A scale that measures the size of a lens’s aperture (the opening that lets light in); common f-stops are 1.4, 2, 2.8, 4, 5.6, 8, 11, 16, and 22; the smaller the number, the larger the aperture and the more light it lets in.

The numbers indicating the aperture value on a lens. It is calculated by dividing the lens’s focal length by the diameter of the aperture. See DEPTH OF FIELD, T-STOP.

Fade

Fade-in, Fade-out

Blackout, Melting

Refers to a light, cheerful, usually fast-paced, crudely funny, artificial, and “over-the-top” comedy that typically satirizes a situation extensively, entertains, exaggerates, or presents an improbable stock situation in an extreme manner, and is typically characterized by jokes, slapstick, and other physical gags.

Fast Film

A camera device or effect used to emphasize a scene or create a dramatic effect; it involves shooting the scene on film running at the normal rate of 24 frames per second and then projecting it back at standard speed to create the illusion of faster-than-normal movement; it is typically used to create a comical effect.

A film editing technique consisting of a series of rapid shots. These are generally known as staccato shots that last for a short duration and are used to create a fast-paced effect.

See ACCELERATED MOTION.

"Favor On" refers to a situation in which the camera focuses on or emphasizes a specific subject or action within a shot.

A situation in which a particular actor is given greater prominence because the camera or microphone is positioned close to them.

The act of the camera focusing on or emphasizing a specific subject or action within a shot.

To support; to pay special attention to.

A feature film with a runtime of at least 85 minutes.

A full-length feature film is generally longer than 60 minutes, but typically ranges from 90 to 120 minutes.

The running time of a feature film is approximately 85 minutes.

An informal term used to describe an actor who plays a supporting role, whose name appears in the credits before the names of the extras, and who receives a higher fee than they do. Supporting actors are not the main characters of the film but are considered part of the “Speaking Cast” and are listed as such in the budget and casting sheets.

A term generally used by theater owners prior to the 1970s to refer to the screening of a film, typically a "behind-the-scenes" mini-documentary or an extended trailer—a 20- to 45-minute film—shown in theaters to promote the film. In the 1990s and early 2000s, these features were typically released on DVDs. Currently, these special features are largely published on YouTube to promote a film and are used for promotional purposes on streaming platforms and VOD services.

Generally, a lighthearted, cheerful comedy or romance that culminates in an ending that satisfies the audience. Sometimes this term is used in a derogatory manner.

A term used to describe a character in a film; it literally translates from French as “deadly lady.”

The field of view of a camera lens.

If a shot or audio track is missing, a blank section of film added to the work print during editing to replace it, so as not to disrupt the audio synchronization.

Lamps used to illuminate shadows and, at times, to soften the harsh lighting created by the main light source.

1) A film shown in a movie theater. 2) A strip of acetate-based film, coated on one side with a photosensitive layer, used in a camera to capture photographic images and in a projector to project the captured images onto a screen; the strip has perforations along its edges to allow it to pass through the drums that drive its movement.

A place where film collections are stored and preserved, and where films can be viewed for research and other purposes.

A liquid that is not an adhesive, but rather a chemical that melts and fuses two pieces of film together.

Short clips taken from a film and used for purposes such as advertising or promotion (as in the film *That’s Entertainment*).

Many elements within a film (the use of music, sound, sets, costumes, screenwriting, camera angles, framing, shot duration, a character’s movements, etc.) speak a “language,” “grammar,” or code that, when used, helps the filmmaker convey more information to the audience about the story and characters.

A term used to measure the width (in millimeters) of a film strip when a camera is used.

A light-sensitive material found in a film’s emulsion or coating. This creates a fine-grained aesthetic, which is necessary for shooting in brighter conditions, or a coarse-grained aesthetic, which is preferred for low-light scenes.

Amors

A member of the camera crew responsible for loading and unloading camera tapes.

Tape

See SCORE.

It is a French term meaning “film noir.” It was a genre popular in the 1940s, characterized by dark themes, somber tones, and low-key lighting. The main character was typically an antihero or a private detective. *The Maltese Falcon* is an example of film noir.

The position of the film on the slide, indicated by a symbol consisting of a vertical line passing through the center of a circle outside the camera body.

The light sensitivity of a given film stock required for proper exposure. This is a result of the size of the silver halides in the emulsion; the larger the grain, the less light is required for exposure. Film stocks are generally referred to as “fast” or “slow”; a fast film has a coarse grain and requires less light, while a slow film has a finer grain and requires more light.

Refers to the size or format of a film and its frame rate. It can also refer to unused, unexposed film on which photographic images will later be recorded. Different film stocks include tungsten and daylight.

Unexposured and unprocessed film.

Specifically, a narrative approach in which a film is depicted as a film within a film; in some cases, the characters are aware of the “film within a film,” break the fourth wall, and enter it or interact with it; this is also referred to as a sub-film or picture-in-picture.

See CINEMATIC.

A general term used to refer to a person or persons who have a significant degree of control over the creation of a film.

A comprehensive (usually chronological by year) list covering the work of actors, directors, or other crew members; it may also be a list of films for a specific genre or subject.

A transparent, white, or colored sheet of glass or gelatin placed in front of the lens of a camera or printing machine that absorbs specific wavelengths of the spectrum, corrects color imbalance, or diffuses light.

The factor by which the correct exposure determined without a filter must be multiplied to achieve the same exposure when a filter is used. Due to the filter’s light-absorbing properties, the exposure must be increased by this factor.

1) The final edited version of the working copy that will serve as a reference for cutting the negative to be used in printing the prints. 2) A clause in a director’s or producer’s contract specifying who has the final say regarding the form and content of the copies to be released. See WORK PRINT, DIRECTOR’S CUT.

Financial support for a film project.

A person or company that provides funding for the production of a film.

Money paid to the individual or company financing the project, or to the person providing that financing. See EXECUTIVE PRODUCER.

A more refined version of the work print following rough cut. See EDITING.

1) A type of photographic film. 2) A black-and-white positive used in dup negative production, where image quality is more important than film speed.

A member of the camera crew responsible for ensuring that camera equipment is in good working order, attaching and removing lenses, maintaining focus (mise-au-point) while the camera or actor is in motion, marking the actor’s positions, measuring their distance from the camera, and adjusting the focus settings accordingly. FIRST ASSISTANT DIRECTOR

See: Director’s Cut.

A term referring to the initial revenue a film generates from screenings. Gross profit partners and the distributor take their shares from this amount. Net profit partners, on the other hand, wait until the film’s production costs are recouped.

First Draft

Premiere, First Screening

An extreme type of lens that captures subjects from ultra-wide angles. It also possesses the characteristics of a lens with a nearly infinite depth of field, distorted linear dimensions, and a focal point that is practically zero, resulting in a more curved image.

A story—often a comedy—in which the main character faces “culture shock” in new or unfamiliar environments or situations.

Fish-eye

An extension pole with microphones hanging from it. It is useful in situations where a boom cannot be used.

A fixed focal length lens, also known as a prime lens.

Slang term for a publicist or press agent. FLAG

A black, light-absorbing fabric (duvetyne) stretched over a metal frame used to block light in all directions.

A metal or plastic disk attached to the reel to facilitate the proper winding of film reels in the editing room.

A glare caused by a bright object that results in a halo effect in the image. It can be eliminated or reduced by using a matte spray. See BLOOM.

Exposing unexposed film to very faint light for a very short time, specifically to increase exposure in shadow areas. This process reduces contrast. It is a delicate process typically performed in a lab.

A very short shot used to create dramatic effect.

Typically, a shot or image as short as a single frame—one that is barely perceptible or subliminal—is inserted between two other shots with the intention of creating a shock or sudden dramatic effect.

Start / Stop Frame

A fleeting, temporary success or recognition gained from the pursuit of fame. Pop artist Andy Warhol predicted in the late 1960s that everyone could be famous for 15 minutes and experience a “moment of glory.”

Yıldırım Pan

It is the opposite of a flashback. It interrupts the natural flow of the story and shows what will happen in the future. A flash-forward can also move from the past to the present.

Flashback

A leap forward in time from the chronological sequence of events, made for dramatic effect or as required by the story.

2) A large, movable section of a set.

A standard print produced for use with standard projectors. The opposite is a compressed print. See ANAMORPHIC LENS, WIDE SCREEN.

A fixed fee paid in exchange for a service. Unlike daily or weekly rates, no overtime pay is provided. Rather than dealing with hourly rates, a producer tries to negotiate a lump-sum fee during negotiations.

Unlike the Moviola, this is an editing table where film and sound reels run horizontally. It allows for the simultaneous processing of multiple reels. The most well-known brands for this type of table are STEENBECK and KEM.

The quality of a lens that produces an image with the same sharpness at the center and at the edges of a negative.

A round fabric reflector mounted on a flexible ring that can be folded when not in use.

An annoying phenomenon that occurs when a film is shown at a frame rate lower than 24 frames per second. See PERSISTENCE OF VISION. FLOODLIGHT (FLOOD) 1) A very powerful light source that illuminates a large section of a set.

A lamp that provides general lighting on a set.

The part of a sound stage where filming takes place.

A film that flopped at the box office.

2) “Will this work out? Will it go through?” (Do you think this deal will fly?)

The distance between the center of a lens and the critical focal point at which the image of a distant object appears clearly. The shorter the focal length, the wider the angle of view.

The area where the image produced by a lens appears in sharp focus. The film must be positioned exactly within this area.

Markings placed by the focus puller (first camera assistant) on the focus ring of the lens at points previously measured and determined, in order to maintain focus during difficult tracking shots. See FOLLOW FOCUS, FOLLOW SHOT.

The degree of clarity or sharpness in an image. As a verb, it refers to the process of adjusting or manipulating a lens to create a much sharper image. The focus can be shallow, deep, or soft.

Adjusting a lens to achieve a sharp, clear image.

The point where light rays passing through a lens converge to form an image.

A member of the camera crew who determines the distance between the lens and the actor by measuring it with a tape measure and adjusts the focus accordingly. He or she is just as responsible for the camera and camera equipment as the other camera assistants. See FIRST ASSISTANT CAMERAMAN, SECOND ASSISTANT CAMERAMAN.

1) A density that appears on film due to accidental light exposure. 2) A density of air created in a scene using a fog machine for visual effect.

A diffuser filter placed in front of the lens to create a fog effect.

A special effects device that produces cold smoke that settles on the ground to create a fog effect.

A character role used for comparison or contrast, typically with the main character or protagonist, to illustrate and emphasize a particular character trait.

The sound of human movements or sound effects recorded in a dubbing studio and later edited into their respective places in the film. To make a chase scene believable, a “foley” artist (sound effects artist) watching the scene mimics the actor’s movements to create sounds (such as footfalls, heavy breathing, or the sound of a fist striking a piece of meat). See: STREAMER, FOLEY ARTIST

An individual who works during the editing and post-production phases of a film’s production. This person adds or creates sound effects—such as gunshots, footsteps, and punches—to synchronize them with the finished product.

A dubbing booth equipped with various surfaces and tools to create the necessary sound effects for a film.

Etki Studio

Exposure Band

Net Tracking, Mizopuan

Follow-Up Plan

A sequel is a film or cinematic work that is independent of the original.

A shot’s frame follows a moving figure or subject and keeps it in the frame.

The end of a film reel (REEL).

Light measurement. A foot-candle is the amount of light emitted by a single candle at a distance of one foot. Many light meters use foot-candles as a starting value based on the sensitivity of the film being used. (Since there are various film speeds, the same number of foot-candles may not result in the same f-stop when switching from one film speed to another.)

Film reel length specified in feet and frames rather than feet and inches. In 35 mm film, 16 frames equal one foot in length. At a speed of 24 frames per second, 1 foot plus 8 frames of film pass by in one second.

Running Time Indicator

The light intensity falling on an object one foot away from a light source with a candle’s worth of power.

An expression typically used in special promotional ads by studios for “Oscar-worthy” films (and their actors and producers). This phrase is used to generate Oscar nominations for films on the fringes and/or lesser-known independent efforts, as well as for lesser-known actors who might otherwise be overlooked without additional promotion.

To call an actor or crew member back to work before the required minimum rest period has elapsed.

A technique used to create a sense of great distance or to make a space appear much larger; forced perspective is created by placing objects of varying sizes at specific distances, which produces the effect of the objects fading into the distance.

1) The part of the set closest to the camera. 2) The objects appearing closest to the camera in the shot.

The screening of a film in theaters in foreign countries; its distribution in foreign countries.

A feature-length film with dialogue primarily in a language other than English.

A person or company authorized to sell a film to foreign countries or to distribute it in those countries.

A dubbed or subtitled version of a film prepared for screening in a language other than that of the country where it was shot. The editing of some films is also altered to meet the requirements of foreign markets.

A literary device used to provide a hint or indication of a future event in a story. This can be a very effective tool for building suspense and curiosity, and even for creating narrative coherence at the end of a film or novel.

The ratio of the width to the height of the image projected onto the screen. See ASPECT RATIO.

Renting a movie theater for a fee to screen a film. This is a method used to help low-budget or art films produced by independent filmmakers reach an audience or find a distributor.

The illusion that allows the audience to watch the film; the imaginary plane. When characters or the narrative break the fourth wall, there is a possibility that the audience will be made aware that they are actually watching a film.

Each individual image on a film strip. When these images are projected onto the screen at a rate of 24 frames per second, they create the illusion of natural motion.

A frame is a single image. It is the smallest compositional unit of a film. A series of frames is displayed rapidly to create a moving image.

1) Composing the shot by looking through the camera’s viewfinder. 2) When loading the film strip onto the projector’s or editing machine’s spool, adjusting it so that the entire frame (image) is visible on the screen.

An indicator on a camera, projector, or printing machine that shows how many frames of film have passed through the window.

The action performed by the projectionist when the bottom of the image on the screen is cut off. The projector’s slide is moved downward to center the image on the screen.

Frame handles—a fixed number of additional frames used at the beginning and end of each take, which varies from one application to another—are used specifically when preparing original material for optical printing, such as when enlarging using the Zero Cut method or creating an overlapping title sequence.

The small gap between frames. This is where two shots are separated and joined together.

The speed at which film stock passes through the camera. Most modern films are shot at 24 frames per second (fps). While older films were shot at 18 fps, some films produced today can be shot at 48 or 96 fps.

To center the image on the screen by sliding the projector carriage upward. The opposite of FRAME DOWN.

Frames Per Second

It refers to how a shot is composed and how subjects and objects are framed within the boundaries of the film image or the frame. Camera angles, such as low-angle and high-angle shots, contribute to framing; reframing involves the camera making short panning or tilting movements to keep pace with the characters’ movements and keep them centered and within the frame on screen.

Freelance, Self-Employed

Freeze Frame

A small black metal flag that comes with a positionable arm mounted on the camera, used to shade the lens from light in the event of a flare.

It is a hard-focused light available in various sizes. Each Fresnel size has a different nickname.

Fresnel Lens

Friction Heading

A supplementary payment separate from salary and typically not in cash. See PERK.

Payments made to an employee in addition to their salary, such as health insurance premiums or rent assistance.

A mount attached to the hood of a car that holds the camera. This allows events taking place inside or outside the car to be filmed while the car is in motion.

A list of the key contributors to a film’s production, in order of importance. Typically: distribution company, producer or production company, (director’s name)’s film, names of the lead actors, film title, names of actors in major roles, casting director, costume designer, composer, editor, cinematographer, production designer, screenwriter, producer, and finally the director.

1) A projection method performed from in front of the screen, which produces a brighter image than rear projection (REAR PROJECTION, BACK PROJECTION) performed from behind the screen in movie theaters. 2) A setup that projects a pre-recorded image onto a special screen and films an actor performing in front of that image along the camera lens axis.

Abbreviation for "Full Shot."

A 35 mm film base coated with magnetic iron oxide. To enable the editor to synchronize the images with the sound, the sounds recorded during filming are transferred to these tapes. Sounds can be recorded directly onto this tape in sound effects or dubbing studios. These tapes can accommodate recordings ranging from one channel to six channels.

Full Shot

Fullcoat is Mag Stock with an oxide layer that completely covers one side. All 16mm Mag is fullcoat. 35mm is available in both fullcoat and stripe formats. The difference with 35mm is that fullcoat can be used to shift several pieces and is typically used for the Mix Master. Fullcoat is more expensive than stripe.

Abbreviation for the word “effect.”