A negative cutting (NEGATIVE CUTTING) technique used in editing. It is used to prevent splices (SPLICES) from being visible on 16 mm film. The first shot (SHOT) is placed on Reel A, followed by a black leader (LEADER) corresponding to the shot to be placed on Reel B. The second shot is placed on Reel B, and a black leader corresponding to the shot on Reel A is placed at the beginning. Subsequent shots are arranged so that the black leader aligns with their corresponding shots. Both reels are printed separately onto the same raw film (STOCK), so that the shots are joined together without any splices between them. This process is not required for 35 mm film, because the frames (FRAME) are large enough that the adhesion points between them are not visible. The A–B strip is also used to create fades (FADE) and dissolves (DISSOLVE) in 16 and 35 mm film. When performing a dissolve or superimposition (SUPERIMPOSITION), the two shots are placed on reels A and B so that they overlap. For more than two superimpositions or for titles (TITLES), etc., additional reels (C, D, etc.) can be used.

A-B Reel (See A and B Cutting)

1) A big-budget feature film starring famous actors and considered a top commercial priority. 2) The first film shown in a theater where two films are screened.

It refers to top-tier actors who command fees of over $20 million per film. This term may also refer to producers, directors, and screenwriters whose participation can be guaranteed.

A page added later between the completed pages of a screenplay. To number these pages, the number of the preceding page is followed by a letter: 127, 127A, 127B, 128, etc. (See BLUE PAGES)

It includes all types of footage featuring the main plot actions, speaking characters, or interview subjects. A-roll footage is generally known in the industry today as main footage, primary footage, hero footage, or lead footage.

(See: Added Scene)

Raw film wound onto a reel with the emulsion side facing outward.

An abbreviation for "American Cinema Editors." The honorary professional organization for American film editors (EDITORS). Membership is by invitation only.

Abbreviation for the American Society of Cinematographers

A term used to refer to the second-to-last shot of the day during a shoot.

In producer slang, an expression referring to the final shot of the day’s schedule (e.g., “The next shot is the Abby Singer”). The expression dates back to the time when Mr. Singer served as an assistant director (ASSISTANT DIRECTOR). Mr. Singer directed the filming of the day’s final shot.

A lens error that causes the image to be distorted.

A budgeting term that refers to the professionals who drive creativity in a film, such as screenwriters, producers, directors, and actors.

A film’s budget (BUDGET) is divided into two main sections: above-the-line and below-the-line (BELOW-THE-LINE). Above-the-line expenses are generally the most expensive items in the budget (costs associated with the story, screenplay, producer, director, and actors). The below-the-line section includes expenses for technicians, materials, and labor. Labor costs are generally calculated on a daily wage basis. Raw film (RAW STOCK), processing and printing (PROCESSING), camera equipment, stage (STAGE), and other production (PRODUCTION) and post-production (POST PRODUCTION) costs are also included in the below-the-line section of the budget.

The primary expenses committed to a project before production begins include story/rights/continuity, salaries for producers, the director, and actors, travel, living expenses, and production fees (if the project was acquired from a previous company). Everything else falls under “Other.”

Damage to a film print caused by improper or excessive handling. It appears as scratches and scuffs on the surface of the film.

Non-narrative films are those that do not feature acting and generally do not attempt to reference reality or concrete subjects. They rely on the unique characteristics of movement, rhythm, lighting, and composition within the technical framework of cinema to create emotional experiences.

A movement that focuses on situations where characters cannot find an inner purpose in life, is typically represented by ultimately meaningless actions and events, and questions the certainty of existential concepts such as reality or value.

An award presented by the ACADEMY OF MOTION PICTURE ARTS AND SCIENCES (AMPAS) for artistic or technical achievements in various branches of the film industry. Also known as the OSCAR. The first awards were presented in 1927.

The format is specified by the ACADEMY OF MOTION PICTURE ARTS AND SCIENCES (AMPAS). It is added to the beginning (HEAD) of each reel (REEL) and contains numbers ranging from 10 to 2, indicating where the film will begin. A beep heard the moment the number 2 appears indicates that the film is about to begin. The film starts at the point where the number 1 should be. The new leader developed by the SOCIETY OF MOTION PICTURE AND TELEVISION ENGINEERS (SMPTE) for the screening of films in theaters and on television is called the UNIVERSAL LEADER.

An honorary organization for American filmmakers, membership in which is by invitation only. With over 3,000 members, it is organized into various branches based on their fields (such as directors, actors, cinematographers, art directors, and composers). Each year, they determine and award the Academy Awards. Each branch votes on nominees in its own field, and all members then select the best film from among the nominees.

The process of shortening the length or duration of a video and increasing the speed to convey excitement and rhythm.

Movements filmed with a camera operating at a frame rate lower than the standard 24 frames per second for sound films appear to be sped up during projection. The opposite of this is called high frame rate (SLOW MOTION).

Light that illuminates a specific area or object. It is generally used to highlight works of art or other artifacts. Common types of accent lighting include wall sconces, spotlights, recessed lights, torchiere lamps, or track lighting.

A 1,000-watt Fresnel lens (FRESNEL LENS) spot (SPOT) lamp.

A safe film base that burns without sparking, replacing the old, highly flammable nitrate-based film.

Sound heard without seeing the visual source.

The science of sound wave transmission.

The main part of a film’s story.

Any person, male or female, who portrays a character in a performance.

An event that takes place in front of the camera.

A cut that uses on-screen movement to close the transition. This ensures that the action appears continuous and seamless.

A film genre in which the protagonist is typically thrust into a series of events involving violence and physical prowess. This genre typically features a hero—often an underdog—who faces incredible challenges, including life-threatening situations, a dangerous antagonist, or a chase that culminates in the hero’s victory.

A photograph enlarged from a film frame (BLOWN UP).

A film reel consisting solely of images, with no music, dialogue, or sound effects added.

A command given by the director to initiate movement or dialogue in a scene (SCENE).

A person who plays a role in a play, television show, or film. Actors in American films who have speaking roles are paid according to Screen Actors Guild (S.A.G.) rules. In productions intended for audio or video recording, the rules of the American Federation of Television and Radio Artists (AFRTA) apply, while in theater productions, the rules of Actors’ Equity apply.

A report detailing the start and end times of an actor’s daily work and the tasks performed. The actor signs this report every day, and a copy is sent to SAG or AFTRA.

Abbreviation used for "Assistant Director" (ASSISTANT DIRECTOR).

Dialogue that is not written in the screenplay (SCREEN) but is improvised on the spot during filming. (See IMPROVISE, WING IT)

A screenplay (SCREENPLAY) adapted from a source such as a story, novel, short story, etc.

A scene added after scene numbers have been assigned to a completed screenplay. An additional scene is indicated by a letter placed next to its number…(See A-PAGE)

An additional camera used for complex action scenes, dubbing, or situations requiring faster coverage.

Some takes or scenes from focus groups or studio screenings may be poor enough to convince filmmakers to reject them or add additional scenes. In some cases, actors are called back and certain parts of the film are reshot.

A printing system that uses green, red, and blue lights during the color film printing process.

A distribution agreement under which producers receive an advance in addition to a share of the film’s net profit.

Abbreviation used to refer to "Automatic Dialogue Replacement" (See: Loop, Dub, Elr)

The number of frames by which the sound must be shifted ahead of the image to ensure synchronization between the image and sound during projection. This number is 20 frames for 35 mm and 26 frames for 16 mm.

A film or television program made available via a DVD, Blu-ray, or streaming link sent to film critics and eligible award voters.

The amount provided before services or expenses are rendered.

The effect of the atmosphere on the appearance of an object from a distance. As the distance between an object and a viewer increases, the contrast between the object and the background decreases, and the contrast of the object’s features or details also decreases.

A scene (SCENE) shot from an airplane or helicopter using a special camera mount (CAMERA MOUNT). (See ‘COPTER MOUNT, TYLER MOUNT)

Abbreviation used for the American Film Institute

The abbreviation used for "American Federation of Musicians" (Union)

Abbreviation used for "American Federation of Television and Radio Artists"

A character’s portrayal is strikingly different from or in contrast to the type of role an actor has played previously, and is recognized as such by directors and audiences.

A person or firm authorized by the state to represent a client and sign contracts on their behalf. The standard management fee is 10 percent of the client’s daily rate.

AIR-TO-AIR - A shot of one flying object taken from another, such as a helicopter or airplane.

The only pseudonym a film director can use when they want to have their name removed from a film.

An extended metaphor; in film terminology, this refers to a visible event or character in a film that bears a distinct resemblance or harmony with more significant or abstract meanings outside the film.

A toothed clamp used during filming to temporarily secure various objects in different locations.

The occurrence of the same letter or sound at the beginning of adjacent or closely related words. For example.

A direct or indirect reference to another thing or person—made through a visual element or dialogue.

The ending of a story that was conceived, or even written or produced, but was ultimately rejected in favor of another solution.

The mood, emotion, or atmosphere that a scene is intended to convey.

Natural or ambient light surrounding a subject in a scene; typically soft light.

Normal sounds found in a specific location, such as street noise, birdsong, wind, and room tone (ROOM TONE).

A type of meaning where an expression, statement, or solution is not clearly defined, allowing for several possible interpretations.

To create a sense of depth, you generally need to relate it to something. Ambiguous space is the removal of cues that allow the viewer to know what they are looking at.

The American Society of Film Editors. Membership is by invitation only.

The institute’s activities include a film school, a film archive, and film preservation and restoration, and it presents an award each year.

(A.S.C.) An honorary professional association whose members include America’s finest cinematographers. The equivalent organizations are the British Society of Cinematographers (B.S.C.) in the United Kingdom and the Canadian Society of Cinematographers (C.S.C.) in Canada.

To pay off and reduce the principal and interest of a debt in specific installments until it is finally paid in full. In the film industry, the cost of the negative (NEGATIVE COST) is billed against revenue and reduces the debt.

Abbreviation for "Academy of Motion Picture Arts and Sciences"

An element or object in a film that belongs to a different time or place; anachronisms are generally considered inconsistencies or errors.

A special type of lens used when shooting for the wide-screen (WIDE SCREEN) system on standard 35 mm raw film (STOCK).

A process involving the use of a special lens on the camera and projector—or a conversion process—to intentionally distort the image and produce different magnification ratios in order to create a widescreen image using standard film.

Film-related rights, such as soundtrack rights, music licensing rights, adaptation rights, stage play rights, and merchandising rights. Merchandising typically includes interactive games based on the film.

The perspective through which a camera frames its subject.

To direct the camera toward a specific subject, move the camera, and focus.

A specially trained crew member who works with animals appearing in a film. In many cases, they are also the owners of the specially trained animal performers. (See TRAINER, WRANGLER)

The process of turning a storyboard into a moving sequence.

A filmmaking style in which drawings or three-dimensional objects are filmed frame by frame (actually, two frames at a time). Sometimes the drawings and paintings are applied directly onto the film strip.

A specially constructed table used in conjunction with an animation camera.

A camera used in stop-motion animation that captures one frame of film at a time.

A transparent acetate sheet, approximately 20×30 centimeters in size, used to create images to be filmed with an animation camera.

A specially designed tripod that supports the animation camera and allows it to move up and down.

An artist who draws the images to be used in animation or creates three-dimensional objects.

Refers to mechatronic puppets. They are commonly used in films to depict characters and in theme park attractions.

A form of animation originating in Japan that combines hand-drawn and computer-generated elements. Outside of Japan and in English, “anime” specifically refers to animation produced in Japan. However, in Japan and in Japanese, “anime” refers to all animated works, regardless of style or origin.

A term used in trade publications (TRADE PAPER) within the film industry. It indicates that a person has voluntarily left a project or a company.

The first composite (COMPOSITE) print (PRINT) produced by the lab (LAB) for the approval of image and sound quality.

The main character, person, group, society, nature, force, spiritual realm, villain, or antagonist in a film or screenplay; they are in hostile conflict with the film’s hero, leading character, or protagonist. In some cases, they are referred to as the “antagonist.”

A single film consisting of a series of short films that are distinct from one another, typically linked by a single theme, premise, or author, but generally independent of one another.

The tendency to attribute human traits, abilities, and characteristics to living beings or objects.

Generally refers to anything that follows the film’s climax—its peak, high point, or climax—and involves a letdown that falls short of expectations, is unsatisfying, and causes disappointment.

A special coating applied to the back of the negative (NEGATIVE) to prevent unwanted haze and glare from appearing in the image during filming. This coating is separated from the film during development (DEVELOPMENT).

The main protagonist in a film who does not possess the characteristics of a typical hero archetype but with whom the audience identifies.

The aperture is the opening in the lens of a camera, projector (PROJECTOR), or printer (PRINTER) that controls the intensity of light passing through it. This aperture is specified by f-stops (F-STOPS) and is controlled by the diaphragm (DIAPHRAGM).

A hollow rectangular mask located on the camera, directly in front of the film on the film gate. It defines the frame by preventing light from reaching the edges of the film.

A lens that corrects chromatic aberration and ensures that light rays of different wavelengths converge at the same point.

A wooden box made in standard sizes used during filming to elevate people, lights, and props.

A member of the editing crew who learns the trade by performing various tasks alongside the editor (EDITOR) and assistant editor (ASSISTANT EDITOR).

A high-intensity lamp that operates on direct current. There are two types: Xenon/Mercury arcs, which require no adjustment, and carbon arcs, which require frequent adjustment. Since carbon-arc lamps provide light with a color temperature close to daylight (4900 Kelvin), they are used in studios (STUDIO) to simulate daylight during color film shoots or to supplement natural light during outdoor shoots.

A shot in which the subject or subjects are filmed by a camera that is either circling or moving.

A character, location, or object typically associated with a specific style or characterization; generally applies to a specific genre or type classification.

A metal rod attached to a C-stand.

A member of the film crew responsible for the safety of real and prop weapons on set, as well as their maintenance; this includes firearms, knives, swords, bows, and staff weapons.

A person who prepares and arranges a previously composed piece for use in a style different from its original form. Pieces created from a composer’s sketches are given to the orchestrator, who adapts them for various human and instrumental voices. Sometimes the composer handles both the arrangement and orchestration themselves. In pop music terminology, the arranger and the person responsible for orchestration are the same person.

A slang expression indicating that one hasn’t landed a job. (I’ve gone out on six auditions this week and I can’t get arrested.)

The French term "durak" or "durma" refers to a technique in which the camera is stopped, an object is removed or placed, and the camera is then restarted. This is one of the early techniques of silent film.

A brand of film camera. It was the first portable sound film camera.

The team responsible for arranging sets and locations under the direction of the production designer to create a film’s overall atmosphere. This team typically consists of the art director, their assistants, the set designer, and technical draftsmen.

The person responsible for the construction and arrangement of the interior and exterior sets and locations where a film will be shot. (See PRODUCTION DESIGNER)

A union representing the Art Directors Guild, which is a local chapter of the International Alliance of Theatrical and Stage Employees (IATSE), an organization operating in the United States. Its members include production designers, art directors, set designers, and model makers, as well as illustrators, matte artists, stage artists, and title and graphic artists.

A movie theater that screens independent films, documentaries, experimental films, foreign films, low-budget films, local films, and any film considered “high culture” or an “art film.”

An independent film that is generally aimed at a niche market.

A person who builds an artist’s designs on a computer, allowing animators to manipulate the characters to tell the story.

A visual flaw in a film image caused by limitations or a malfunction of the imaging equipment.

The predetermined amount of box office revenue a film must generate before profit shares begin to be paid out.

Light provided by any man-made source. The opposite of natural light.

A measurement system established by the “American Standards Association” to measure the light-sensitivity (EMULSION SPEED) of a film’s emulsion layer. As the ASA number increases, the film’s sensitivity increases. ISO (International Organization for Standardization) is the new system replacing ASA.

A situation in which a character breaks the “fourth wall” and addresses the audience directly with a comment.

The ratio of the height to the width of a film frame or the image displayed on the screen. Types used:

The initial editing process in which shots are assembled in the order specified in the screenplay. (See ROUGH CUT, FINE CUT, FINAL CUT, EDITING)

An assistant to the art director working in the art department. The responsibilities of an assistant art director can vary widely depending on their skills and the specific needs of the project.

A member of the camera crew who assists the camera operator. This person is responsible for the maintenance and upkeep of the camera, as well as for preparing “dope sheets.” In smaller camera crews, they may also perform the duties of the clapper loader or focus puller.

Camera Assistant (See: First Assistant Cameraman, Second Assistant Cameraman)

This role involves monitoring daily progress against the shooting production schedule, making logistical arrangements, preparing daily call sheets, managing the cast and crew, and maintaining order on set.

Assistant Director (See: First Assistant Director, Second Assistant Director, Key Second AD, Second Second)

Editor A member of the editing team who works with the editor, organizes and archives dailies, keeps the editing room in order, liaises with lab staff, and ensures that the editor does not have to deal with tasks outside of editing.

They assist the editor and the producer in gathering and organizing all the elements necessary for editing the film. Once editing is complete, they review the various lists and instructions required to finalize the film.

Assistant to the production manager in the production department.

A title whose specific responsibilities and duties may vary from one production to the next. It can refer to the assistant producer, who shares creative and operational responsibilities with the producer; it can be an additional title given to the production manager (PRODUCTION MANAGER); or it can be an honorary title given to one of the financiers who invests in the production.

A lens error. It can sometimes be corrected by stopping down the aperture.

A situation where the image and sound are not synchronized while the film is being shown on the screen. (See IN SYNC, OUT OF SYNC, SYNCHRONIZATION)

A situation where the sound does not match the visuals of a film. Filmmakers use out-of-sync sound to manipulate the mood and narrative.

2) Extras who lend a sense of realism to the action in a scene.

Vehicles such as cars, horse-drawn carriages, trucks, and motorcycles that are used or left stationary by people other than the principal actors and supporting actors—that is, extras—in a scene.

Audio

Audio carried over a visual transition to connect two scenes.

The review, reconciliation, and verification of all financial accounts and records related to production or distribution.

An audition held among candidates to identify the right person for a role.

A person who keeps the financial records of a film and calculates its expenses.

In French, it means “author.” It generally refers to a director who has a distinct or characteristic style. Directors are often regarded as the “authors” of a film because of the creative control they exercise over it.

A critical theory that generally attributes the creation of a film—including its personal vision, recognizable style, thematic elements, and techniques—to the film’s director; the term “auteur” can refer to a director who possesses a recognizable or distinctive style.

One of a camera’s features is designed to ensure that your chosen subject appears sharp in the photograph. Sensors detect how far the subject is from the camera and transmit this information to the lens, which then uses an electronic motor to adjust its focal length.

When a production requests availability from actors, films, crew, or others to check if they are available, it simply asks whether they are available for production on specific dates without delving into further discussion or consideration regarding a specific role. Actors typically provide their availability for productions as a courtesy. Availability requests do not carry any legal or contractual status in the hiring process.

Natural Light

Experimental films, or avant-garde cinema, are a form of filmmaking that meticulously examines cinematic conventions and offers alternatives to traditional narratives or working methods.

A film and video editing software application or nonlinear editing system (NLE) developed by Avid Technology.

A type of jump cut is a cut caused by the camera suddenly moving closer to or farther from its subject along an invisible line drawn in a straight line between the camera and the subject. While a simple jump cut typically involves a jump in time, an action cut is used as a way to maintain the illusion of continuity. Action cuts were quite common in cinema of the 1910s and 1920s.

An imaginary or invisible line (or axis) that runs through or moves between the two main subjects in a shot, with one on the left and the other on the right, facing each other (one on the left, the other on the right). Traditionally, the camera should not cross the axis of action and should maintain the left-right relationship or orientation, thereby preventing the risk of disturbing the viewer or distracting their attention with a reverse-angle shot.