Production Terms

My clients often ask me about film business terminology. Like, 'what's the difference between the 1st AD and the 2nd AD?' Well, about a hundred years... Seriously, here's a list of film terminology that may help you to better understand what's being done on the set. If you have any you'd like to add, please email us.

ABOVE-THE-LINE

See BELOW THE LINE

ACTION

The actor's cue to perform

AD-LIB

Speech or action that has not been scripted or specially rehearsed

ADJUSTMENT

(see BUMP)

AFTRA

American Federation of Television and Radio Artists, the union that represents performers for work in radio and television.

ART DIRECTOR

Designs the sets

ATMOSPHERE

See EXTRAS

AUDIO

Sound reproduction

BACK TO ONE

See FROM THE TOP

BACKGROUND

See Extras

BACK-STEPPING

Stepping backward out of frame and counting the steps in order to return to the mark without looking at it

BANANA IN/BANANA OUT

A gently curving path to enter or exit a scene

BELOW-THE-LINE

There is a (sometimes) imaginary line on the first page of a film budget, separating the artistic elements of the budget from the technical elements. The artistic elements (writer, producer, director, actors) are listed above that line and the technical elements (crew, equipment costs, etc.) are listed below it. For sake of brevity, expenses are often referred to as "above-the-line" or "below-the-line."

BEST BOY

See FIRST ASSISTANT ELECTRICIAN

BIT

A small role (as in "bit part"). A bit player usually has only a few lines or a short piece of action. A "bit" in comedy is also called a "schtick."

BLACKLISTING

Sometimes called "Blackballing," this practice is prohibited by the Constitution and by a number of U.S. and state laws. Actors sometimes erroneously believe that they will be "blacklisted" if they refuse to join the union, but such practice is unquestionably unconstitutional and illegal.

BLOCKING

Working out the physical movements of performers and/or camera in a scene

BOOM

The apparatus that holds the microphone above the actor. Also, a camera direction when the camera is mounted on a crane as in "boom up," to raise the camera.

BRIGHTNESS

A term used by a director to tell an actor to exhibit more sparkle and personality.

BREAKDOWN

A listing of all roles in a production, from largest to smallest, with a description of each character including, for the smaller roles, how many scenes and lines the character has.

BOOM OPERATOR

Operates the microphone boom and assists the mixer in attaching mikes to the actors where necessary.

BRUSH CAMERA

Direction to exit a scene by walking directly at the camera and then brushing past it.

BUMP

A change in status (and pay) brought about by the addition of special business not contracted for in the original agreement. For instance, an extra may be bumped to principal by being given a line.

BUSINESS

The act of handling a prop or clothing. As distinct from a "bit," business is usually not the focus of a scene.

CALL

The exact time at which an actor or crew member is to report to a set.

CAMEO

A very small part in a film, sometimes done by a well-known actor.

CAMERA ANGLE

The position of the camera relative to the actors

CAMERA LEFT/CAMERA RIGHT

Directions given from the camera's point of view. Opposite of STAGE LEFT and STAGE RIGHT, which are given from the actor's point of view. May also be called LEFT FRAME and RIGHT FRAME.

CAMERA OPERATOR

Operates the camera (hence the name!) In the absence of a video assistant, he is the only one to actually see the shot until the dailies are ready.

CAMERA REHEARSAL

Also called a "walk-through," this is where actors will walk through their blocking so that the camera can rehearse its moves.

CHEAT

To angle the performer or object toward a particular camera; also as in CHEAT YOUR LOOK (to open your face to the camera. Cheating should not be noticeable to the audience.

CHECKING THE GATE

An indication that the CAMERAMAN is checking the film mechanism in the camera to be sure that the film is OK.

CHIEF ELECTRICIAN

See GAFFER

CLEAN ENTRANCE/CLEAN EXIT

Being all the way out of a shot and walking into it, or exiting all the way out of a frame.

CLEAR

Get out of the way, either of another actor who you are blocking from the camera, or to get off the set when a rehearsal or scene is about to begin. Also, as in CLEAR YOURSELF, to make sure you are in clear view of the camera.

CLOSE-UP

Object or any part of a person or object seen at close range and framed tightly. Extreme close-up (ECU)is from the bottom of the chin to the hairline (also called a 'cowboy close-up'). Close-up (CU)is head-and-shoulders. Medium Close-up (MCU) is below the shoulders to above the head. Also called a "Two-T" shot.

CONTINUITY

A very important part of film making, this is the process of ensuring that the visual aspects of a production are consistent from one take to the next. The CONTINUITY person often takes Polaroid snapshots of principals and featured extras in order to check later for inconsistencies.

COSTUME DESIGNER

Designs the costumes

COVER

To photograph a scene from many angles (COVERAGE). To get between another actor and the camera (COVERING).

COVER SET

An interior set ready to be used in case of inclement weather outdoors.

CRAFT SERVICES

The company that provides food and drink for the cast and crew on a set.

CREW

The technicians in a production. Typically everyone but the producer, director and actors.

CUE

Actions or words which precede an actor's words or actions. "Pick up your cues" means to perform the action quicker after receiving your cue.

CUT!

A direction to stop the shot in process and to wait to begin again.

CUT AND HOLD

Stop the action and hold positions. Sometimes means that this is the final TAKE for this scene and that the CAMERA OPERATOR is CHECKING THE GATE to be certain that the film is IN THE CAN.

DAILIES

Also called "rushes," these are the previous day's scenes, processed overnight by the lab and screened after work the next day by the producer, director and crew heads. Actors are not generally invited to view dailies.

RUSHES

See DAILIES

DIALOG DIRECTOR

Reviews lines with actors to ensure memorization, interpretation and/or dialect. May be called a Dialect Coach if that is his only function. Dialogue Director is a comparatively rare position.

DIRECTOR

Responsible to the producer for translating the screenplay into images and sounds, for example, a movie or a commercial. He directs the cast and crew from pre- through post-production.

DIRECTOR OF PHOTOGRAPHY

The DP is responsible to the director for achieving optimum image on film. Selects the camera and lighting equipment and supervises camera and lighting crews for each shot.

DISSOLVE

A scene that slowly fades to the next scene. If a scene is planned to dissolve, the actor may be asked to hold the last look.

DOLLY

A four-wheeled camera support which can move on the ground or on tracks. The word is also used as a verb, meaning to move the camera on a dolly. The dolly can be a sophisticated piece of equipment or something as mundane as a wheelchair.

DOLLY GRIP/CRANE GRIP

Operates and maintains all dolly and crane equipment

DOUBLE

Someone (usually an actor) who stands in for the principal actor during lighting setup and for shots where the principal would be unrecognizable. A STAND-IN does no acting and is not seen in the finished film, is used for lighting and blocking only. A STUNT DOUBLE handles stunt work only. (See SECOND TEAM)

DOWN CAMERA EYE

The actor's eye that is closest to the camera.

DRAFTSMAN

Does sketches and drawings for costumes, sets and props

DRIFT

Moving out of position or off a mark. (Not a good thing to do!)

DGA

Directors Guild of America, a union that represents directors, assistant directors and production managers.

DUBBING

Also called "looping," this is recording a voice in synch with a film image. Generally, "dubbing" refers to using a different voice, as an actor dubbing English onto a foreign film, and "looping" refers to an actor re-doing his own voice due to poor sound quality on the original.

ELECTRICIANS

These people rig and operate the lighting equipment.

EXECUTIVE PRODUCER

If there is one, he is usually responsible for the financing--either he puts up his own money or he finds the investors.

EXTRAS

A non-speaking role, usually in the background of a film

ESTABLISHING SHOT

Usually a long shot orienting the audience to a new location, such as a shot of a building before cutting to the interior.

FADE IN/FADE UP/FADE OUT

Going from black to picture and vice-versa.

FEATURED (ROLE)

A larger role than a bit part. An identifiable character with several scenes. The actor generally receives a film credit, although he may not have any lines.

FILL LIGHT

Additional light used to brighten shadow areas.

FINANCIAL CORE STATUS

A special class of union member (SAG, AFTRA or any other union) whereby the individual is a union member for the purposes of salary negotiation or compliance with local labor laws only. Financial core was upheld by the U.S. Supreme Court in 1983, when an action was brought against a union for using members' dues to fund political action committees. Although SAG and AFTRA are often reluctant to discuss financial core status, it is a way for actors who do not wish to join the union to abide with the laws of states (such as California) which deny individuals the "right to work" unless they are union members. Financial core members are not allowed to vote, and they typically don't receive benefits such as union newsletters; however, neither are they bound by union regulations that prohibit "full" members from obtaining non-union work.

FIRST

See FIRST ASSISTANT DIRECTOR.

FIRST ASSISTANT CAMERAMAN

Also called the Focus Puller, he maintains and cleans all elements of the camera, attaches the camera to mounts, handles the lens and pulls focus and/or zoom.

FIRST ASSISTANT DIRECTOR

Also called "FIRST," he works with Production Manager to schedule shooting and assists the director on the set. Sometimes directs extras and crowd scenes.

FIRST ASSISTANT ELECTRICIAN

Also called the 'Best Boy,' he supervises the lighting and electrical equipment.

FIRST CAMERAMAN

Also called the Key Grip, he supervises all grips (camera operators) under the direction of the DP.

FIRST TEAM

The actors in a scene.

FLAT

A piece of standing scenery such as a wall. In lighting, FLAT lighting is even light that provides little contrast. Flat lighting tends to add pounds to an actor's face and to reduce prominent facial features.

FOLEY ARTIST

A technician who creates sound effects to duplicate normal sounds not easily captured in live action (eg. footsteps, doors closing, tires squealing, etc.)

FOLEY EDITOR

The individual who combines and edits the sounds created by the Foley artist, so that they match the action captured on film.

FORCED CALL

Being required to return to the set without a twelve hour rest period between two days work. In a union project, salary adjustments are paid for forced calls.

FOREGROUND

Whatever is between the camera and the subject of the picture.

FRAME

The viewing area as seen by the camera.

FOLLOW SHOT

Shot in which the camera moves to follow the action.

FROM THE TOP

Also called, "BACK TO ONE," this means to start the scene over from the beginning. "One" is the first position for the scene. In a complicated scene, there may also be a position two, three, etc.

GAFFER

Chief electrician, responsible for setting up lights under the DP's direction.

GRIP

Also called "hammer grip, "he moves everything on the set except lighting equipment and cables.

GOLDEN TIME

In a union shoot, actors are paid at double time after an 8-hour session. Some night shoots are considered GOLDEN TIME.

HAIRDRESSER

Designs and styles actors' hair, wigs, toupees, etc.

HAMMER GRIP

See GRIP

HAND PROPS

All small props handled by the performer.

HIGH SPOT

A camera angle that looks down on the subject.

HIT THE MARK

To stand over your mark

HOT MIKE/HOT CAMERA

Microphones and cameras that are "on."

HOT SET

A set that is set up for the next shot. No one but the set dresser or property master may touch anything on a HOT SET.

HOT SPOT

Too much light in one spot.

HONEY WAGON

The trailer or RV that contains dressing rooms and bathrooms for actors.

IN THE CAN

A scene that has been filmed to the satisfaction of the director and is therefore considered to be complete.

KEY

Either a fixed point used by the actor to remember a position without marks, or a direction to use a particular element of a scene to reinforce an actor's performance (as in "KEY off his anger" or "KEY off the speeding car.")

KEY GRIP

See FIRST CAMERAMAN

KEY MAKE-UP ARTIST

Designs and applies make-up to actors, organizes and supervises operation of all personnel in the make-up department, including hairdressers, body make-up artists and make-up assistants

LEVEL

As in "GIVE ME A LEVEL" This is a request from the sound mixer that the actors speak a sample so he can set the sound LEVEL on his equipment.

LOCATION

The overall working area where filming is taking place. See SET.

LOOPING

See DUBBING

MOS

Tradition has it that the a German film director coined the phrase MOS, meaning "mit out sound," as in a commercial where actors are seen but not heard.

NEW DEAL

Shouted after CUT! when a scene is considered to be "IN THE CAN." An indication that the crew should start setting-up the next scene.

PRINT!

See IN THE CAN.

PRODUCER

The person in overall command of the production from pre- through post-production and release. He hires everyone, and has ultimate creative and budgetary control over the project.

PRODUCTION DESIGNER

Establishes the "look" of the production. Conceives, plans and supervises the overall visual design of the production.

PRODUCTION MANAGER

Assembles the budget, organizes the shooting schedule, authorizes expenditures. He may have an assistant and several secretaries.

PROPERTY MASTER

Responsible for the inventory and maintenance of all properties (props).

RIGHT-TO-WORK

Laws that are enacted by states that guarantee employees the "right to work," regardless of their union affiliation. The spirit of cooperation between labor and management, typical in right-to-work states, creates an ideal environment for film making. Texas enjoys "right-to-work" status.

ROLLING!

A direction to start recording the sound in a scene.

SAG

Screen Actors Guild, a union that represents actors for film, television and commercials.

SCENE

A portion of a script that has been given its own number.

SCREEN TEST

A scene filmed in full costume and lighting, to show an actor's suitability for a particular role.

SCRIPT SUPERVISOR

Takes detailed notes, recorded in the script, of all production information: scene and take number, camera position, performance continuity, dialogue changes and running time of each shot.

SECOND ASSISTANT CAMERAMAN

Also called the Clapper/Loader, he loads and unloads the film, maintains paperwork, prepares the slate for each take and otherwise assists the 1st Cameraman.

SECOND ASSISTANT DIRECTOR

FIRST AD's assistant. Responsible for paperwork and legwork. This is also true for 3rd AD, etc.

SECOND TEAM

The stand-ins that are used to establish lighting, etc.

SET

The location where filming is taking place, either indoors or outdoors. The set is where the camera is, as opposed to the "location," which is the overall working area. There may be several SETS at one LOCATION.

SET DECORATOR

Selects and places props and set dressing under the direction of the production designer

SET DRESSER

Assists the prop master and set decorator

SET-UP

Each new camera angle, especially when lighting must be moved.

SFX

Special Effects, sometimes called "FX."

SHOT

Whatever the camera is seeing. LONG SHOT (LS) is anything shot from a distance with a wide field of vision (head-to-toe of a person). MEDIUM SHOT (MS) is waist-up. TWO SHOT is generally a medium or closer shot of two people.

SLATE (noun)

A flat board, previously a chalkboard but now a digital clock with a writing surface, containing letters and numbers identifying the production and scene. Also called STICKS, CLAPBOARD and MARKER. The two sticks fastened to the top of the slate are snapped together at the top of each take, and the "click" is used to synchronize the audio and the video. SECOND STICKS is called for whenever the camera or sound misses the marker the first time. Occasionally, the slate is put at the end of the scene (a TAIL SLATE) and the marker is turned upside-down.

SLATE/SLATING (verb)

To recite one's name and agency prior to an audition. Most commonly used in commercial auditions.

SOUND MIXER

Selects and operates the recording equipment. He mixes (balances) the various microphones for optimum dialogue reproduction. Also keeps the paperwork.

SPECIAL EFFECTS TECHNICIAN

Responsible to the director for safety and for effectively planning and executing special effects

SPEED!

A direction that both sound and the cameras are in operation and should be in sync.

STAND-BY

Direction to actors to prepare for a TAKE.

STAND-IN

See DOUBLE.

STEP INTO IT

For an actor to stay one step out of frame, and then to step in.

STORY BOARD

A series of sketches showing each shot of a scene or film in order, with dialogue and scene number underneath. Used to plot the shooting economically.

STRIKE

To remove something, especially large objects. At the end of the day, all equipment is struck.

STUNT DOUBLE

See DOUBLE.

SUN GETTING YELLOW

At the end of the day, it means that the sun is going down and the light is getting weak.

TAFT-HARTLEY (ACT)

An Act of Congress, passed in 1947, actually consists of amendments to the National Labor Relations Act (NRLA) passed in 1935. The NRLA opened the door to labor practices that harmed not only management but labor as well, and Senators Taft and Hartley drafted legislation that affirms the right of employees not to join a labor union if they so choose, in states that enact "right-to-work" laws. In a right-to-work state, the purpose of "Taft-Hartley-ing" is to notify an actor that he/she is eligible to join the union, and that he MAY do so if he desires.

TAKE

Each time a scene is recorded on film or tape.

TAKE CAMERA

Direction to the actor to turn toward the camera so that the audience will get the full effect of his reaction to dialog or action.

TALENT

A term that refers to all ABOVE-THE-LINE personnel, but specifically to the actors. Sometimes this term is used by agents and casting directors to mean "actors."

TILT

Vertical camera movement.

TRADES

The newspapers that address the film industry.

TRAILER

Preview of coming attractions (not everything in the trailer is necessarily in the film!) A trailer is sometimes used as a selling tool to raise funding for a feature film.

TREATMENT

A synopsis of a film idea, relating most details of the story through present-tense action and no dialog. A TREATMENT is usually 5-30 pages in length, and can be copyrighted.

VO

See VOICE-OVER.

VOICE-OVER

Voice-Over (VO), a scene where an actor speaks a line while the camera is not on him. Commercials, both radio and television, often utilize voice-overs.

VOC

Voice-on-camera. A scene in which an actor speaks a line while the camera is on him.

VIDEO

The picture portion of a production. In film it's actually called PICTURE.

WALK-ON

For an extra, a non-speaking bit part. For a principal, a non-speaking entrance.

WALK-THROUGH

See Camera Rehearsal

WARDROBE MASTER

Supervises the operation of the wardrobe department, including inventory and maintenance

WILD TRACK/WILD SOUND

Sound recorded without picture.

WRAP

The completion of a workday, or of work at a particular location, or of work on the whole production. A WRAP PARTY is a party celebrating completion of a production.

ZOOM

Gradually changing the focal length of the lens, gives the effect of dollying in or out without moving the camera. The image gets larger or smaller.

 

If you have any additions or corrections, please let us know