FILM & MEDIA STUDIES GLOSSARY OF TERMS UNITS, FORMATS, GENERAL TERMS AVI, MOV

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1 GLOSSARY OF TERMS UNITS, FORMATS, GENERAL TERMS AVI, MOV Audio Video Interleaved (also Audio Video Interleave), known by its initials AVI, is a multimedia container format introduced by Microsoft in November 1992 as part of its Video for Windows software. AVI files can contain both audio and video data in a file container that allows synchronous audio-with-video playback. MOV is an MPEG 4 video container file format used in Apple's Quicktime program. MOV files use Apple's proprietary compression algorithm. Apple introduced the MOV file format in Focal length The distance between the lens and the image sensor when the subject is in focus, usually stated in millimetres FPS (also Frame Rate) Films are run through a camera or projector at a frame rate measured in frames per second Frame Refers to a single image, the smallest compositional unit of a film's structure, captured by the camera on a strip of motion picture film - similar to an individual picture in still photography; also refers to the rectangular area within which the film image is composed by the filmmaker - in other words, a frame is what we see (within the screen) Grain The amount of light-sensitive material in the film's coating or emulsion; results can either be fine-grained (or sharp) - that requires more light for filming, or excessively grainy (or coarse) - best for low-light situations Pixel The pixel (a word invented from "picture element") is the basic unit of programmable color on a computer display or in a computer image. Think of it as a logical - rather than a physical - unit. The physical size of a pixel depends on how you've set the resolution for the display screen. Scene Usually a shot (or series of shots) that together comprise a single, complete and unified dramatic event, action, unit, or element of film narration, or block (segment) of storytelling within a film, much like a scene in a play; the end of a scene is often indicated by a change in time, action and/or location Sequence A scene, or connected series of related scenes that are edited together and comprise a single, unified event, setting, or story within a film's narrative; also refers to scenes that structurally fit together in the plot; sequence usually refers to a longer segment of film than a scene; sequences are often grouped into acts (like a three-act play) Shot The basic building block or unit of film narrative; refers to a single, constant take made by a motion picture camera uninterrupted by editing, interruptions or cuts, in which a length of film is exposed by turning the camera on, recording, and then turning the camera off; it can also refer to a single film frame (such as a still image) WAV, AIFF Waveform Audio File Format (WAVE, or more commonly known as WAV due to its filename extension) (rarely, Audio for Windows) is a Microsoft and IBM audio file format standard for storing an audio bitstream on digital platforms. In terms of file size and quality, AIFF and WAV formats are fairly interchangeable. For you techno-junkies, the AIFF format results in an uncompressed PCM (pulse-code modulation) file meaning it still has relatively large file sizes, but maintains a higher quality of sound. Prepared by eliza Cornejo Page 1 of 16

2 COMPOSITION 180-degree system Blocking Framing Long Take Mise-en-scéne Off-screen space Over-the-shoulder shot (OTS) Plan-Séquence (French) / Sequence Shot Point of View shot Reverse-angle shot / Reverse shot Three-shot A screen direction rule that camera operators must follow - an imaginary line on one side of the axis of action is made (e.g., between two principal actors in a scene), and the camera must not cross over that line - otherwise, there is a distressing visual discontinuity and disorientation; similar to the axis of action (an imaginary line that separates the camera from the action before it) that should not be crossed The process of figuring out where the camera goes, how the lights will be arranged, and what the actors' positions and movements - moment by moment - are for each shot or take; often, the specific staging of a film's movements are worked out by the director, often with stand-ins and the lighting crew before actual shooting Refers to the way a shot is composed, and the manner in which subjects and objects are surrounded ('framed') by the boundaries or perimeter of the film image A shot of lengthy duration A French term for "staging," or "putting into the scene or shot"; in film theory, it refers to all the elements placed (by the director) before the camera and within the frame of the film -- including their visual arrangement and composition; elements include settings, decor, props, actors, costumes, makeup, lighting, performances, and character movements and positioning; lengthy, un-cut, unedited and uninterrupted sequences shot in real-time are often cited as examples of mise-en-scene; contrast to montage Refers to action or dialogue off the visible stage, or beyond the boundaries of the camera's field of vision or depicted frame (a.k.a. off or offstage or off-camera) A very commonly-used medium camera angle or view in a dialogue scene, mostly with alternating shot/reverse-shot editing, in which the camera records the action from behind the shoulder and/or head of one of the characters, thus framing the image; the two characters are thus linked or connected to each other, and their positions are established; commonly used to show a conversation from the first character's perspective. Refers to a long, normally complicated shot with complex camera movements and actions; a scene handled in single shot, usually a very long take A shot from the perspective of one of the characters which may be either subjective (style of filming that allows the viewer to look at events from a perspective where the camera position is close to the line of sight of the character as if the audience were seeing the scene from their eyes) or omniscient (the narrator / character knows and sees everything occurring in a story, including character thoughts, action, places, conversations, and events) A basic camera angle composed of a shot photographed from the opposite side of a subject to provide a different perspective; in a dialogue scene between characters, a shot of the second participant is commonly composed as an over-the-shoulder shot; sometimes known as an 180 degree angle shot or change in perspective; the alternating pattern between two characters' points of view is known as shot/reverse shot in editing Refers to a medium to a medium long sshot that contains three people Prepared by eliza Cornejo Page 2 of 16

3 Two-shot A medium or close-up camera shot of two people (often in dialogue with each other), framed from the chest up; often used to provide a contrast between the two characters CAMERA DISTANCE Close-up (CU) Establishing shot (ES) Extreme Close-up (ECU) Extreme Long Shot Long shot Master shot Medium Close-up Medium Long shot Medium shot Reestablishing shot A shot in which the subject is larger than the frame, revealing much detail. Usually a wide shot, sometimes a set of close-ups, at the beginning of a scene or a sequence that is intended to inform the audience of an overview in order to help identify the locale or time for the scene and action, and at times characterization A framing in which the scale of the object shown is very large; most commonly a very small object or a part of the body A shot notable because of the extreme distance between camera and subject; A panoramic view of an exterior location photographed from a considerable distance, often as far as a quarter-mile away Shows the entire object or human figure and is usually intended to place it in some relation to its surroundings. A film recording of an entire dramatized scene, from start to finish, from an angle that keeps all the players in view Is half way between a mid shot and a close up. This shot shows the face and shoulders more clearly, without getting uncomfortably close. Shows most of a person, typically head to knees. This gives you the opportunity to show some of the environment, but also allow multiple people to easily interact. A camera shot from a medium distance usually from the waist and up. A return to view of an entire space after a series of closer shots following an establishing shot SPECIAL EFFECTS Accelerated motion / Fast motion Atmospheric Effect Double exposure Freeze / Freeze-frame Front Projection Mit out Sound / MOS An effect to compress reality thereby creating the effect of moving faster than normal highlighting a scene or causing a dramatic effect; created either by 1) use of a camera device than can film a scene with a running rate less than the normal 24 frames per second and then projecting it back at standard speed or 2) using the fast motion effect native to the NLE (non-linear editing) software being used Special effect that makes use of techniques and materials to simulate the required natural atmosphere in a scene such as rain, snow, fog, etc. To expose a single frame twice so that elements of both images are visible in the finished product; produces an effect similar to superimposition and is often used to produce 'ghostly' effects An optical printing effect in which a single frame image is identically repeated, reprinted or replicated over several frames; when projected, a freeze frame gives the illusion of a still photograph in which the action has ceased A film process developed in the 1950s in which actors (or subjects) and foreground objects were filmed in front of a reflective screen with a movie camera pointing straight at them and a projector which projects an image of the background onto a mirror which reflects the image onto the performer and the highly reflective screen. A take that is filmed without recording sound at the same time. MOS stands for "mit out sound" which is derived from an old Hollywood story Prepared by eliza Cornejo Page 3 of 16

4 that German director Erich Von Stroheim couldn't pronounce "without" correctly due to his accent thus mit out while the camera assistant complied with this request by writing M.O.S. on the slate Opticals (Optical Effects) In film-making, refers to a visual device, e.g., a fade, wipe, dissolve, superimposition, freeze-frame, split-screen, composite (a train reflection in a car window), or others that cannot be created in the camera and thus have to be processed through an optical printers and mixers in postproduction. However today due to digital technology all these are simplified and easy to produce using NLE softwares. Pixillation Usually square-like digital break up that appears on the monitor when playing back a video from a digital medium resulting from some sort of corruption of the video. Rear projection A special effects technique to create backgrounds, in which actors are filmed in front of a screen on which a background scene is projected; commonly used in early films to produce the effect of motion in a vehicle Reverse motion A camera effect, created by running film backwards in the camera and / or applying the reverse motion effect during NLE post; a.k.a. reverse Slow motion / Slow Mo / Slow-Mo Split-screen Stop-motion photography Superimposition Time-lapse photography action An effect resulting from running film through a camera at faster-thannormal speed (shooting faster than 24 frames per second), and then projecting it at standard speed. If a camera runs at 60 frames per second, and captures a one second-long event, a 24-frame playback will slow that event to two and a half seconds long. Overcranking means to speed up the camera, thereby making the action appear slower when projected. The term dates back to the old days of physically hand-cranking film through a camera. Also during NLE post this effect is readily available however the quality of the slow motion will also depend on how the footage was shot. The visible division of the screen, traditionally in half, but also in several simultaneous images A special-effects animation technique where objects, such as solid 3-D puppets, figures, or models are shot one frame at a time and moved or repositioned slightly between each frame, giving the illusion of lifelike motion. Stop-motion was one of the earliest special-effects techniques for science-fiction films, now replaced by CGI and animatronics The same as Double Exposure, but often used expressly to describe a double exposure done through optical printing, as in superimposed titles, images etc. Nowadays used more commonly during NLE post-production when combining video images with transparent backgrounds. A method of filming where frames are shot much slower than their normal rate, allowing action to take place between frames, and giving the appearance of the action taking place much faster in the finished product; often done for nature filming (the blooming of a flower, the movement of clouds, etc.), allowing the viewer to witness the event compressed from real time (hours or days) into a few seconds; (one frame shot every 30 seconds over 24 hours of real time would equal two minutes of film time) CAMERA MOVEMENT 360-degree shot (aka 360-degree spinning shot) A technique in which the camera circles actors or subjects creating a somewhat dizzying effect. Prepared by eliza Cornejo Page 4 of 16

5 Aerial shot Arc shot Crane shot (Boom shot) Dolly Zoom / Tracking Zoom / Reverse Zoom Follow Shot / Following Shot Pan Rotating Shot Static Shot Swish Pan / Whip pan Tilt Tracking Shot Zoom shot A camera shot filmed in an exterior location from far overhead (from a bird's eye view), as from a helicopter (most common), blimp, balloon, plane, kite or RC planes and helis; if the aerial shot is at the opening of a film then it s an establishing shot A shot in which the subject(s) is filmed by an encircling camera sort of like a curved tracking shot A shot taken by a camera on a crane. The most obvious uses are to view the actors from above or to move up and away from them; a common way of ending a movie An unsettling in-camera effect that appears to undermine normal visual perception. The effect is achieved by using the setting of a zoom lens to adjust the angle of view (often referred to as field of view FOV) while the camera dollies (or moves) towards or away from the subject in such a way as to keep the subject the same size in the frame throughout. In its classic form, the camera is pulled away from a subject while the lens zooms in, or vice-versa. Thus, during the zoom, there is a continuous perspective distortion, the most directly noticeable feature being that the background appears to change size relative to the subject. A specific camera shot in which the subject being filmed is seemingly pursued by the camera. The follow shot can be achieved through tracking devices, panning, the use of a crane, a Steadicam, or even zoom lenses resulting in different qualitative images but, nevertheless, recording a subject (performer) in motion. Abbreviation for panorama shot; refers to a camera movement with the camera body swivelling right or left on its axis or a stationary support producing a mobile framing that scans the space horizontally. Refers to a camera rotation from its axis horizontally or vertically moving in a complete circle to produce a spinning, disorienting effect to the viewer An unmoving camera shot that is stationary, due to the use of a tripod A variation of a pan is the swish pan (also known as flash pan, flick pan, zip pan, blur pan, or whip pan), in which the camera is purposely panned in either direction at a very fast pace, creating the impression of a fastmoving horizontal blurring of images across the screen A camera movement with the camera body swivelling upward or downward on its axis or a stationary support producing a mobile framing that scans the space vertically. A smooth shot in which the camera moves alongside ('tracking ) the subject, usually mounted on dolly tracks, in a side-to-side motion (relative to the scene or the action); also known as following shot; sometimes used interchangeably with dolly shot; related directions would be pull back, pull-out, push-out, widen-out, push-back, track back (moving away), track in, push-in (moving forward) A shot in which the magnification of the objects by the camera's lenses is increased (zoom in) or decreased (zoom out/back). There is a subtle difference between the results of a zoom shot and a dolly shot. In a zoom, the relative positions and sizes of all objects in the frame remains the same, whereas in a dolly shot this will change as the camera moves. Prepared by eliza Cornejo Page 5 of 16

6 DEPTH OF FIELD Deep focus Focal length Follow focus Head-on shot Racking focus Shallow focus Soft focus Tail-away shot Telephoto shot Wide Angle shot / Wide Shot A shot in which both the foreground and the background are in focus. In other words, a shot with exceptional depth of field; opposite of shallow focus. The focal length of an optical system is a measure of how strongly the system converges (focuses) or diverges (defocuses) light. Simply put, how wide or narrow a view the lens will provide, smaller numbers being wider and larger numbers being narrower. A shot where focus is changed while shooting to correspond with the movement of the subject or the camera. A shot in which the action or subject moves or comes directly toward the camera, to enhance the audience's feelings of participation or to cover the lens and use as a transition point. The practice of shifting the attention of the audience by changing the focus of the lens from a subject in the foreground to a subject in the background, or vice versa. It dates back to the time when cameras did not have reflex lenses so the operator would have to "rack focus" the camera by looking through the viewfinder, then sliding the camera over so that the shot would be in focus. A restricted depth of field which keeps only one plane in sharp focus; opposite of deep focus A cinematographic effect in which a filter, vaseline or gauze-like substance placed over the camera lens reduces the clarity or sharpness of focus, blurs the image, and produces a diffused, hazy light; often used to enhance romantic or dreamy scenes, or to remove wrinkle lines from an actor's face. A shot in which the action or subject moves away from the camera lens; most of the time used in combination with the head-on shot as a transition point A shot that uses a camera lens with a very long focal length and narrow angle of view - the effect is to compress or condense depth in space, thereby bringing distant objects closer to the viewer (without moving the camera), but it also flattens the depth of the image; it has the opposite of the effect of a wide-angle shot. A shot (often abbreviated WS) taken with a lens that is able to take in a wider field or range of view (to capture more of the scene's elements or objects) than a regular or normal lens; a wide-angle shot exaggerates the distance, depth or disparity between foreground and background planes, thereby creating greater depth-of-field and keeping all objects in focus and in perspective; an extreme or ultra-wide-angle lens giving a 180 degree view is called a 'fish-eye' lens CAMERA ANGLE Dutch Angle Shot / Canted Angle / Oblique Shot / Dutch Tilt High-angle shot Low-angle shot A shot made with the camera leaned to one side and filming at a diagonal angle causing the horizon to be not parallel with the bottom of the frame. A shot in which the subject or scene is filmed from above and the camera points down on the action, often to make the subject(s) small, weak and vulnerable A shot in which the subject is filmed directly from below and the camera tilts up at the action or character, to make the subject appear larger than life, more formidable, taller and more menacing Prepared by eliza Cornejo Page 6 of 16

7 Overhead shot / Top shot Worm s Eyeview LIGHTING Aperture Available Light Back Light Background Light Chiaroscuro lighting (Rembrandt lighting) Exposure Fill light Film speed Gel Hard Lighting High-key lighting Key light (Main light) Kicker Limbo lighting An elevated view of an object directly from above A view of an object from below, as though the observer were a worm or below ground level The camera, projector, or printer opening that controls the size and proportions of the recorded image. In photography and cinematography, available light or ambient light refers to any source of light that is not explicitly supplied by the photographer/cinematographer for the purpose of taking photos or filming. Back Light separates subject from background. Angled towards the lens from above and behind the subject, or above, behind, and slightly to the side of it, high enough to cut lens Flare. It is especially helpful for video images that may suffer loss-of-edge contrast. Reveals the character of the background and helps separate it from the subject. Angled towards the background, usually from the side and high enough to avoid Glare and subject or microphone shadows. The evocative combination of light and shadows in a lighting composition. Not used as a directional term on the set. Used to describe a style of lighting. The result of light that reaches any recording surface through the combination of time (Shutter Speed) and quantity (lens Diaphragm size). Illumination source used to lighten shadows and control Contrast and Lighting Ratios. Also known as Film/Light Sensitivity. DIN Standard - The German system (Deutsche industrie normal) for rating film sensitivity. Every 3 degrees doubles the film speed. EI/ASA, Exposure Index - A numerical designation of a film's sensitivity to light. The current US standard for film speed ISO (International Standards Organization) - A European rating of film sensitivity to light. As used with photographic lights, a strong, flexible, fade-resistant material that changes the color, amount, or quality of light. A relatively small, direct, usually focusable source, with or without lens that produces strong High-lights and dark sharp-edged shadows. The quality is more dramatic and controllable, but generally less flattering, than Soft Light. Lighting that results in predominantly middle-gray to white tones creating comparatively less contracts between light and dark tones. In a 3-point lighting system, it is the brightest illumination that comes into the scene. This light determines the character of the lighting, and is usually motivated by a source like the sun or a window. A low-angle, side-back light that adds glare or accent. (aka Liner, Glow Light) In film, normal key, back, and fill lighting or high contrast lighting is used, but great care is taken to eliminate any light on the background or floor behind the subject. The intended effect is to leave the subject without any context of surrounding. The ultimate limbo background, found in many photography studios shows the walls and floor joined in a gradual curve. Prepared by eliza Cornejo Page 7 of 16

8 Low-key lighting Natural light Overexposed Practical Lights Separation Lights Side Lighting Silhouette shot Soft Lighting Top Lighting Under lighting Under-exposed TRANSITIONS Cut Dissolve Fade Soft Cut Washout Whip Pan / Swish Pan Lighting that results in predominantly gray to middle-black tones with few light areas. Nature's illumination: daylight, even on interiors. The term implies that the source is not artificial. Illumination that produces highlights or extremely lighted areas without details. Intentional use is to try to desaturate color or for other effects. The light sources that are visible as models within your scene. Indoor examples of practical lights include lamps, light fixtures, television sets, or any other model you've built that emits light. The craft of suggesting a non-existent third dimension through the use of lights positioned to emphasize modeling. This half key/half kicker hits subjects at an angle of about 90 degrees. Also Cross Light which is the illumination of a subject from both sides. Dark shapes and figures that are set against a light background. Diffused, bounced, indirect light; the opposite of Hard Light. The soft shadows and subtle highlights produced are so luscious one wonders why this light isn't used for everything. At times it seems to be. The difficulty of hiding and controlling a soft source, however, especially when shooting reverse angles, and its reluctance to "go the distance," limits its use. Tip: The largest, cheapest soft source is an overcast sky. Illumination from a point directly over the subjects in a scene Illumination from a point below the figures in a scene The result of too little light or too big an f-stop (small aperture) 1) What the director says to end the filming of a shot; 2) The cutting apart of two shots at the timeframe, or the point where the shots have been cut apart; 3) In the different stages, or at the completion of editing the edited film itself can be referred to as the cut or for the completed first edit version of a film, rough cut, or if a director s preferred final edit, director's cut; 4) various types of cuts include soft cut / smooth cut, jump cut (an abrupt cut from one scene or shot to the next), shock cut (the abrupt replacement of one image by another) A transition between two shots during which the first image gradually disappears while the second image gradually appears; for a moment the two images blend in superimposition. A transitional device consisting of a gradual change in the intensity of an image or sound, such as from a normally-lit scene to darkness (fade out, fade-to-black) or vice versa, from complete black to full exposure (fade in), or from silence to sound or vice versa; a 'fade in' is often at the beginning of a sequence, and a 'fade out' at the end of a sequence A soft cut is a tiny dissolve 1 to 4 frames between two separate audio or video elements in a timeframe. Technically a soft cut is a crossfade, but since it s only a few frames away from being a cut it has the effect of softening a cut. Most of the time used ubiquitously by sound and dialogue editors to smooth out audio edit points. An effect that fades out an image to a color instead of just black A variation of a pan (aka flash pan, flick pan, zip pan, blur pan, or whip pan), in which the camera is purposely panned in either direction at a very fast pace, creating the impression of a fast-moving horizontal blurring of images across the screen, sometimes used as a transition device. Prepared by eliza Cornejo Page 8 of 16

9 Wipe An editing technique in which images from one shot appears to be "pushed off" or "wiped off" the screen by another shot replacing it and moving across the existing image delimited by a definite border that moves across or around the frame. An iris in or iris out is a type of wipe. Today s NLE softwares have various types of wipes already built into the transition options. EDITING 180-degree system In the continuity editing system, this is basic guideline in film making that states that two characters in the same scene should always have the same left and right relationship to each other. 1 khz tone The most common reference tone in audio engineering is a About this sound 1000 Hz tone at 20dB. It is meant to be used by audio engineers in order to adjust the playback equipment so that the accompanying media is at a comfortable volume for the audience. In video production, this tone is usually accompanied by a test card so the video signal may be calibrated as well. It is sometimes played in sequence between a 100 Hz and 10 khz tone to ensure an accurate response from the equipment at varying audio frequencies. This is also the "bleep" tone commonly used to censor obscene or sensitive audio content. 2-pop Used in television production and filmmaking post-production, a 2-pop is a 1 khz tone that is one frame long and placed 2 seconds before the start of program. It is a simple and effective method of ensuring synchronization between sound and picture in a video or film. A 2-pop is typically placed at the end of a visual countdown. Only the first frame of the "2" is shown, and the remainder of the 2 seconds prior to the program is black. This provides a unique point of reference where the frame-long image and frame-long sound should align, similar to the way a film clapperboard is used to generate a synchronization point. B-roll The modern day use of B-roll is with broadcast TV as supplemental footage inserted as a cutaway to help tell the story. B-roll includes the shots that are shown to introduce a segment and/or in between the live or taped interviews. B-roll does not include sound so that custom voiceover or music can be inserted by the TV producers. Bumper / Stinger In broadcasting, a "bumper" is a brief announcement, usually two to 15 seconds in length, that can contain a voiceover, placed between a pause in the program and its commercial break, and vice versa. Cheat Cut / Cheat It is a cut which purports to show continuous time and space from shot to shot but which actually mismatches the position of figures or objects in the scene. It is when the camera is set up for a second shot at a different angle moving things around a little to improve the new composition, perspective and angle but hiding the fact that things are not exactly in the same place. Color Bars A strip on printed material or a screen display showing a range of colors, used to ensure that all colors are printed or displayed correctly. Prepared by eliza Cornejo Page 9 of 16

10 Continuity Editing Cutaway Cut-in Director s Cut Discontinuity Editing Elliptical Editing / Ellipsis Eyeline Match Final Cut Flash frame Graphic Match Hollywood montage Insert Intercutting/Parallel cutting Jump cut It is the predominant style of editing in narrative cinema and television. The purpose of which is to smooth over the inherent discontinuity of the editing process and to establish a logical coherence between shots. It is also the seamlessness of detail from one shot to another within a scene during a shoot taking into consideration the mise-en-scene elements such as actions of the actor, the placement of props, the lighting, the costumes, and so on. An interruption of a continuously filmed action by inserting a view of something else. A shot, usually a close-up of some detail or a landscape, that is used to break up a matching action sequence, and is often very helpful in editing to rescue you from an impossible break in continuity or coverage. An instantaneous shift from a distant framing to a closer view of some portion of the same space or subject. A version of a movie that reflects the director's original intentions, released after the first studio version. It describes the deliberate or accidental violation of rules of continuity when editing. Any alternative system of joining such together using techniques that are unacceptable in the continuity editing principles. Possibilities would include mismatching of temporal and spatial relations, violations of the axis of action, and concentration on graphic relationships. The shortening of the plot duration of a film achieved by deliberately omitting intervals or sections of the narrative story or action to omit a period or gap of time from the film's narrative. A cut between two shots that obeys the axis of action principle creating the illusion of the character (in a first shot) looking at an object or in a direction (in the second shot). The last edited version of a film as it will be released A flash frame is a single frame of white video (or color bars, or a frame of video) that appears 2 seconds before the start of picture along with an accompanying 2-pop on the audio tracks. Please do not apply a dissolve or other transition on either side of the flash frame. Again, if the picture starts at 01:00:00:00, the flash frame should appear at 00:59:58:00. The flash frame corresponds to the audio 2-pop and allows for accurate sync throughout post production. It is two successive shots joined so as to create a strong similarity of compositional elements like shape or color. The type of montage that consists of a series of short shots that are edited into a sequence to condense narrative. It is usually applied to advance the story as a whole. A shot that occurs in the middle of a larger scene or shot, usually a closeup of some detail or object, that draws audience attention, provides specific information, or simply breaks up the film sequence. It is filmed from a different angle and/or focal length from the master shot. A technique where a series of shots, consisting of two simultaneous events, that are alternated together usually to create suspense. Other use is also for telephone conversation scenes where two or more people are involved. An abrupt, disorienting transitional device that appears to be an interruption in the middle of a continuous shot. Either the figures seem to change instantly against a constant background, or the background changes instantly while the figures remain constant. Prepared by eliza Cornejo Page 10 of 16

11 Juxtaposition Lower Thirds Master Copy Match Cut/Match on Action/ Action Match Montage Non-diegetic Insert Outtakes Overlapping Editing Reaction shot Rough cut Rushes Screen direction Shooting ratio Shot/Reverse Shot Soviet montage Station ID, Network ID, Ident, Program ID Take The act of placing two different ideas, images, objects or characters side by side or in similar positions in order to compare and contrast them, or establish a relationship between them. In the broadcast industry, a lower third is a graphic overlay placed in the title-safe lower area of the screen, though not necessarily the entire lower third of it, as the name suggests. The most common type of graphic used to identify people, places and things on screen. An original creation (i.e., an audio or video recording) from which copies can be made A transitional technique, in which there's a cut between two shots that are joined or linked by visual, aural, or metaphorical parallelism or similarities making it seem to continue uninterrupted. A French term for editing. It is a shot or series of shots cut into a sequence, showing objects that are represented as being outside the space of the narrative. Portions of a work that is removed in the editing process and not included in the work's final, publicly released version. These are the cuts that repeat part or all of an action, thus expanding its viewing time and plot duration. A quick shot that records a character's or group's response to another character or some on-screen action or event; often accompanied with a POV shot. These shots are usually categorized as cutaways. It is a first assembly of a film which the editor prepares from selected takes, in script order, leaving the finer points of timing and editing to a later stage. It prints made immediately, usually without correction or editing, after a day's shooting for examination by the director before the next day's shooting. AKA dailies The right-left relationships in a scene, set up in an establishing shot and determined by the position of characters and objects in the frame, by the directions of movement, and by the characters' eyelines. The shooting ratio of a film or video is the ratio between the total duration of its footage shot and that which results from its final cut. A film technique where one character is shown looking at another character and then the other character is shown looking back at the first character. Since the characters are shown facing in opposite directions, the viewer assumes that they are looking at each other. An approach to film editing developed by the Soviet filmmakers in the 1920s that emphasizes dynamic, often discontinuous relationships between shots and the juxtaposition of images to create ideas not present in either shot when seen by itself. This is the practice of broadcast platforms for identifying themselves on-air or online, typically by means of a call sign or brand name. This may be to satisfy requirements of licensing authorities, a form of branding or a combination of both. As such, it is closely related to production logos used in television and cinema, alike. Station identification used to be done regularly by an announcer at the halfway point during the presentation of a television program, or in between programs. The recording of a single shot Prepared by eliza Cornejo Page 11 of 16

12 SOUND Ambient sound Ambient sound (AKA ambient audio, ambience, atmosphere, atmos or background noise) means the background sounds which are present in a scene or location. Common ambient sounds include wind, water, birds, crowds, office noises, traffic, etc. Cross Fade Dead track Dialogue Diegetic sound Direct Sound Dubbing External Diegetic Sound Internal diegetic sound Mixing Non-diegetic sound Off-screen sound Overlapping Sound (Sound Bridge) Post-Synch / Looping / ADR Score Ambient sound is very important in video and film work. It performs a number of functions including: Providing audio continuity between shots. Preventing an unnatural silence when no other sound is present. Establishing or reinforcing the mood. It allows the user to fade one audios source out while fading another audio source in at the same time. The complete absence of sound in a film scene. The track containing a recording of the human voice or speech. Sound whose source is visible on the screen or whose source is implied to be present by the action of the film. And is any sound presented as originated from source within the film's world. The diegetic sound can be either on screen or off screen depending on whatever its source is within the frame or outside the frame. The technique of recording sound simultaneously with the image. The post-production process of recording and replacing voices on a motion picture or television soundtrack subsequent to the original shooting. It's also most commonly referred to as the substitution of the voices of the actors shown on the screen by those of different performers, who may be speaking a different language. Sound represented as coming from a physical source within the story space and which we assume characters in the scene also hear. Sound coming from the mind of a character (an interior monologue of the character's inner thoughts) that we can hear but the other characters cannot. And it can also refer to distortions of sound heard by a character that reflect that character's state of mind. This is the process during the post-production stage of a moving image program by which a multitude of recorded sounds are combined into one or more channels. Sound whose source is neither visible on the screen nor has been implied to be present in the action. It is represented as coming from a source outside story space. Another term for non-diegetic sound is commentary sound. Refers to audible action, dialogue or sound effects off the visible stage, or beyond the boundaries of the camera's field of vision or depicted frame. The carryover of dialogue, sounds, or music from one scene to another or the pre-emption of sound that belongs to the next scene; can also refer to two or more characters speaking at the same time as in overlapping dialogues. Is the process of re-recording the original dialogue after filming for the purpose of obtaining a cleaner, more intelligible dialogue track. It's also known as looping or a looping session. A film score (also sometimes called background score, background music, film music or incidental music) is original music written Prepared by eliza Cornejo Page 12 of 16

13 Sound motif specifically to accompany a film. The score forms part of the film's soundtrack, and comprises a number of orchestral, instrumental or choral pieces called cues which are timed to begin and end at specific points during the film in order to enhance the dramatic narrative and the emotional impact of the scene in question. Scores are written by one or more composers, under the guidance of, or in collaboration with the film's director and/or producer, and are then usually performed by an ensemble of musicians most often comprising an orchestra or band, instrumental soloists, and choir or vocalists and recorded by a sound engineer. A sound effect or combination of sound effects that are associated with a particular character, setting, situation or idea through the film. The sound motifs condition the audience emotionally for the intervention, arrival, or actions of a particular character. The sound motifs can be very useful in the rough cut, where they help clarify the narrative functions of the characters and provide a sound association for those characters as we move through the story. Sound Perspective Soundtrack Stinger Synch Sound Synchronous & Asynchronous Sound The use of sound motifs can help shape a story that requires many characters and many locations and help unify the film and sustain its narrative and thematic development. Sound perspective refers to the apparent distance of a sound. Clues to the distance of the source include the volume of the sound and the balance with other sounds, the frequency range (high frequencies may be lost at a distance), and the amount of echo and reverberation. The term soundtrack can refer to several things, depending on use. In the broadest sense it simply means everything you hear in the movie - sound effects, dialog, and music. This meaning is usually applied in a more technical setting, in reference to the sound as opposed to the visuals. Soundtrack can also refer to the entirety of the music in the film, encompassing score AND songs that were either licensed or written for the film. Confusingly enough, oftentimes record companies will release a soundtrack from a movie which does not include any of the score. Generally that's because people are more interested in listening to songs from the movie that were written to stand alone, as opposed to score which was written to be part of the whole of the film. So the term soundtrack can also refer to only the songs in a movie, excluding the score. A cue or jingle which punctuates an emotion; such a cue would tend to be loud or startling. Refers to sound recorded at the time of the filming of movies. There are two large categories of sound. These two categories define all possible film sounds. Synchronous sound can be either ambient (sound recorded during the filming of a sequence and retained in the final cut) or a sound effect, the product of a Foley or ADR (Automated Dialog Replacement) technicians. In other words, that dialogue you hear could have been live, or it could have been dubbed if the filmmakers were not satisfied with the sound on-screen. Prepared by eliza Cornejo Page 13 of 16

14 Themes Music Voice-over (V.O.) Wild Sound Asynchronous sound can also be ambient sound i.e.while we watch children at play, a mother calls them home just offscreen. More frequently, however, asynchronous sound is the product of postproduction technicians determining the emotional and intellectual impact of a certain scene through sound. At the simplest level, music is used to determine the audience's response to a particular scene. An opening and/or closing musical signature, a musical composition associated with a broadcast program. It may also refer to music that begins or ends a motion picture. In its broadest sense, the word "theme" has been associated with topics in literature or media, or color schemes in design. Refers to recorded dialogue, usually narration, that comes from an unseen, off-screen voice, character or narrator (abbreviated as o.s. meaning beyond camera range), that can be heard by the audience but not by the film characters themselves; narration is a type of voice-over; v.o. often conveys the character's thoughts, either as a 'voice' heard within one's head, or as other narrative information and commentary to explain the action or plot; often a technique in film noirs; the abbreviation is used as an annotation in a script Means audio that is recorded without accompanying pictures. Technically it is "unsynchronised sound", meaning not synchronised with video footage. In film and video production, this sound is recorded so that it can be inserted into the video in post-production. OTHER TERMS Antagonist Anything that actively opposes or is adversarial to the leading character in a narrative. Celebrity One who is widely known or famous and of great popular interest Climax The decisive moment in a story that all the action builds up to. This is often expressed as the highest point in the plot structure. Denouement A French term that literally means to untie which therefore pertains to the untying of twists and complications in the story for the purpose of presenting the resolutions. There is an ongoing debate online of whether this is part of the Falling Action or of the Resolution. Elevator Pitch A very short precise presentation of an idea or concept for a film or media project that will appeal to a specific target audience. Also applicable to business and entrepreneurial ventures. Episodic (also Procedural) Television shows where each episode is self-contained which means they are not dependent on previous episodes for continuity or reference. Explicit Ending This is the ending that wraps everything up and answers all the questions. Exposition Exposition is a literary device used to introduce background information about events, settings, characters etc. to the audience or readers. The word comes from the Latin language and its literal meaning is a showing forth. Extras The movie extras provide as background performers in almost every scene. Regardless of the scene, location or time period, movie extras are used play the role of background fillers. Movie extras are different from actors, by definition, movie extras never speak. When Prepared by eliza Cornejo Page 14 of 16

15 Falling Action Flashback Flash-forward Foreshadowing Genre Host / Presenter Implicit Ending Long view Ending Mode of Address Narrative Non-Professional Actor (also Non-Actors) Plot Professional Actor Protagonist Resolution Rising Action Serial Story Tie-back Ending Twist Ending Unresolved Ending (also Hanging, Open) a movie extra is given dialogue, even if it s just one word, then the extra becomes an Actor taking a minor speaking role. That segment of a narrative that immediately follows the climax. Scenes that occurred in the past and are inserted into the present time of a narrative Scenes that are about to occur in the future and are inserted into the present time of a narrative A literary device in which a writer gives an advance hint of what is to come later in the story creating an atmosphere of suspense in a story so that the audience is interested to know more. The recognized paradigmatic sets into which the total output of a given medium (film, TV, writing, painting etc.) is classified. (from Key Concepts in Communication and Cultural Studies, 2nd ed.) A performer who introduces and holds together a public event such as a talk show, a game show, a multi-artist concert, etc Endings that are strongly based on the audiences interpretation. These endings tell what happens to the characters a significant timeframe into the future. Modes of address can be defined as the ways in which relations between addresser and addressee are constructed in a text. In order to communicate, a producer of any text must make some assumptions about an intended audience; reflections of such assumptions may be discerned in the text. Simply put, it is how media addresses the audience. Types of modes of address are 1 st person, 3 rd person, direct, formal and informal. During production, technical and aesthetic decisions are affected by the material s genre, program format and target audience. The presentation of story information. One that is not professionally engaged in the business of acting or performance but is hired because he/she is a perfect imagery of the required character. The directly presented information in a narrative structure. One that is educated in the field of acting and is professionally engaged in the performance business. The leading character or one of the major characters in a narrative. The end of the narrative where all questions are answered and problems resolved. That segment of a narrative that contains the inciting incident, crises and conflicts. Television shows where each episode is a continuation of the previous one and it builds up for future episodes. All the narrative information, both directly presented as well as inferred, in order. A tie-back, or rounded, conclusion plants a fact, idea or scene in the beginning, and completes it at the end. It returns the audience to the spot he was put in when the narrative opens. The key is bringing the audience full circle. As the name implies, this ending is unexpected or twisted. Endings where the main conflicts are left unanswered and the audience is left to ponder the outcome. Prepared by eliza Cornejo Page 15 of 16

16 REFERENCES: FILM ART: AN INTRODUCTION by Bordwell and Thompson Prepared by eliza Cornejo Page 16 of 16