To Suppress The Distracting Sounds Made By Early Sound Cameras, Filmmakers Used What Device?

Like many careers, filmmakers and film crews have their ain terms and jargon to define their various jobs, duties, materials, equipment, positions, organisations, and more. Here is our list.

GENERAL FILMMAKING TERMS

Abby (Abby Singer): A term for the second-to-last shot of the day on a shoot.

To a higher place The Line: A budgeting term used to describe professionals who influence the creative direction of a moving picture, such the screenwriter, producer, director, and actors.

Human activity: A master sectionalization within the plot of a flick.

Aerial Shot: A bird's eye view camera shot filmed in an exterior location in the air from far overhead as from a helicopter, blimp, balloon, aeroplane, drone or kite. Information technology is a variation on the crane shot.

Alan Smithee: The pseudonym used by directors who turn down to put their proper name on a movie and want to disassociate themselves from the film they directed.

Allegory: An extended metaphor; taken in film terms to mean a suggestive resemblance or correspondence between a visible upshot or character in a film with other more significant or abstract levels of meaning outside of the moving-picture show.

Allusion: A direct or indirect reference – through an image or through dialogue.

Ambiance: The feeling or mood of a detail scene or setting.

Ambience Light: The natural light or surrounding lite around a bailiwick in a scene; often soft lite.

Anachronism: An element or artifact in a picture that belongs to another time or place; often anachronistic elements are deemed equally inconsistencies or mistakes.

Anamorphic: Refers to a method of intentionally distorting and creating a wide screen image with standard flick, using a conversion process or a special lens on the photographic camera and projector to produce unlike magnifications in the vertical and horizontal dimensions of the picture.

Angle: The perspective from which a camera depicts its bailiwick.

Antagonist: The main character, person, grouping, club, nature, force, spirit world, bad guy, or villain of a film or script who is in adversarial conflict with the film'southward hero, lead character or protagonist. Sometimes termed 'the heavy'.

Anthropomorphism: The tendency in animated films to give creatures or objects human qualities, abilities, and characteristics.

Anti-climax: Anything in a film, usually following the film's high betoken, zenith, noon, crescendo, or climax, in which there is an unsatisfying and disappointing let-downwards of emotion, or what is expected doesn't occur.

Anti-hero: the principal protagonist of a moving-picture show who lacks the attributes or characteristics of a typical hero classic, but with whom the audience identifies.

Arc Shot: A shot in which the subject or subjects are photographed by an encircling or moving camera.

Archetype: A character, identify, or matter, that is repeatedly presented in films with a particular manner or characterization; an archetype usually applies to a specific genre or type classification.

Aside: Occurs when a character in a film breaks the 'fourth wall' and directly addresses the audition with a comment.

Attribute Ratio: A term for how the image appears on the screen based on how it was shot; refers to the ratio of width to top of a film frame, image or screen.

Temper: Refers to any concrete or nebulous feeling that contributes a dimensional tone to a flick'southward activity.

Auteur/ Auteur Theory: A disquisitional theory that ascribes overall responsibleness for the creation of a motion-picture show and its personal vision, identifiable manner, thematic aspects and techniques to its film manager, rather than to the collaborative efforts of all involved; an auteur tin refer to a director with a recognizable or signature style.

Available Calorie-free: The naturally-existing light in an off-set up location rather than creating artificial light.

Centrality of Action: An imaginary or invisible line (or axis) that passes through two primary subjects existence filmed in a scene, who face each other (one is left, the other is right); conventionally, the camera must maintain that left-correct relationship or orientation in order to avoid disorienting or distracting the viewer with a opposite angle shot.

Back lot: An undeveloped area, on studio belongings, in an open-air, outdoor space abroad from the studio stages, where existent-life situations with backgrounds can be filmed.

Back Projection: A photographic technique whereby alive activity is filmed in front of a transparent screen onto which background action is projected.

Balance: Within a film'south visual frame, refers to the composition, aesthetic quality, or working together of the figures, lite, sound, and motility.

Barn doors: The blackness metallic folding doors an all four sides of a lite that tin be bent back and forth on their hinges to command where the light is directed.

Beneath the line: A budgeting term used for professionals who are involved in the production of movie but exercise not take creative influence on the movie but notwithstanding influence aspects of the film through their departments. Travel expenses and craft services autumn "below the line".

Blocking: The movements of an actor inside a scene; the procedure of figuring out where the photographic camera goes, how the lights will be arranged, and what the actors' positions and movements will be when the shot happens 'on the day'.

Blue-screen: A special effects process whereby actors work in front of an evenly-lit, monochromatic (usually blue or dark-green) background, screen, or backdrop. The background is then replaced in post-production by chroma-keying or optical printer, allowing other footage or calculator-generated images (CGI) to form the background image; since 1992, most films employ a green-screen.

Bounce: Refers to a device or lath to reverberate low-cal during filming; the board is ordinarily a large white surface fabricated of cream or poster board.

Photographic camera blocking is the movement of the camera within the scene.

Call Sheet: A daily page sent out past the 2^nd Assistant Director that states what scenes are happening that 24-hour interval besides equally what time specific departments demand to exist on set up by.

Call Time: The time that each person is expected to offset work on a picture prepare, equally seen on the call sheet.

Camera Right/Camera Left: These refer to the management from the manner the camera is facing. This means that if a prop needs to be moved "camera left" and yous are facing the photographic camera, you really need to move the prop to the right.

Extravaganza: A character appearing ridiculously out of proportion because of one physical, psychological, or moral trait that has been grossly or broadly exaggerated; a extravaganza often portrays a character in an unrealistic, stereotypical fashion.

Catharsis: During a film'southward climax, the audience may feel a purging or cleansing of emotional tension, providing relief or therapeutic restoration.

CGI: Calculator Generated Imagery or Images; a term referring to the use of 3D computer graphics and technology to create filmed images, special furnishings and the illusion of motion.

Checking The Gate: Taking off the camera lens and examining the film programme for scratches; this happens subsequently every camera prepare and is unremarkably done by the ane^st AC.

Chiaroscuro: the combination of the two Italian words for "clear/bright" and "dark"; refers to a notable, contrasting apply of light and shade in scenes; frequently achieved by using a spotlight; this lighting technique had its roots in German Expressionistic cinematography.

Cineaste: Refers to a film/motion picture enthusiast or devotee.

Movie house Verité: A method or style of documentary and narrative filmmaking with long takes, no narration and little or no directorial or editing control exerted over the finished production; used to loosely refer to a documentary-style motion-picture show or minimalist movie house; popularized in the 1950s French New Wave movement; at present widely used (oftentimes inappropriately) to refer to the popular, cocked trend of using hand-held photographic camera techniques.

Limerick: Refers to the organisation of dissimilar elements (i.east., colors, shapes, figures, lines, movement, and lighting) within a frame and in a scene.

Continuity: Making sure that locations, extras, props, and the deportment of actors are similar enough from one take to another and then that they volition cutting without issue in the editing room.

Contrast: Refers to the difference between low-cal and shadow, or between maximum and minimum amounts of light, in a particular film image; can be either loftier contrast(with a sharp depiction between the bright and nighttime areas) or its opposite low contrast.

Coverage: The procedure of making sure that every scene has a variety of shots to make sure that the editor has enough film to exist able to cut the scene together.

Craft Services: Provides nutrient and drinks to the coiffure on prepare, non to exist confused with catering, which refers to the hot meals given to the crew.

Crane Shot: A camera shot taken from a big photographic camera dolly or electronic device (an appliance, such every bit a crane), resembling an extendable mechanical arm (or boom), that can raise the camera up in the air above the ground 20 feet or more; the crane allows the camera to fluidly motility in virtually whatsoever direction (with vertical and horizontal move), providing shifts in levels and angles; crane shots usually provide some kind of overhead view of a scene.

Crawl: Refers to superimposed screen titles or text intended to move across, upwards, down, or diagonally on the screen.

Cyclorama: The curved, seamless, floor-to-ceiling backdrop or background used in studio sets.

Dailies: The immediately processed, rough cuts, digital files or exposed film, without edits for the director, producer, or fundamental coiffure to review, to see how the film came out later the 24-hour interval's (or previous solar day'south) shooting; more ordinarily in the form of digital dailies; aka rushes used to determine whether there is a need to re-shoot.

Twenty-four hours-for-night: A technique for using shots filmed during the day to appear as moonlit dark shots on the screen, past using dissimilar lenses, filters, special lighting and underexposure.

Dolly: A slice of equipment on wheels or a rails that creates fluid camera movements. A dolly could be anything every bit low-tech as a wheelchair or as high-tech as a studio dolly using hydraulics. Usually the photographic camera operator and assistant ride on the dolly; the coiffure member who operates it is chosen a dolly grip.

Green-screen: A special furnishings process whereby actors piece of work in forepart of an evenly-lit, monochromatic (usually blue or light-green) background, screen, or backdrop. The background is then replaced in post-product by chroma-keying or optical printer, allowing other footage or reckoner-generated images (CGI) to class the background image.

Hot Ready: A location or studio that is in use for filming – even if the camera isn't rolling. You lot shouldn't lounge around or touch on anything on a hot set considering it may disrupt continuity.

MacGuffin: Coined by Alfred Hitchcock to draw an item, goal, or piece of knowledge that seems very of import to the characters in the film but is really inconsequential.

Martini Shot: The concluding shot of the concluding scene of the solar day.

Mise en scène: "Putting in the scene" in French; refers to the limerick and system of visual elements within the frame of film, including costume, set décor, lighting, and character positioning.

MOS: A universal abbreviation for "Mit Out Audio", which means there will exist no audio on a take.

Motif: Refers to a recurrent thematic chemical element in a film that is repeated in a significant way or pattern; examples of motifs – a symbol, stylistic device, image, object, word, spoken phrase, line, or sentence within a picture show that points to a theme.

Picture Vehicle: Any vehicle that is on screen in a movie.

Master Photography: The main shooting dates of a flick with the pb actors present.

Rate: A fixed cost paid or charged for your goods or services.

Recce: A slang word for reconnaissance significant an inspection or exploration of an expanse to gather information. (By and large used in the European film/telly manufacture)

Second unit: A smaller or "skeleton" coiffure of filmmakers who film any shots without the primary actors; this tin include aeriform shots, scenery, or crowd shots.

Sides: A small script that just contains the pages that will be filmed that specific twenty-four hours.

Squib: A small device that replicates a bullet wound, unremarkably by squishing a capsule of fake blood.

Steadicam: A mount that is worn by the camera operator that allows for the camera motility to exist dissever from the operator'south movement, meaning a polish shot can exist created even while the operator is running and the photographic camera motility is non held to the limitations of a dolly or tripod. It is important to know when a Steadicam is being used on ready considering almost of the time, that means that most of the set will exist shown.