It is the abbreviation for Eastman Color Negative. It refers solely to your developed negative.

It is an abbreviation for "Edit Decision List." It is used to edit the original when the negative has been digitally cut.

It is the abbreviation for Exposure Index.

It is an abbreviation for Editorial Sync.

A reference to a film, person, or event that is so subtly crafted as to go unnoticed at first glance.

A camera mounting system developed for portable use. It suspends the camera from a central arm mounted on a waist support.

A special room designed to create an echo of the sounds inside.

Abbreviation for "Extreme Close-Up" (Detail Shot).

This effect, usually caused by a light leak—often resulting from the camera door not being taped shut—exposes the film edge to direct light; it may sometimes be visible within the frame or outside the frame, and can affect the sharpness of latent edge numbers.

See: Key Number.

1) The cutting and editing of footage. 2) A film that has been edited at various stages or upon completion of the editing process may be referred to as “edited” or “cut.”

Arranging the parts of a film and its soundtrack into a sequence that tells a story in a logical and coherent manner. The steps of the process are as follows: Rough Cut—the initial logical sequencing of selected segments; Fine Cut—a version that has been worked on in greater detail; Final Cut—the final form according to which the negative will be edited.

A table equipped with shelves on the sides to hold cut pieces, two winding tables on top with a mechanism to transfer the film reel from one to the other, and a lamp to view the images on the film.

Also known as the Trim Bin.

See: Cutting Room.

A workbench specially designed for viewing, cutting (CUTTING), and splicing (SPLICE) film. See STEENBECK, KEM.

The person who edits the film. This job often requires as much creativity as that of a director. A good editor can turn an average film into an engaging one through skillful cuts, transitions, and a dynamic sound track. An increasing number of editors are now working alongside their assistants during the pre-production phase, assembling dailies throughout production, and—if the film isn’t overly complex—completing the rough cut four to six weeks after principal photography wraps. See: CUTTER.

A set of sync marks where the image and sound sync marks are aligned within the same frame. Unlike Printer’s Sync, this is sometimes useful where the image and sound are out of sync. To identify a sync mark as an Editorial Sync mark, it may be helpful to label it as “E.S.”

Post-production processes such as dissolves and transitions.

See: Matte Box.

Glass or gelatin filters that create changes in natural light and the image, such as a fog effect or starburst.

An audio track on which sound effects are recorded.

To shut down, to take out of service, to get rid of something. See STRIKE, KILL.

A person responsible for the electrical equipment on set and knowledgeable about it, or a grip.

A truck that carries all the electrical equipment needed for a production. It often includes a generator as well.

A member of the lighting crew who, under the direction of the gaffer, sets up and adjusts cables and lights.

A small, lightweight camera dolly introduced to the market by Italy in the 1960s, featuring wheel arms that can be adjusted in various ways to easily navigate through spaces such as doors and hallways, offering high maneuverability.

The shortening of a film’s runtime achieved by intentionally omitting specific segments or sections of the narrative or action during editing; a punctuation mark indicating an editing transition, such as a cut, fade, dissolve, wipe, jump cut, or scene change.

Abbreviation for “Electronic Line Replacement.” See LOOP.

Abbreviation for "Extreme Long Shot" (very distant shot).

An award presented annually by the Academy of Television Arts and Sciences that is equivalent to the OSCAR award in cinema.

Sensitizer, Emulsion

An emulsion patch is a series of numbers on the film and follows the Emulsion Type. When the film is manufactured, each patch is assigned a specific series, so you can shoot a single series with a specific patch. Just as a suit where the pants and jacket are cut from different fabrics, a series shot with different emulsion patches may also be slightly different. Of course, this isn’t important when moving from one individual to another. (And the patches themselves have become more consistent in recent years, so mixing them is less of a sin these days.)

Unlike a plastic leader, an emulsion leader can be cemented.

Emulsion Number

Sensitivity, Emulsion Speed

A film’s emulsion type refers to the composition of its emulsion and determines whether it is fast, slow, grainy, fine-grained, color, pastel, black-and-white or color, daylight-balanced, tungsten-balanced, etc. The emulsion type is represented by a number. For Kodak, this is a four-digit series such as 7248; “72” always represents 16mm camera stock, and the same emulsion type is found in 35mm as 5248, where “52” denotes 35mm. Fuji uses a system where the film’s emulsion type is slightly more explicit; for example, 250D is a daylight-balanced film with an Exposure Index of 250. When selecting a stock, the film speed and—in the case of color film—whether it is daylight or tungsten-balanced are the reasons for choosing a specific emulsion type. To achieve a specific look, films such as Kodak Vision or Fuji can be used. Generally, several different emulsion types are used in a project—fast for night scenes, slow for daytime scenes, and so on. However, unless you’re experimenting with something new, it’s a good idea to shoot a single, continuous sequence using just one emulsion type.

End Credits

Clapperboard

A French word meaning “terrible baby.” It typically refers to a young director who is rude or selfish. This is usually a director who is innovative but uses non-traditional techniques.

A film with a large cast and no truly prominent lead role, typically featuring multiple storylines centered on the characters; it also literally refers to “the group of actors appearing in the film (and sometimes directors, designers, and crew).”

Epic

A sudden moment of spiritual insight experienced by a film’s main character, typically occurring just before or after the climax.

A device used to shape sound frequencies to achieve the desired sound.

The union of theater and film actors. See SCREEN ACTORS GUILD.

People or objects that the camera has previously captured in earlier shots.

Promotion Plan

A brand name for "Polyester Base."

An electronic viewfinder attached to a digital camera, used to see how the frame will appear.

Region

Excitation Lamp

Generally, the title given to the person responsible for financing a film. It is sometimes also given to the unit production manager or a co-producer.

A term referring to a cinema owner.

Materials purchased for film production—such as light bulbs, film stock, and filters—that are likely to be reused are considered fixed assets.

It generally refers to a non-profit, low-budget, or independent film that challenges traditional filmmaking by employing unconventional or previously unseen methods in camera techniques, visuals, sound, editing, and/or acting.

The advertising, marketing, sales, and promotion of a film.

A film that contains a great deal of sex, violence, and other such elements, and whose marketing is based on these elements.

Film that has been exposed by the camera but has not yet been developed in the lab. See LATENT IMAGE.

The conveyance of important background information—through actions or dialogue—to advance the story’s plot. It can also help establish a film’s narrative. It may include details about the central conflict or what is at stake for the characters. Writing exposition and integrating it organically into the screenplay is particularly challenging.

1) The result of the intensity of light affecting the photographic material and the duration for which that light strikes the emulsion. 2) The aperture setting used to shoot a shot. See F-STOP, T-STOP, EMULSION SPEED.

It refers to the sensitivity of a specific film type to light. It is a specific number used to measure film speed. Your film will list an E.I. number as the film speed on the can or film box. It is equivalent to A.S.A. and I.S.O. on a light meter.

A device used to measure the intensity of light falling on or reflected from a subject. See PHOTOMETER.

A film technique that involves distorting reality through sets, costumes, editing, and lighting. This is used to reflect the inner emotions of the characters or the filmmaker. It became popular in Germany in the 1920s and 1930s and is typically characterized by dramatic lighting, grotesque shots, and dark visual imagery.

Abbreviation for the word “Exterior” (Dış).

An adapter that is attached between a lens and the camera’s lens mount, thereby moving the lens farther away from the film plane than usual and enabling a close-up shot to be in focus.

This is a useful way to turn any long lens into a macro lens for ultra-close-up shots. These are hollow metal tubes that are mounted between the camera and the lens. They typically come in a set of different lengths and can be stacked. Some light is lost when using an extension tube, so it’s a good idea to open the aperture slightly. It should be noted that they do not work when used with wide-angle lenses.

Filming conducted outdoors, excluding any enclosed spaces.

It is used in the slug line and indicates that the scene takes place outdoors.

An actor in a film who has no lines and whose role is not to stand out in a crowd. See: BACKGROUND, ATMOSPHERE, SILENT, SCREEN EXTRAS GUILD.

An actor who goes unnoticed in a film, typically appearing in a role such as part of a crowd or a customer in a restaurant. They usually do not receive screen credit and are currently referred to as Background Actors.

A close-up that focuses on the subject from an incredibly close distance. In many cases, the outer parts of the subject are cut out of the frame. Extreme close-ups are typically used to highlight actors by focusing on their eyes, mouth, or another specific part of the body.

It can serve as an establishing shot and is taken from quite a distance. This can give the impression that someone is watching, observing, or keeping an eye on something.

A shot taken from a considerable distance, either from a high or low angle, used for general introduction purposes.

A shot that shows a subject or object from a different position within the film is taken from the subject’s eye level.

An actor’s line of sight. To prevent the actor’s attention from being distracted during a scene, the number of people and objects in this line of sight is minimized. It is important to ensure that the actor’s line of sight in the master shot aligns with the line of sight in the coverage shot.

A cut between two shots that creates the illusion that a character shown in the first shot is looking at an object shown in the second shot.