Mixer selects the microphones and recording equipment used on the set and in most cases operates them. He or she will also supervise the boom operator, and will oversee the mixing of sound from multiple microphones which are recording dialogue and effects. The Production Sound Mixer is also responsible for recording the sound ambiance and room tone for all scenes, and will document any wild tracks (scene shoot without sound). In bigger productions the Production Sound Mixer is the head of the sound department on the set. | ||
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PRODUCTION TRACK or PRODUCTION RECORDING | The analog or digital audio recording track of all sound that was actually recorded when a scene was shot, including all dialogue and any other sound, whether intended to be on the track or not. | ||
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PROP or PROPERTY |
Any object in a production that is used by the actors as their characters, in other
words any inanimate or mechanical object or devise an actor interacts with in a
meaningful manner to tell the story. Examples of props: weapons, eating utensils,
a pen & notepad, a computer keyboard, food or drink (that is consumed or handled).
Sometimes things that are otherwise considered set pieces will become props if the actors/characters use them in a significant manner. For instance a dinning room chair will still be considered a set piece if all the actor does is pull it out and sit on it as an act incidental to the scene. If it becomes a bone of contention between to characters in the story who argue over where it goes in the room, and each keeps moving it to make a point, or if pulling the chair out to sit on it is significant to the plot of the scene or overall story, it is now a prop. Conversely, any item mentioned in the first paragraph above is not a prop, but rather a set piece if it is on the set but is not used by the actors/characters. These items may also be referred to as set dressing. |
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PROPERTY MASTER (AKA: PROP or PROPS MASTER) |
The props master is responsible for procuring or making, and overseeing any
props needed for a movie, television, or
video production. He or she will design a properties plot based on the dictates of
the script and in consultation and cooperation with the
director, the
production designer, the
director of photography,
the script supervisor and the
costume designer, all with the
goal of a unified stylistic and aesthetic look and feel to the production.
In movie productions The property master comes on board during preproduction, where she or he develops the stylistic concept of the props, then remains during principal photography to oversee the management, integration and use of the props. |
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PRORES | A line of intermediate video codecs used in the video editing process, which has higher video quality than end-user codecs, but requires significantly less expensive disk systems compared to uncompressed video. ProRes supports up to 8K DV resolution. It was developed by Apple, Inc. | ||
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PULL BACK (pertaining to camera movement) (AKA: PULL OUT or DOLLY OUT) |
As suggested, to move the camera backwards and away from the subject of the shot.
This is usually not used to describe zooming out with the lense, but rather the
action of actually moving the camera away.
The camera may be handheld, shoulder-mounted, on a dolly truck, or any other means by which the camera is put into motion. *see also dolly shot |
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PULLING BACK (pertaining to performance) (AKA: GOING SMALLER) |
For an actor to "pull back" (or "go smaller") means she or he
diminishes or plays down whatever emotional state his or her character is relaying.
It does not mean to "get quieter" (though in some instances volume
may be part of the equation). It simply means to reduce whatever emotional
state is in question, slightly, greatly, or somewhere in between.
The director may also say "give less." *Though "going bigger" is the term usually used for the opposite of this, "pulling back" is more commonly used for this than is &qupt;going smaller." |
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PUNCH UP (As in: To punch up a script) |
A type of revision of a script that usually involves adding more humor, but could also entail adding more of another aspect such as drama or more historically accurate facts or culturally accurate dialogue (slang, idioms, colloquialisms, etc). Usually another writer is hired to come for the punch up, perhaps more than one writer. | ||
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R |
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RAIN DATE | A type of pickup shoot that is prescheduled in case of a problem on the originally scheduled shoot day, such as undesirable conditions at a location (rain, unexpected traffic, etc.) | ||
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READ-THROUGH (AKA: TABLE READ) |
Traditionally the first rehearsal for a movie, TV show, or play. It is a read-through of the script with the actors and the director, and sometimes others from the creative team. As the name suggests, the actors, et al, sit around a table and the script is read from beginning to end. It allows for all to hear the show in continuity so all get familiar with the words and what each actor brings on board, though it is understood that the actors are giving a colder read and have done little or no development on their characters, therefore a performance level read is not expected. | ||
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REALITY TV (AKA: REALITY TELEVISION or REALITY PROGRAMMING) |
A genre of television programing that ostensibly presents itself as showing a
genuine account of the events and actions that are seen on the program. Typically,
such programming features "real people," as opposed to professional
actors, who are the focus and subjects of the series. The Reality is,
however, that the events on Reality TV shows are highly manipulated to present a
highly entertaining forty-two minutes of television each week. Though these programs
are not scripted, there is a team of producers and writers who collaborate to
conceive conflicts and plot twists, and either manipulate or out-and-out direct
the participant cast members to take actions and say things to manifest these
conflicts and plot twists. Beyond that, many occurrences are edited to create the
illusion of conversations, conflicts, romances, and other events that never
actually happened -- a practice known as
frankenbiting. As the result of
all these manipulations and maneuverings, many moments or particular aspects are
partially or totally staged.
Reality TV, in the end, does not reflect the reality of what happens in the events it displays on its episodes. It is manufactured television just like any scripted TV show is. But Reality TV can be produced on a far smaller budget than scripted television and yield big advertising revenue due to the genre's great popularity and high ratings. For a few further insights into the veracity, or lack thereof, of Reality TV, see:
"I Was on Reality TV: Behind the Scenes Secrets of Faking Real Life" "I Work As a Writer For Reality Shows -- Here's the Deal" In one of the most common configurations of Reality TV, these "normal citizens" are theoretically continuously recorded on camera, virtually twenty-four hours a day, with what are considered the most choice, interesting, and entertaining moments culled for the edited version that makes it to the TV screen. Such programs are designed for entertainment value rather than informative merit. The most common presentation is one where these "normal people" are in isolation, in a house or building they cannot leave (as in Big Brother) or an alleged remote area of wilderness (as in Survivor). The participants compete against each other, often in teams, to meet challenges. Often the cast members vote at the end of each episode to eliminate one or a few fellow cast members from the show. The last cast member remaining wins the overall contest and usually takes home large cash prize, usually one million dollars. Examples of other variations of this contest theme, but that eliminate the claimed isolation factor and that are focused far more as straight competitive games or contests are:
The Bachelor The Biggest Loser Dancing With the Stars Top Chef Project Runway American Idol America's Got Talent Last Comic Standing So You Think You Can Dance The Voice -- the latter five specifically focused on contestants who are doing performing-arts performances for judges. There is also the versions of the genre with the concept that the TV audience is eavesdropping into the personal or professional lives of the subjects. Popular examples of this are:
Deadliest Catch Duck Dynasty Extreme Makeover: Home Edition Flip This House Hoarders Jersey Shore Keeping Up With the Kardashians Pawn Stars The Real Housewives of Beverly Hills -- and the rest of the Real Housewives franchise) The Real World Undercover Boss In some Reality programs, such as Being Bobby Brown, Dancing With the Stars, or Kathy Griffin: My Life on the D-List , people who are already celebrities when they start into the show -- rather than becoming celebrities as the result of the show -- are in the cast, often being the driving focus of the show. |
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REEL (AKA: ACTOR'S REEL, AUDITION REEL, DIRECTOR'S REEL, SAMPLE REEL) |
An assembled edit of clips of an actor's performances, a director's, editor's or
designers work in different films or TV programs. The selected clips should
highlight the best of the actor's or other's work as well as showing that person's
range with her or his work. Each clip should only be a long as necessary to convey
the work; in fact, the entirety of the reel should be a short as possible without
shortchanging the featured artist.
"Reel" is a legacy term referring to the days when one would literally be a 16mm film reel. In this third millennium, one's reel is most likely to be a digital movie file that can be viewed or downloaded from a website, or can be sent as an email attachement. It may also be on a blue-ray or DVD disk, and perhaps occasionally on a video cassette tape -- though this last one is not as likely. |
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REHEARSE or TO REHEARSE | The action of learning and practicing any or all elements of the final version of a movie, TV, or video production, or a scene or segment therein, with the goal of mastering such to prepare for production shooting. | ||
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REHEARSAL (AKA: REHEARSAL PERIOD, REHEARSAL PROCESS, IN REHEARSAL) |
The time set aside, or in some cases the period, during the production or
preproduction of a movie, TV, or video production when the production crew and the
cast practice the dramatic and/or technical elements of the production or a scene
or segment therein to evolve such to successful performances in front
of the camera. Some specifics may include the director's and the actors'
collaboration to find the portrayals of the characters that work best and best tell
the story of the script through the interpretive eyes of the director, the producer,
the show runner, or some variation of these. Aspects that may be rehearsed usually
include the movement of the actors, the cameras, and any set pieces that might move
during the shooting of the scene or scenes. In other words, the process and
practice of bringing all the elements of what will be shot into a coherent
whole that is ready to be shot by the camera.
For movie productions there usually is not a rehearsal period, rather usually each scene is rehearsed, if at all, on the day the scene is shot, and usually just prior, and tends to focus on technical issues rather than actor's emotional perfomances. Actors may rehearse their scenes with each other off set during the frequent "down time" on set (in TV and video shoots as well). Some movie directors do schedule a rehearsal period to work with the actors on character and intent, but more often such rehearsal period, which always happens in a theatrical production, does not happen. In television, most specifically in multi-camera narrative programs -- the standard for sit-com productions -- there is more likely to be more rehearsal, culminating with a dress rehearsal in front of a studio audience. The Dress will be shot both so crew can rehearse, and also footage shot at dress is needed as coverage to substitue for a moment or scene that had problems during principal photography shoot, that which generally happens later the same day as Dress, and usually in front of a different studio audience. In many ways, multi-camera rehearsals and productions are like such for a theatrical play or musical. For television talk shows, which are also multi-camera productions, rehearsals are right before the episode is shot, and focus on technical aspects -- though the musical guests or any more elaborate perfomances and skits will also be rehearsed. Single-camera TV productions and rehearsals are rarely not exactly like movie productions and rehearsals, save that, for episodic programs, because of the constraints of schedule -- one episode must be wrapped so the next can be started -- there will not be an extended "rehearsal period" before production, though such could happen for a made-for-TV or made-for-cable movie. All different production types will start with a table-read rehearsal, however, with very few exceptions. To be "in rehearsal" means the person or the production is in this stage of preproduction preparation and practice, whether that be the few moments before the shoot, or a period of weeks or days of a rehearsal period before production begins, though such period is not frequently part of movie or video productions, and longer rehearsal periods are rarely part of a television production. |
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RESHOOT |
Just as the name suggests, to reshoot a scene, a portion of a scene, or particular
shots, at a later time due to some sort of problem with the original shoot or because
of some revision of the scene or sequence. Sometime it will be to create a
different version such as to reduce or eliminate "adult content" and
create a more "family friendly" version for a market that demands it.
Sometimes referred to as a pickups, though pickups more often refer to shooting additional material. |
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REVERSAL EDIT | The editing of reversal shots. | ||
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REVERSAL SHOT (AKA: REVERSALS, REVERSE SHOT, REVERSE ANGLES, OVER THE SHOULDER SHOTS, or HOLLYWOOD REVERSE) |
Camera shots taken of the same action from two different angles, usually within a 120-180 degree parameter of angles from each other. Most frequently, but not exclusively, used in dialogue scenes, so that the two reversal shots can be edited together using each in alternate moments of the action to get perspectives that favor one of the two subjects more than the other. The most common reversals for dialogue are "over-the-shoulder" shots that show each character speaking over the shoulder of the other character. Reversals are also used in other sorts of sequences, usually to help heighten drama between two subjects that are about to clash (physically or emotionally); sometimes reversals are simply used to keep a sequence interesting visually. | ||
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REVISION (AKA: SCREENPLAY REVISION or SCRIPT REVISION -- sometimes: REWRITE) |
The act of altering a script, or portions thereof, to improve it and address
specific problems. Revisions can, and usually do occur all the way up through
principal photography.
There may even be slight revisions of some lines in
postproduction, with actors
coming back in to replace dialogue via ADR
or in reshoots or
pickups.
NOTE: To "punch up" or "sweeten" a script are both forms of revision. *Generally differentiated from a "rewrite," which is usually considered to result in more significant changes to the script than a revision. |
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REWRITE (AKA: SCREENPLAY REWRITE or SCRIPT REWRITE -- sometimes: REVISION) |
The act of significantly altering a script, or portions thereof, to improve it and
address specific problems. Big rewrites of a whole script, as defined here, usually
occur in preproduction, but can
happen in production if
it becomes clear there is a problem with the script or some circumstance dictates
the need for a major change in the script -- such as the loss of an actor in a
major role.
*Generally differentiated, as here, from a "revision," which is usually considered to result in less significant changes to the script as a whole than a rewrite. |
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RHUBARB |
See WALLA
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ROOM TONE | A recording, usually between one to two minutes long, of the natural ambient, atmospheric background noise -- or "silence" -- on a set or at a location. The purpose is serve as background noise when the original production sound has to be eliminated for some reason; it will keep the ambient sound consistant throughout the scene, by matching the ambient sound from shots that still use original production recording. | ||
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ROUGH CUT | See ASSEMBLY EDIT | ||
RUSHES (AKA: DAILIES) |
The first processed footage from what was shot the same day or in the recent past, made available for viewing by the director, actors and other production crew for scrutiny of any and all aspects of the performance, look and feel of said footage. In today's film world, where much footage is digital and readily available, the terms "rushes" or "dailies" may be used to label instant playback viewing of footage, on set, right after it is shot. | ||
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S |
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SAG/AFTRA | The Screen Actors Guild/American Federation of Television and Radio Artists, the combined union for professional performers who work in the movie, television and radio industries in the U.S. market. After years of failed attempts, SAG and AFTRA finally merged into one union in 2012. | ||
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SAG/AFTRA SCALE (AKA: SCALE) |
The minimum wage a SAG/AFTRA union member can be paid for work on a set. The scale depends on type or medium of the work and the type or medium of the set. | ||
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SAMPLE REEL |
See REEL
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SATELLITE TELEVISION (AKA: SATELLITE TV) |
Television programming made up of scripted and unscripted productions with the signal transmitted from a satellite -- as opposed to Broadcast, Cable, and On-line TV. | ||
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SCALE |
See SAG/AFTRA SCALE
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SCORE |
1) VERB: To compose the music score
for a movie or television program. In some cases one may be considered to have
scored a movie or program by selecting music composed by others.
2) NOUN: the music score. |
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SCORED MUSIC |
See MUSIC SCORE
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SCRATCH TRACK | A temporary sound recording intended to be replaced later. This most commonly will be the dialogue recorded during a shoot at an exterior location where the production team is aware that there will be too much extraneous noise and the dialogue will need to be re-recorded in the studio, via ADR, and, as well, Foley sound or other sound effects will be added to highlight other action and the sense of of location, such as footsteps, nature sounds, street noise, etc. | ||
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SCREENPLAY |
The script for a movie, and that which meets the proper formating as required by
the movie industry.
see "How to Write a Screenplay: Script Writing Example & Screenwriting Tips." |
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SCREENTEST | An audition for a movie or television program where the actor is recorded on video or film performing for the camera but usually without correct wardrobe or even any sort of set suggestive of the project. The idea is for casting directors, the producers and/or the director to see how the actor looks and feels on screen in relation to the role he or she is auditioning for. | ||
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SCREENWRITER | The person who authors a screenplay or teleplay. | ||
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SCRIPT ANALYSIS (AKA: SCRIPT STUDY, TEXT ANALYSIS, or TEXT STUDY) |
The examination of a script to understand and interpret its elements. Thorough
analysis will look in detail at the structure of the story, to motivations of the
characters, whatever symbolism is present, what theme or themes are inherent in
the text, subtext and subplots, and any other aspects that are present in the
script.
To some extent or another most of those involved with the production will analyse the script. Directors will need to have as broad and as complete an understanding of their interpretations of their scripts as possible. The designers likewise need to have a firm understanding and interpretation, though they will work in close consultation with their directors, whose visions of the script take precedence. Actors need, at a bare minimum, to analyse their characters' mental and emotional goals and motivations, and what part they play in telling the story. But it is better if they have more of an understanding that simply just that which concerns their characters. Often during table work for a production the group as a whole works on script analysis. |
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SCRIPT SUPERVISOR | The person who follows the script as each shot, scene and sequence is underway and tracks how closely the script is being adhered to, then advises the director of any deviations. Script supervisors are also in charge of tracking continuity as well as what has and has not yet been shot. | ||
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SECOND ASSISTANT DIRECTOR or SECOND AD |
See ASSISTANT DIRECTOR or AD
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SECOND TEAM | The stand-ins for principal actors on a set or on location. | ||
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SECOND UNIT | A secondary film crew in a movie production, usually small, with the task to shoot sequences or shots of lesser importants, such as establishing shots, or such as cutaways in an action sequence. | ||
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SECOND UNIT DIRECTOR | A subordinate director in a movie or television production who is responsible for the footage shot by the second unit. She or he may be an AD or a producer, especially on a smaller independent film, but more often is hired specifically as the second unit director. Often, of course, these are newer directors, earning their wings, so to speak. | ||
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SEGMENT PRODUCER | A segment producer writes and/or produces one segment of a movie or a TV program. | ||
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SELF-TAPE, SELF-TAPED, SELF-TAPED AUDITION |
See DIY SCREENTEST
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SET DRESSING |
1) as a noun: items, which the actors/characters do not use or interact with, on
the set of a movie, TV, video, or theatre production, that represent or enhance one
or more of the sense of location, time (usually as in era), personality of a
character or characters, or events in the universe of the script.
Though set dressing items are set pieces they can usually be considered more as garnishes: both a sofa and the knitted throw that covers its back are set pieces, but the knitted throw is also set dressing, while the sofa generally is not considered such. Other set pieces that are also set dressing include, but are not exclusive to, such things as tchotchkes, refrigerator magnets, items on shelves, pictures or paintings on walls, so long as these things are not used by or interacted with by the actors/characters (which would make them props) or are not somehow a focal point of plot for the scene or overall story line. A painting that hangs on the wall of a set and is not attended to by the characters, is set dressing; one that is a topic of conversation or is somehow a relevant item in the story is a prop, even if not physically used by the actors/characters. 2) as a verb: the act of placing items, which the actors/characters do not use or interact with, on the set of a movie, TV, video, or theatre production, that represent or enhance one or more of the sense of location, time (usually as in era), personality of a character or characters, or events in the universe of the script. Can include the design decisions of such set dressing. |
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SET PIECE |
Any piece of stage scenery that stands by itself: furniture items, photos or
paintings that hang on the walls, rugs, hanging chandeliers, etc., so long as these
things are not used by or interacted with by the actors/characters, which would make
them props.
Some set pieces may also be considered set dressing, usually smaller items such as tchotchkes, househild items, decorations, etc., again, so long as these things are not used by or interacted with by the actors/characters, making them props. |
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SFX |
See SOUND EFFECTS
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SHORT-SUBJECT FILM (AKA: SHORT, SHORT FILM or SHORT-SUBJECT) |
A movie that is under forty minutes in length. | ||
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SHOT LIST | The document detailing the scenes, and each shot within, that are scheduled for the production day. It includes the specifics of all sets, locations, actors, crew members, and departments on the agenda. | ||
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SHOWCASE | A special sort of theatrical performance produced especially to highlight the abilities of performers -- usually actors. Industry professionals, such as agents, managers, producers, directors and casting directors are invited, rarely without a free ticket, to attend the showcase; they often do attend on the search for new talent. A showcase may feature only one performing artist or it may be a program to feature several. Often showcases highlight the work of actors from a recent graduating class in acting or musical theatre from a university. Talent agents and managers will also set up showcases for a member or members of their talent pools; some industrious actors will themselves produce showcases, often in collaboration with peers. Short-term professional acting classes often close with a showcase. Though in the practical sense showcases best feature an actor's stage performance chops, screen actors may do showcases, especially in smaller venues where they can bring down their performances closer to the subtler acting that is required for the camera. | ||
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SHOW RUNNER |
See EXECUTIVE PRODUCER
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SHOOT |
1) as a noun: the portion of the production of a a movie, television
(broadcast, cable, or streaming), or video production that involves photographing
in moving pictures via film or video (usually digital video). The recording of the
audio in the action is typically, but not always, involved. "A shoot"
may refer to the overall process for the production, or some smaller segment, such
as a day or a scene.
2) as a verb: the act of photographing moving pictures for a movie, television (broadcast, cable, or streaming), or video production via film or video (usually digital video). The recording of the audio in the action is typically, but not always, involved. |
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SHOT SET-UP | The positions and lighting for each shot in a movie, television, streaming, or video production. The set-up will take into account and movement or zooms in or out by the camera, and may have as part if the set up a dolly truck or other device for moving the camera. The lenses chosen for use are often considered part of the shot set-up, as well. | ||
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SHOOTING SCRIPT | A production script tailored specifically for the principal photography, (and other photography) for a movie, TV, or video production. There are a variety of different formats for shooting scripts, but all of them focus on what content to shoot and/or how to shoot such. | ||
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SHUTTER SPEED | The length of time a frame of film is exposed or digital camera sensor is open. The length of this exposure dictates the amount of light that reaches the film or image sensor, and thus regulates the sharpness or blurriness of each image frame. | ||
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SIDES (AKA: ASIDES) |
A portion of a script, usually one or two pages at the most, used in auditions. Sides usually are pulled to focus on one character (for whom the actor is auditioning), and is usually only a portion of one scene, a section that gives the casting person a good idea if the actor is a good fit for the role. For movie, TV, and video auditions, whether live or as screentests, the other character or characters will be read, usually by a production assistant, who will be off to the side; only the auditioning actor will be on screen or up infront of the casting people. | ||
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SINGLE-CAMERA PRODUCTION (AKA: SINGLE-CAMERA or "ONE"-CAMERA....) |
A production that is shot using only one camera rather than multiple-cameras. | ||
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SINGLE-CAMERA TELEVISION PRODUCTION (AKA: SINGLE-CAMERA PROGRAM, SINGLE-CAMERA PRODUCTION, SINGLE-CAMERA or "ONE"-CAMERA....) |
A television production that is shot in the same manner as a movie production, employing many or all of the aspects and methods, including shooting much of the episode or TV movie on location and shooting scenes out of sequence, to better budget production time and expenses, by minimizing shot set-ups and any location renting. As the term spells out, the program or TV movie is shot completely or primarily with one camera. Single-camera productions tend to be drama series or TV movies, though more and more SITCOMS are adopting the production format. | ||
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SITCOM (I.E.: SITUATION COMEDY) |
A comedic television series about a fixed set of characters, often set in one
location, such as a home, a bar, or office, that typically runs thirty minutes in
length with the commercial breaks included. Sitcoms originated on radio where they
were often fifteen minutes in length.
Though more and more sitcoms are being shot single-camera, the norm over the history of television has been multi-cam productions, shot in front of a studio audience with the scenes generally shot in sequence as they appear in the script, just as a live theatrical play is performed. Examples of single-camera sitcoms are: Arrested Development, The Office, Parks and Recreation, and 30 Rock. Examples of multi-camera sitcoms: Cheers, Everybody Loves Raymond, Friends, and I Love Lucy. |
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SLATE, SLATING, CLAPBOARD, or CLAPPER |
"Slate" or "Slatting" as verbs
1) For a screentest -- at the top of the audition performance actors give their names, usually the roles being auditioned for, and in many cases, the agency that represents them, also in many cases the actors must state SAG/AFTRA union affiliation, or lack of such. Sometimes they have a number on a sheet of paper or board that they hold on their chest during the slate, which identifies their spot on an audition list. If the actor is doing a live audition, they usually still at least verbally slate. 2) For movie, TV, or video productions -- the act of snapping a clapboard in front of the rolling camera at the start of a shot, to identify the shot, scene, production, etc., so the editor can identify and keep track of all footage that is good to use in the final cut, and to help ensure that the audio and visual information is in synch, by matching the sound of the snap with the image of the snap. "SLATE," "SLATING," "CLAPBOARD," or "CLAPPER" as nouns For movie, TV, or video productions -- the board with information on it that identifies the title of the production, the names of the director, the director of photography, the scene and take numbers, the date, and the time. It is filmed or video recorded at the top of each take, with the latest take number, date and time. The clapboard has a hinged stick on the top that an AD or PA snaps at the top of the scene to facilitate the synchronization of the sound and visual of the clap snap to ensure the audio and visual information is in sync in the clip of the scene. "Slating" is act of shooting the clapboard and snapping the top at the start of each shot of the scene, as mentioned above. |
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SLUG or SLUG LINE | A header appearing at the top of a scene or shot in a script for a movie, TV show, or video production, that indicates the scene/shot location, time of day, and often the relative passage of time from the previous scene. A slug may include specific dates or eras, especially for the first scene of a script. | ||
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SMALL FILM (AKA: SMALL MOVIE) |
A movie production that does not have a large budget. It may be a studio-made film,
but more often is an independent film
production. Small films can be either union or non-union productions. Non-union
small films are often low-budget
or no-budget productions.
"Small film" usually refers to a feature-length, but short-subject film certainly can qualify as small films, and usually do. |
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SNAZZUM |
Studio recorded dialoge gibberish, similar to walla, but rather than a group of voices, an isolated recordings of a single voice speaking walla gibberish that is used to synchronized with the lip movements of an extra who can be prominently seen in the scene to give a better sense of verisimilitude. It is used rather than the actual voice and words from the extra because, 1) as with group walla, there is an issue of controlling the audio levels and not competing with the dialogue of the principals on the scene, and 2) if this extra was to have a distinct dialogue perceptible in the final mix she or he would be elevated to actor (day player) and thus would be required to be paid a higher wage. |
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SOAP OPERA (AKA: SOAP) |
A soap opera is a serialized television drama that has many interwoven story lines about a large cast of characters most of which conform at least to some extent to archetypes. Though, in modern productions, soaps are not fully melodramatic, the writing and acting still often lean in that direction. Most modern soap operas are thirty-minute or one-hour daytime productions, produced by Broadcast Television networks, and airing Monday through Friday. Though they once made up the predominant portion of afternoon programming on TV networks, there are now only a few daytime soaps left in production. Soap operas began as 15-minute serials in the early days of radio and the term "soap opera" derives from the fact that they were sponsored by soap companies. Guiding Light is the one radio soap that made the transition to television, debuting on the screen in 1952, and actually overlapping the last several years of the end of its radio run. It had a run from its start on radio until the end of its TV run of 72 years, with a 57-year run on television, alone. Several other soaps have had substantial TV runs. Most of the more popular daytime soaps are or have been:
Another World (1964-1999) As the World Turns (1956-2010) Days of Our Lives (1964-) The Edge of Night (1956-1984) General Hospital (1963-) Guiding Light (radio: 1937-1956); (TV: 1952-2009) The Young and the Restless (1973-)
Dallas Dawson's Creek Desperate Housewives Dynasty Knots Landing Melrose Place Peyton Place |
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SOLILOQUY |
See MONOLOGUE
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SOUND BITE |
See SOUNDBYTE
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SOUND DESIGN (AKA: SOUNDWORK) |
The act of identifying and/or conceiving, then securing, manipulating, and/or producing the audio elements (soundtrack) of a movie, television, or video production, those elements being all of Foley sound, other sound effects, music, and the general sound engineering. All this based on the dictates and needs of the script as well as in consultation or collaboration with the director or producer(s). The chief sound designer may oversee most of this, but frequently delegates to others, especially to Foley artists. As well, producers often will be mildly to heavily involved in what music is used, both score and as incidental music (both commissioned original and pre-recorded). Sometimes producers will be completely in charge of the pre-recorded music used. The original scores by commissioned composers are also a factor that fall outside of the direct oversight of the sound designer. | ||
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SOUND DESIGNER |
The chief designer who designs and oversees the soundtrack
of a movie or television production. She or he is responsible for the design and
creation of the audio element of the movie or program. Though the chief designer,
he or she may delegate out many particular duties such as to
Foley artists,
production sound engineers,
and sound editors, all who report
to the sound designer.
The sound designer designs the sound plot for the production, noting all the sounds called for in the script, whether it be a sound that is a direct part of the action (a car honking "outside" because the wife is impatient) or ambient sound (birds "in the trees" to help set place and mood), and may determine that sounds not specifically mentioned in the script may also be appropriate -- especially ambient sounds such as office backgrounds or traffic. The sound designer also will likely work to greater or lesser extent with the composer who is writing the music score for the soundtrack, perhaps or perhaps not giving input on the dynamics of the score, but always coordinating the lengths of pieces of music to synchronize with moments and scenes in the final cut. The sound designer may also be invloved to a greater or lesser extent in the curating of music from outside sources, i.e.: music by recording artists. Such task often is done by producers, but the sound designer may have input. In all cases the sound designer will coordinate the length of the recordings to synchronize with moments and scenes in the final cut. The sound designers will usually have a large library of sound effects and may create sounds specifically for a production through new recordings or through mixing two or more sound from their libraries together, or otherwise altering a pre-existing sound file to make it work (slow it down, add reverb, change the treble-bass equalization, etc.) As alluded to above, some sound designers will delegate Foley work to Foley artists while others are Foley artists, themselves, and will do all or some of the Foley work for the project. Sound designers work in close collaboration with directors, who have final approval over all sound design. |
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SOUND EDITOR (AKA: DIALOG EDITOR) |
Responsible for editing a movie or television program soundtrack. | ||
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SOUND EFFECTS (AKA: SFX) |
Any sound added to a production, or any dramatic enhancement/alteration of sound in a production. Any such sound especially created as new for the specific production is also known as Foley sound; and any sound pulled from a library of sound files is simply a sound effect. | ||
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SOUND EFEECTS EDITOR | Responsible for specialized editing of sound effects for a movie or television program soundtrack. | ||
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SOUND ENGINEER |
See PRODUCTION SOUND MIXER
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SOUND MIXER |
See PRODUCTION SOUND MIXER
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SOUND LIBRARY (AKA: SFX LIBRARY or SOUND EFFECTS LIBRARY) |
A sound designer's collection of pre-recorded sound effects made up of what she or he has acquired or has created via Foley work. | ||
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SOUND PRODUCTION |
The manifestation and actions of bringing together the elements for the
soundtrack of a movie, TV program,
or video, and the process of applying these elements to the
final cut.
This will include some or all of recording of some or all of the dialogue and other production sound, any ADR, Foley, and music. It also entails any building of new SFX from a SFX library and/or with Foley sound, applying any other SFX from the sound library, and applying any prerecorded commercial music from the repertoire of recording artists or for which said artists have written and recorded specifically for the project. Sound production further entails modifications of audio elements (for one or more of volume level, monophonic-thru-surround sound mix, equalization, speed, pitch, addition of reverb, echo or other effects). All these elements are then brought together and incorporated into the final cut as the soundtrack. "Sound production" can also be a synonym for sound design. |
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SOUND STAGE |
The inside studio stage for movie or television production designed for good
audio acoustics and buffering as well as having overhead grids for easy hanging of
lights, where sets can be built to accomodate the needs of the production. For
narrative productions the sets will represent rooms, or whatever other places the
characters are supposed to be, including outdoor locations. For news shows, talk
shows, and game shows, the sets will be configured appropriately and is where the
action of such programs occurs.
Most of the sets on the sound stages for television series will, once built, not be struck until the series ends production. |
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SOUNDBYTE (AKA: SOUND BITE) |
A short recorded statement, audio-video, or, audio-only, such as a statement by a
politician, celebrity, or other public figure), typically used as a quote for
broadcast or cable news programs. In none journalistic contexts a soundbyte is short
clip of dialogue, action, or music taken from a full production of movie, TV
program, ballet, musical, music album, or other project, with the soundbyte or
collection of soundbytes used to promote or otherwise sample the full length work.
In both context it typically is a moment that has some sort of appeal, either
positive or negative, such as a damning statement from the subject of news story,
a clever statement by another, an exciting moment of action from a movie, or any
sort of moment that will draw attention.
Soundbytes and their use are often controversial as their brevity often is deceptive in term of the context of the broader material the soundbyte is taken from, frequently leading to inaccuracies in perception of the whole picture. Especially in the context of journalism, the ethics of proper use of soundbytes is a strong, on-going debate. |
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SOUNDTRACK |
1) The audio portion of a movie or television program. The term is routed in the
physical attribute of film stock, where the audio tracks run down one side of the
film strip. It now means all aspects of the audio portion of the movie or TV
program, including all dialog, sound effects and music.
2) A collection of music heard in a movie or TV program, often marketed as an album of such. |
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SOUNDWORK |
See SOUND DESIGN
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SP |
See SUPERVISING PRODUCER
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SPECIAL EFFECTS (AKA: SPFX) |
The artificial practical visual effects that create illusions in a movie or TV
production that are executed in real time on the set or on location by use of
physical engineering rather than those created in post-production, such as those
created by computer, as with CGI work.
A car rigged to flip then actually explode via engineered pyrotechnics is a special effect; a computer graphic enhancement that make it appear that the car has exploded is not called a "special effect," but rather CGI. In today's movie and television production worlds many visual illusions are the product of a blend of special effects and CGI. |
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SPFX |
See SPECIAL EFFECTS
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SPIN A MESSAGE | Movie & TV production walkie-talkie lingo for sending a message out on multiple walkie-taklie channels to get some important message to all the production staff. As an example, the first AD might tell a second AD, "Please spin that," and then the 2nd AD will repeat the message on all necessary walkie channels. | ||
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SQUIB | A tiny explosive devise. Most commonly, one or more squibs are attached under an actor's costume and when exploded on queue (and in sequence when more than one), it gives the effect of the character being hit with bullets. Squibs are also used in other manners such as in sequences with miniature models to create special-effect explosions. | ||
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STAND BY |
1) Directive to pause before the next action and wait for the go-ahead. Often the
need to be silent is involved.
2) Movie & TV production walkie-talkie lingo essentially for "I can't reply right now because I am busy with a task." |
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STANDING BY | Movie & TV production walkie-talkie lingo for "I'm ready for my next assignment." | ||
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STAND-IN |
The person who takes the place of (stands in) for a principal actor on a set or on
location during camera and lighting set up. The stand-in will be the same height and
size as the principle she or he represents, and will be dressed in costuming that
is, or virtually is, exact to the costuming of the principal for that shot.
Stand-ins often bear some resemblance to their principals as well.
See, also, SECOND TEAM. |
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STEALING THE SCENE |
1) In a postitive light, to give such a memorable performance or have such a strong
presence on screen in a scene that it is hard for the viewer to not focus on that
particular actor, yet it does not necessarily mean the work of the other actors is
diminished.
2) In a negative light, it is to give an undesirable performance that draws undue attention to oneself by exaggerated movement or other over-acting, thus taking the focus away from where it belongs at that moment in the scene. The second definition may also be known as "upstaging," which is more commonly used in theatre. |
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STEADICAM | A harness mounting camera apparatus that enables the operator to move about while keeping the camera stabilized, allowing for a smooth shot regardless of the roughness of terrain and of the amount of wobbly or rickety movements of the operator and his or her body. It achieves this by mechanically isolating the operator's movements as separate from the movement of the camera, which remains stable. | ||
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STILLS PHOTOGRAPHER | The photographer assigned to take on-set and on-location photos during production, for promotional and archival use. | ||
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STOCK FOOTAGE (AKA: ARCHIVE FOOTAGE, FILE FOOTAGE, LIBRARY FOOTAGE) |
Film or video footage that already exists that can be used in a movie, TV, or video
project. Common examples are shots of trafic or other activities in a city, often
a particular city, a park, footage of wildlife, planes in flight, historical
or other sorts of land marks. Stock footage is often used for
establishing shots.
Stock footage comes from a variety of sources including footage that is excerpted from a previous production, or outtakes not used from a previous production. It may also be footage that has been shot and produced specifically to be stock footage. There are stock footage services who provide such to producers and directors, often for a flat fee (i.e: royalty free). Many on-line services offer direct download of stock shots. |
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STOCK PHOTO (AKA: ARCHIVE IMAGE, ARCHIVE PICTURE, ARCHIVE PHOTO, ARCHIVE PHOTOGRAPH, FILE IMAGE, FILE PICTURE, FILE PHOTO, FILE PHOTOGRAPH, LIBRARY IMAGE, LIBRARY PICTURE, LIBRARY PHOTO, LIBRARY PHOTOGRAPH, STOCK IMAGE, STOCK PICTURE, STOCK PHOTOGRAPH) |
A photograph that already exists that can be used in a movie, TV, or video
project. Common examples are photos of buildings or other structures in a city,
scenic photos, or photos a person or group of people. Stock photos are often used
for establishing shots.
Stock photos come from a variety of sources including previous productions. It may also be a photo that has been shot and produced specifically to be a stock photo. There are stock photo services who provide such to producers and directors, often for a flat fee (i.e: royalty free). Many on-line services offer direct download of stock photos. |
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STOCK SHOT | A film or video shot that is stock footage. | ||
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STORY BIBLE (AKA: BIBLE) |
Written documentation of any or all of: characters, events, historical facts, or
any other facts and details pertaining to the universe of a particular script
(screen or stage), TV series, web series, movie series, particular novel, or novel
series, comic book, or any cross-over between these media.
The bible's purpose is to maintain consistency in the lives of the characters and the events in their lives. A story bible becomes especially helpful when applied to any of the seriel story-telling mentioned above, especially when different individual scripts, books, or comic books are written by different authors. Often there are additional guidelines about where stories can and cannot go and what can or cannot happen to characters. Producers, head writers, and editors often demand strict adherence to the applicable story bible and any guidelines, whether all the different stories remain in one medium or cross over into others. |
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STORYBOARD | A series of images, usually drawings on cardboard panels that illustrated shot set-ups for a movie, TV, streaming, or video production. There is usually sequence of panels for each scene, and there are often some directions and dialogue. The drawing may be a simple as stick drawings or as elaborate as something akin to a Norman Rockwell illustration. | ||
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STREAMING |
The presentation of content on the world wide web for consumption by viewers on
their computers, computer tablets, smart phones, smart TVs, streaming devices
attached to a TV (such as Apple TV, Ruko, or Amazon Fire), or on other devices
that have access to the internet.
See also ON-LINE PRODUCTION or ON-LINE TELEVISION |
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STREAMING PRODUCTION |
See ON-LINE PRODUCTION
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STREAMING TELEVISION |
See ON-LINE TELEVISION
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STRIKE (AKA: 86 or EIGHTY-SIX) |
To tear down a set, or to remove a prop, set piece, piece of equipment, or any
other item from the set or from the production area.
Sometimes "86" means, similarly, to throw away, though the term is not commonly used in reference to tearing down a set. |
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SUPERVISING PRODUCER (AKA: SP) |
In movie productions the supervising producer supervises the creative process
of screenplay development and may be involved in re-writes. Frequently supervising
producers work closely with less experienced story editors and writers, if there is
a writing team. If the head writer
is also co-executive producer
the supervising producer will work in collaboration with him or her, with the
co-exec having more rank.
In television productions they play a role in supervising the creative process in the writers room, and, as in movie productions, may be involved in re-writes. In TV news they do much of the oversight of the development of new news and feature stories. Sometimes the supervising producer may be the head writer, though usually the head writer is a co-exec or an executive producer. They may mentor or guide newer writers, though if they are head writer they will delegate that to a senior writer on the team. They likely also work closely with less experienced story editors. In TV news and other non-narrative TV they usually report directly to the EP (executive producer) and thus are usually second in the producer chain of command. |
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SUPPORTING ROLE | A role on stage or on screen that is below the lead roles, but above any bit parts. Supporting roles run the spectrum from minor roles to major characters who are often pivotal or vital to the story. In television, the term "Day Player" is used to refer to most performers with supporting speaking roles hired on a daily basis without long-term contracts. Also in episodic television, there may be several levels of "Supporting" roles and different productions may make different distinctions between "Guest Star," "Featured," "Recurring," simply "Supporting," or "Day Player" -- though the latter is fairly universally defined, regardless of the production. The only thing that will always be true is that Supporting Roles will be considered "Principal Roles," in that they have at least one line, or otherwise action that is vital to the story line or perform some special skill, if they don't speak. | ||
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SURROUND SOUND (AKA: 5.1, 5.1 SURROUND, OR 5.1 SURROUND SOUND) |
5.1 Surround Sound is a six-channel audio system most commonly found in home entertainment cinema setups, but sometimes applied in movie theaters. There are five full bandwidth channels and one low-frequency effects channel. The system speaker/channel configuration is front left and right, center channel, two surround channels (back left and right) and a low-frequency/subwoofer effects channel. | ||
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SUSPENSION OF DISBELIEF | The willingness and ability of audience members to ignore that they are consuming fiction, whether they be reading a piece of literature or observing a performance, be it a stage play. movie or TV program, opera, ballet, etc. The audience members play along with the fiction they are consuming and are prone to emotionally and intellectually react to the events and characters as if such were a part of the real world. | ||
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SWEETEN |
To edit or otherwise enhance some element of a production. Most frequently the term
is used for somehow altering some portion or all of a soundtrack by altering
one or more of the volume levels, equalization, stereo mix, or applying filters.
It's also a term used for additions, alterations, or rewriting some portion, or other editing, of a script -- though the term "punch upp" is a little more common. But any aspect, visual or otherwise, that is somehow altered or enhanced might be considered "sweetened." |
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T |
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TABLE WORK | One or more further table reads of a script after the initial table read, where now the focus is on development of the characters and deeper understandings of the script and its story as a whole. Reads for table work usually go at a much slower pace with many stops and restarts of various moments in the script as the director and the actors work together to discuss and hone the development of character and script understanding. Some directors control all stops for discussion during table work, some invite the actors to also stop the read through at any time. | ||
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TABLE READ |
See READ-THROUGH
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TAFT/HARTLEY or TAFT/HARTLY ACT |
The Labor Management Relations Act of 1947 (29 U.S.C. ยง 401-531) which restricts
the activities and power of labor unions. For American actors the import is that
non-union actor can work a limited amount of time on a movie, TV or video set
without being required to join the SAG/AFTRA
union.
See en.wikipedia.org/wiki/Labor_Management_Relations_Act_of_1947. |
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TAKE | Each single occurrence of filming or video recording a segment, be it a whole scene or some portion of a scene. | ||
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TALK SHOW |
A television show with a host who interviews or otherwise talks with guests. The
guests usually have some sort of prominence; they may be actors, other performers,
politicians, authors, artists, or have some other prominence in the public eye.
Some guests are people who have had some sort of extraordinary event occur in their
lives that draws appeal to their appearances -- an example would be
"Sully" Sullenberger
who heroically landed US Airways Flight 1549 in the Hudson River off Manhattan after
both engines were disabled by a bird strike.
Most talk shows have five episodes per week, Monday through Friday, either during the day or late night after the local news. With few exceptions, talk shows are one hour in length. Most will also have musical guests who appear, usually to perform their latest hit, or would-be hit, and to promote a new album. Talk shows usually have a house band that performs the show's opening and closing theme music, as well as playing into and out of commercial breaks. Some also have comedy segments consisting any or all of sketches, some sort of funny list (such as David Letterman's "Top Ten List"), regular bits, funny game competitions that often recruit audience members, and any variety of other comedic features. There are some talk shows that only feature interviews with guests, either several over the course of one episode, or only one guest for the whole episode. Some prime examples are Charlie Rose or Larry King Now. It can be argued that Jerry Seinfeld's Netflix streamed program, Comedian's in Cars Getting Coffee is a talk show, though it would be a new twist on the genre, where the talk takes place on location in a car and in some sort of restaurant or café. Here's just a small sampling of other examples of talk shows: |
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TECH REHEARSAL | For a film or video, a rehearsal on set, whether the set is on a sound stage or is on location (inside or out doors) where all production elements (lighting, sound, costuming, and special effects) are in play and practiced during the rehearsal. Almost always, a film or video tech rehearsal will happen on the day of the actual principal photography, most often just before. | ||
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TEASER SEQUENCE (sometimes "teaser") |
See COLD OPEN
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TELEPLAY |
The script for an episode of a television series or for a made-for-TV movie, and
that which meets the proper formating as required by the television industry, with
specific idiosyncratic requirements generally added on by particular series
productions.
Though not entirely the same, in general terms there are not a multitude of differences between the formatting of teleplays that for screenplays. see "The Screenwriter's Simple Guide to Formatting Television Scripts." |
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TELEVISION PRODUCTION (AKA: TV PRODUCTION) |
In general terms, it is the manifestation and actions of bringing together
the elements for, and the execution to, the final cut
of a series, movie, or documentary, for broadcast on the airwaves.
The most common usage of the term is for the portion of the process of making an on-line series, movie, or documentary that consists of any rehearsal and all major or minor filming or video recording, or shooting of live broadcast, of all action or performances involving all actors and other performers, or all subjects of a documentary. As well, the filming, video recording, shooting of live broadcast of all footage that does not include performers or other active subjects (people, animals, or animations) is part of the production phase. Thusly, "in production" means being in this period. |
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THEME MUSIC (AKA: THEME SCORE or THEME SONG) |
The music that is played over the opening title sequence of a television show, movie, or video. | ||
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TILT SHOT | Moving the camera up or down while maintaining its horizontal axis; usually done from a tripod or jib, but can also be done as a handheld shot. | ||
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TRANSCODING | In terms of digital video movies, transcoding is the direct digital-to-digital conversion of a movie file from one encoding (movie computer file format) to another. | ||
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TREATMENT (AKA: FILM TREATMENT, MOVIE TREATMENT, or EPISODE TREATMENT) |
A synopsis of the story for a movie or a TV episode, written in prose form that is
usually very detailed in terms of plot and action and may even describe particular
special effects and/or
CGI when it's clear such will be necessary.
For more information on treatments see:
"How To Write A Treatment," by Marilyn Horowitz at movie outline |
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TYPE |
The kind of character or characters an actor can be easily cast as due to age,
appearance, particular mannerism or traits, race/ethnicity, or a kind of character
that the actor has a reputation for performing with great success.
*See also, against type |
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TYPECASTING |
To cast an actor in a role due to his or her physical appearance, which fits the
vision of who the character is, or because that actor has a reputation for
successfully playing such roles. It may also be because the actor shares traits
with the characters, or can appear to come from the same or similar social or
economic background, or shares the same or similar race or ethnicity.
Typecasting can both work to an actor's advantage or be problematic for her or his career. In the first instance especially with the majority of screen actors who book mostly or exclusively guest spots and supporting roles, and, most especially, commercials*, such actor may get a lot of work because he or she is strongly identified as his or her type. However, when a particular actor is identified with a particularly iconic role, she or he may become harder to cast because they have become so synonymous with that character there is a concern that audiences will not accept the actor as another character. Also, some actors may be identified with such a specific type (usually because of some sort of physical attribute) that it becomes hard to imagine them in other types of roles. *Typecasting is the strong normal practice in commercial advertising. It should be noted that typecasting is to some extent less of an issue for stage actors than screen actors, the latter who have a much smaller chance of being cast against type. |
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U |
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UNDERSCORE | A music score that plays during a scene or a momentt in a scene. Such is often at a lower volume, if there is dialogue, thus it is said to be playing under the dialogue or is "underscoring" the scene. | ||
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UNIT PUBLICIST | Manages press visits to a film or TV set and deals with all press-related matters during production. For bigger productions, with star performers, the unit publicist will attempt to control -- and, if possible, kill -- rumors and stories of conflicts, romances, etc., on set and surrounding the production. The unit publicists job is to see that the production receives the best possible publicity. | ||
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UPFRONTS |
The meeting between television executives (broadcast, or cable) advertisers, and
entertainment news media, at the start of key sales periods where the TV execs
showcase their forthcoming programing promoting it for ad buys and for publicity.
The term "Upfronts"comes from the TV executives goals to entice advertisers to buy comercial ad space before the new programing is broadcast of cablecast. |
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UPSTAGING |
See STEALING THE SCENE
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V |
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VARIETY SHOW |
A regularly schedule prime-time television program, usually an hour-long, that
features, as the name suggests, a variety of different types of entertainment acts,
from singers and musicians, to stand-up comics, magicians, dancers, and other
entertainers. Many shows featured comedy sketches, some of those with recurring
themes, settings and/or characters. Most variety shows are hosted by a personality
who is the front person for the show. variety shows were a staple of television from
its dawn in the late 1940s, well into the 1970s.
Some examples of very popular very successful variety shows are:
The Colgate Comedy hour The Ed Sullivan Show The Glen Campbell Good Time Hour The Lawrence Welk Show The Red Skelton Hour Rowan and Martin's Laugh-In The Smothers Brothers Comedy Hour The Sunny and Cher Comedy Hour The Tracy Ulman Show Your Show of Shows A distinction has made here between these types of shows which aired in the evening between the evening and nightly news, and late-night talk shows, such as The Tonight Show, or late-night sketch comedy shows like Saturday Night Live, both which it can be argued offer variety but have a slightly different format and feel than the variety shows listed above. |
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VIDEO EDITOR |
See EDITOR
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VIEWPOINTS | A technique of movement exercises and games (often wholly or partially improvisational) that provides a physical vocabulary for actors, involving movement and gesture. The basic precept is to engage an ensemble, or even a dou, of actors in becoming in tune to their surroundings (the space) on the stage or set and their connectivity to each other in that space. It's a method of helping the actors use their bodies in time and space to create, reach, and communicate more meaning in the universe of the story they are telling on the stage or screen. | ||
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VOICE ACTING |
See VOICE-OVER -- *especially deffinition
number 3
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VOICE-OVER (AKA: VO, VOICE ACTING, VOICE WORK) |
1) In a movie, TV, or video production: In general terms. a voice-over is any
voice heard where the actor or spokesman is not on screen. Usually it means
that the person is not intended to be considered physically present in the
action being seen on screen. It is a voice from a TV, radio, phone, or an
answering machine. It may also be a voice in an on-screen character's mind,
such as the voice of the person who has written the letter we see the character
reading, or it's a poignant remembrance. Lastly, it is narration or informational
speaking by someone not on camera and not suggested as in the scene but out of
frame.
2) In a theatre production: any recorded voice that is played during a live performance. 3) Especially concerning "voice acting" and "voice work," to performa as an announcer for a TV production, an announcer or character for a radio or audio-only production or to perform the voice of an animated character in an animated production or animated sequence. |
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VOICE WORK |
See VOICE-OVER -- *especially deffinition
number 3
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W |
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WALKIE CHECK | Movie & TV production walkie-talkie lingo for when crew members first turn their walkie talkies on, they call for a walkie check over the system to be sure their unit is working. Someone will reply with "Good check," to affirm the walkie-talkie is working. | ||
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WALLA (AKA: RHUBARB) *(in some cases: SNAZZUM) |
The name for the indistinguishable dialogue (or chatter) of background characters
in a scene from a movie or TV program. "Walla" is the American term, and
"rhubarb" is the term used in Great Britain. Typically the background
extras on set are actually pantomiming dialogue so as to not cause a sound-balance
problem with the dialogue of the principle actors. The background walla heard in
the final cut is either wall sound from
a sound effects library, or a group of actors brought into a sound studio in
postproduction -- then which ever
is added to the soundtrack for the scene in question.
The words ("walla" or "rhubarb") come from the idea that the particular word is being said, but, in reality those who speak the faux dialogue for the walla recording may be murmuring other things. Most are likely saying coherent sentences. Some of the other words that might be said are: "peas and carrots," "watermelon cantaloupe," "natter natter" "grommish grommish" or some other gibberish a particular speaker is improvising. Again, often these people are constructing coherent sentences, but the conglomeration of all the voices renders it all indistinguishable murmuring. Beyond audio level control on set, the other reason to add recorded walla for the background extras is that if any of those extras where to have a distinct dialogue perceptible in the final mix they they would be elevated to actors (day players) and thus would be required to be paid a higher wage. *See also, snazzum. |
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WEB PRODUCTION |
See ON-LINE PRODUCTION
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WEB SERIES (AKA: ON-LINE SERIES) |
An on-line television production, in which the episodes are available to view on the World Wide Web at a website or through a podcast server. | ||
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WEB TELEVISION |
See ON-LINE TELEVISION
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WIDE SHOT (AKA: LONG SHOT or FULL SHOT) |
A shot taken from a distance usually more than several feet to several hundred
feet which shows a whole setting, or person or other subject in that setting.
The purpose is to establish the subject of the shot in relationship to the
surroundings. Often, but not always, the wide shot is the actual
"establishing shot";
sometimes it's a reveal, at the end of a scene or a gag in a scene.
To "go long" or to "go wide" means to shoot this sort of shot. Master shots are virtually always wide shots. |
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WILD SOUND (AKA: WILD AUDIO, WILD TRACK, WILD LINES, or WILD DIALOGUE) |
Audio, usually recorded during shooting, but not on camera, intended to be
synchronized with film or video footage which has been shot separately. In most
cases wild sound is recorded on location. Wild sound may be sound effects or
extra takes of lines that are recorded when the cameras are not rolling or not
focused on the action. Room tone is also wild sound. Wild sound should not be
confused with Foley sound or ADR, the latter two being recorded in sound studios
and thus under much more controlled circumstances.
Sometimes an excerpt of audio from an unused take is used in the take chosen for the final cut, to add in, or to replace something, and sometimes such is referred to as "wild sound." |
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WRAP (I.E.: WRAPPED, TO BE WRAPPED, "THAT'S A WRAP") |
1) as a noun: a point when some element of a production is finished, whether it
be a sot, a scene, the days production, the production ads a whole, or any other
particular element or portion of the production. As in: "Annnd, that's a
wrap!"
2) as a verb: the act of finishing any element or portion of a production, or the act of sending an actor or crew member home for the day, for some period of production time, or from the production from that point forward. For instance the first AD might instruct a PA to tell an actor he or she is wrapped for the day. Also, it's not uncommon, on a movie set, when an actor has finished her or his last scene in the production, for the director or the first AD to announce to the rest of the cast and the crew, &qupt;Ladies and gentleman, John/Jane is wrapped from [the name of the movie]!" Then everyone else claps and cheers for them. |
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WRITER |
To state the obvious, a writer writes some or all of the content of the film or TV
production. There are however many different categories and classifications of
"writer," especially in television. A writer might write only the story,
as a prose narrative or a treatment,
or the writer might write a portion of, or all of, a
screenplay or
teleplay.
In the television industry, far more than film, there are multiple designations of those who write for the medium with various levels of duties and responsibility. Most designations are as some sort of producer and are generally dictated by the Writers Guild of America. Basically, besides the actual term "writer," which is for those who are staff writers in the writers room, these are the other designations of writers (producers) (click on each for more detail):
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WRITER/DIRECTOR | A film, video or television maker who, as the title suggests, both writes and directs the project. Frequently such is also a producer. The writer/director can also be called an auteur. | ||
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WRITERS ROOM (AKA: WRITING ROOM) |
The office area, almost always set up conference style, where the writing team for
a television series or other type of TV program meet to collaboratively work on
writing episodes or TV movies, though many or all of the writers may have their own
offices to write in, as well. The writing room is where the writers will pitch ideas
to the head writer and where the
head writer will mete out writing assignments.
Movie productions may also have a writing room if there is a writing team of screenwriters on the project. |
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Z |
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ZOOM SHOT (AKA: ZOOM) |
A zoom changes the focal length of the lens to alter the magnification of the subject to increase ("zoom in") or decrease ("zoom out") the subject's size on screen. In other words to make the shot move into or away from the subject while keeping the camera stationary. This is different from a dolly shot, where the camera itself physically moves toward or away from the subject. Zooms keep the relative positions and sizes of objects around the subject constant; in dolly shots such relationships change as the perspective changes by the movement of the camera in or out. | ||
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For the index of K.L.'s creative writing and essays at this site, click here. |