Director’s “Perfect Shoot” Checklist · location o Camera ... Director’s “Perfect...

Video in the Classroom by Jeremy Jeffreys Arbor Books © 2008

Director’s “Perfect Shoot” Checklist Standard Filming Procedures

oo Film site has been scouted and is available & ready oo Storyboard & script reviewed and in hand oo Props for the scene(s) are available (as needed) oo Talent is prepped, practiced, and ready to go oo All equipment required for the shoot has been obtained (as necessary), this includes

specialty equipment (i.e. extra lighting, truck, dolly, etc.) oo Tape is in the camera & cued to blank area before recording oo Camera is in the record mode oo Camera is stabilized (normally with a tripod) for a steady shot oo Camera is positioned correctly in relation to the target and background oo Cameraman is using the “rule of thirds” to align all visual elements on screen (background

and foreground) oo Background looks good oo Microphones & headphones are plugged in and working (as required) oo Sound is good oo Target is well lit without any backlighting problems oo Lights & reflectors are used to light foreground/background (as needed) oo Lighting is good

oo While filming, use your shotsheet to assure you are getting all the shots you need oo Cameraman is viewing through the camera’s LCD screen while filming oo Cameraman hits RECORD & assures talent does a 5 second verbal countdown

(5, 4, 3, 2, 1, pause, start talking) oo Cameraman “leads” the target with the camera (remember “look-room” & “lead-room”) oo Cameraman double checks the filmed scene to assure it is good prior to leaving the shoot

location oo Camera, microphones, & other equipment is turned off oo The tape is removed from the camera, labeled, and placed in a tape case to protect it oo Nothing was left at the film site

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Be Prepared

© 2008 Jeremy Jeffreys


Director’s “Perfect Shoot” Checklist ChromaKey/ GreenScreen Filming Procedures

oo The studio or screen area is available & ready to use oo Storyboard & script reviewed and in hand oo Props for the scene(s) are available (as needed) oo Talent is prepped, practiced, and ready to go oo All equipment required for the shoot has been obtained (as necessary), this includes specialty

equipment (i.e. extra lighting, truck, dolly, etc.) oo Tape is in the camera & cued to blank area before recording oo Camera is in the record mode oo Camera is stabilized (normally with a tripod) for a steady shot oo Cameraman is using the “rule of thirds” to align all visual elements on screen oo Microphones & headphones are plugged in and working (as required) oo Sound is good oo Target is positioned under the hair-line light (needed to help separate forground from

background elements) oo The target is positioned away from the background (at the designated point) oo Background is evenly lit without any shadowing oo Cameraman is careful to keep only the solid background in the “camera’s eye” oo Camera is positioned at least four feet from the target oo Target is not wearing a color that conflicts with the background color (i.e. green or blue) oo Lights & reflectors are used to light foreground/background (as needed) oo While filming, use your shotsheet to assure you are getting all the shots you need oo Cameraman is viewing through the camera’s LCD screen while filming oo Cameraman hits RECORD & assures talent does a 5 second verbal countdown

(5, 4, 3, 2, 1, pause, start talking) oo Cameraman “leads” the target with the camera (remember “look-room” & “lead-room”) oo Cameraman double checks the filmed scene to assure it is good prior to leaving the studio oo Camera, microphones, & other equipment is turned off oo The tape is removed from the camera, labeled, and placed in a tape case to protect it oo Nothing was left in the studio/film site

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Plan Ahead

© 2008 Jeremy Jeffreys


BY Jeremy Jeffreys

Arbor Books Publishing 244 Madison Avenue, #254

New York, NY 10016 (877) 822-2500


“Providing tomorrow’s education today”

Jeremy Jeffreys grew up in Vacaville, California. He has a B.A. in Legal Studies and a M.A. in Education with emphasis in Technology. He has been teaching since 2001. He has taught hundreds of video production and broadcasting students at both the high school and middle school level and has developed impressive programs offering technology-integrated instruction. He also regularly teaches video production courses to teachers. These hands-on workshops are aimed at learning the fundamental concepts of filming, equipment, techniques, and

editing. Jeremy coaches high school football at Rodriguez High School. Prior to teaching, he enjoyed a career in law enforcement. He spent 15 years as a military reservist traveling all over the world. He has worked for several civilian law enforcement agencies. He is married to a math teacher and has an eleven-year-old daughter, so it’s amazing he had time to write this book.

Author’s Acknowledgements I was recently asked what inspired me to write this book. The answer to this question is not a “what” but a “whom”. Looking back there has been one individual who always seemed to inspire me when it came to teaching video production. He constantly challenged me to improve, as an educator and as a man. The late Michael Keisling (who passed away in 2007) taught video courses at Armijo High School in Fairfield, California for over 30 years. He was a great teacher, a great mentor, and a great man. He will be missed. I also want to acknowledge two of my graduate professors at Touro University – Rick Viccaro and Joe Summers. Both contributed their time and support as I wrote this book, and I appreciate their input in “red ink”. I can’t finish without thanking Sarah Smith for her great editorial skills and Rick Stevens for allowing me to teach this topic to my peers.

About the Author


I know what you’re thinking… you’re a teacher, your spare

time consists of grading papers, calling parents, and planning for the next day’s chaos. You don’t have time to learn some new time-consuming “flavor of the week” technology that you may not even be able to squeeze into your overloaded classroom lesson plans. Many of us in our daily lives are overwhelmed by video on television, in theatres, and on the web. We grew up learning from shows like Leave it to Beaver or The Brady Bunch. Today’s generation of students has become even more dependant on video as a medium of learning. As an example, previous generations of Americans have relied on newspapers, magazines, and other printed materials for their news. A recent study showed that almost 95% of Americans today get their news from television broadcasts. One can only look at the explosive popularity of websites like www.YouTube.com (a streaming video website) to demonstrate the importance of delivering content through video.

This is a no magic, no frills book, designed to help even someone as busy as a classroom teacher tap into this new educational tool. You might be asking yourself… What does this mean for me? How can I use video in my classroom to enhance my curriculum? This book is designed to teach you (and through you, your students) how to create digital videos and short digital films. Nearly every teacher at some point has shown a movie or video in their classroom. This book is not about popping a video in a VCR player and pushing play. There are a number of different purposes for creating digital videos for use in a classroom. The purpose, adaptation, and implementation of your projects are limited only by your imagination. Some popular ideas include having students act out scenes in literature, creating video sub-lesson plans, doing school news broadcasts, creating virtual field trips, video poetry, or filming presentations for “Back to School Night” or “Open House”. I’ve seen many great uses of student-and teacher-created videos.

Foreword


How this book is laid out

When producing a video or film of any length, the same three production phases will occur. First is the preproduction phase of the project. During this phase, we do all the brainstorming, script writing, storyboard etc. necessary to be ready for the next two production phases, next comes the production phase. During the production phase, the filming of the project occurs. The last phase of the production process is postproduction. During this final phase, the editing of the video project occurs. This book is broken down into three sections. These three sections reflect these three phases of video/film production.

Throughout this book you will find definitions of terms, tips & tricks, and words of warning; all located in the side columns. This additional information might help you understand some important content.

Tips & Tricks Information in these boxes are ideas and concepts that you might find helpful.

Warning Box Information in these boxes are important things to remember and things to be aware of.

How this book is laid out


Introduction …………………………………… 1 Part I: Getting Started ……………………….... 3 Chapter 1: Story Development ……………...…. 5 Part II: Pre-Production Phase ………………... 11 Chapter 2: Project Planning …………………… 13 Part III: Production Phase …………………… 17 Chapter 3: Gearing Up “Tools of the Trade”….. 19 Chapter 4: Production Basics …………………. 35 Chapter 5: Composition that Works………….... 47 Chapter 6: Light it Right …………………….… 53 Chapter 7: Sound (the other half of video).….… 57 Chapter 8: Advanced Techniques …………….. 61 Part IV: Post-Production Phase ……………… 71 Chapter 9: Editing ……………………………. 73 Chapter 10: The Final Product ………………. 81 Appendix ……………………………………… 86 Glossary ………………………………………. 92

Contents at a Glance


Cartoons at a Glance


Introduction 1

• How could video enhance the curriculum in your classroom? • List of ideas for projects • Types/genres of videos/digital films

Part I: Getting Started 3 Chapter 1: Story Development 5

• Character Development 7 • Loglines & Treatments 9 • Script Writing 10

Part II: Pre-Production Phase 11 Chapter 2: Project Planning 13

• Storyboards 13 • Shot Sheets 14 • Location Planning/Location Scouting 15 • Film Releases & Waivers 16

Part III: Production Phase 17 Chapter 3: Gearing up “tools of the trade” 19

• Selecting a camera 19 o Types of video cameras

• Camera Features 22 • Video Cameras Parts 27 • Microphone Selection 29

o Powered vs. non-powered o Camera mounted o Handheld o Stick o Lavaliere o Shotgun o 360 boundary mics.

• Headphones 31

Table of Contents


• Lighting equipment 32

o Camera mounted o Floor standing o Permanent mounting

Chapter 4: Production Basics 35

• Filming/Production Roles 35 • Basic Camera Movements 41

o Use of tripod o Stabilizing on a solid object o Holding the camera

• Pan 44 • Tilt 44 • Zoom 45 • Dolly 45 • Truck 45 • Boom/Crane 46

Chapter 5: Composition that Works 47

• Framing with “Rule of Thirds” 47 o Close-up shots o Medium shots o Long shots o Moving targets o “Look room” & “lead room”

• 180 Role (Line of Action) 50 • Shot Types 51

Chapter 6: Light it Right 53

• Color Temperature 53 • 3&4 Point Lighting 54 • Chromakey Set Lighting 55 • Lighting Do’s & Don’ts 55 • Backlighting 56

Chapter 7: Sounds Good (the other half of video) 57

• Selecting the right microphone 57 • Working with A.G.C. 58 • Using audio cues and slates 59

Table of Contents


Chapter 8: Advanced Techniques 61

• Camera Settings 61 • Camera Accessories & Add-ons 63 • Chromakeying 64

o Lighting the foreground & background o Limitations & cautions

• Advanced Camera Moves 66 • Simple Special Effects 67

o Light Sweep o Twins o 3D Hologram o Jump Shot o Time Passing o Driving Shot

Part IV: Post-Production Phase 71 Chapter 9: Editing 73

• Some common editing programs 73 • Step 1: Getting it onto your computer 74 • Trouble Shooting Capturing Problems 75 • Step 2: Editing your footage 77 • Editing with audio 77

o Cleaning up audio o Background music o Sound effects

• Using transitions 78 • Text Do’s and Don’ts 78 • Editing with video effects 79 • Graphics & Images 79 • Step 3: Finalize your Movie 80

Chapter 10: Finishing the Video 81

• Creating a DVD 81 • Disc Types 82 • Saving for use on a computer or the web 83 • Back to Tape 85

Table of Contents


Appendix

• Example General Release & Waiver 87 • Example Talent Release & Waiver 88 • Example Minor Release & Waiver 89 • Example Materials Release & Waiver 90 • Example Location Release & Waiver 91

Glossary 92

Table of Contents


1

We only have to take a short trip to the local electronics store to see

that we truly live in a digital age. It seems that almost everything is electronic and digital these days. Everything from our digital plasma flat-screen TVs to our iPod Nanos. Video production equipment has made great strides to keep up with the times. In the mid-1990s the first consumer-level digital video cameras were released. The idea was to produce a digital video camcorder that a person could hook up to their home computer for the purpose of capturing, and later editing, the footage. The problem is that few computers during that time could really handle this process. Times have changed. Most computers these days (and even some high-end laptops) do a great job of editing video from digital video cameras. Prices of video cameras and editing software have dropped drastically over the last several years. An emerging technology today is the use of high-definition video cameras and creating high-definition DVDs. The high-definition picture quality is about twice as good as normal (standard definition). It will allow viewers to see all grandma’s wrinkles (so-to-speak).

One would think that with all these technological advances, the world of video production and filmmaking has changed a lot. This isn’t really the case though. The fundamental concepts and techniques of video and film production really haven’t changed much over the last 20 years. That being said, this book will focus on the basic principles and techniques that can make an average filmmaker great. No matter whether you’re filming a classroom lesson or your first short film, this book is meant to be a learning tool and a great reference resource.

Introduction


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“I love the smell of napalm in the morning. It smells like victory”.

Apocalypse Now, spoken by Robert Duvall


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Part I: Getting Started

Your Idea

Write a Treatment Write a Script

Create a Storyboard

Create a Shotsheet

Scout the Filming Location Hire a Crew

Get the Filming Equipment

Hire Actors

Get the Appropriate Permits

Edit the Movie

Share the Movie

Develop the Story

Film your Movie


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“I'll make him an offer he can't refuse.”

The Godfather, spoken by Al Pacino



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It is important not to directly

tell the audience what the theme of the story is.

They need to be able to figure that out for themselves.

Chapter 1: Developing the story When a person hops in a car and starts off, they generally have an idea about where they want to go. In that respect, the filmmaking process isn’t much different. We need to have an idea and a plan. In short, that’s all that preproduction is. What is usually the most important goal of any film, TV show, or video project? Most people might say that the point is to entertain or to make money. Although these concepts are important, they shouldn’t be the primary goal. The goal should be to evoke a strong emotional response from the audience. Without that, the audience won’t be entertained and your film won’t make money. It is always important to engage the audience. To do this effectively, we must first decide upon the structure and theme of the project. There are generally four types of video projects (or short films): narrative, documentary, experimental, and post-modern. Put another way, these are the

four basic ways to tell the story. Put another way, the film type is how the story is told not what the story is. These film types are not to be confused with film genres, which I’ll explain later. Every film should have a clear theme. The theme simply put is the story’s underlying meaning (sometimes known as the moral of the story). It is the “soul of the story”. This deeper underlying meaning should be unspoken. It should never be directly explained or told to the audience. The viewers should just be able to “get it” by the end of the story. The idea and purpose of your project will generally dictate the genre of your project. The most common genres that viewers normalize are: comedy (make ’em laugh), drama (make ‘em cry), action (make ‘em cheer), informational/documentary (give ‘em info and make ‘em do something), horror (make ‘em scream), and musical (make ‘em want to dance.) Most films and projects incorporate

aspects from more that one genre style, though it is generally best to stick to only one or two. Now that you understand the big story concepts of type, genre, and theme, lets explore some more specific story components. Characters are the “people” or “things” doing the “stuff” in the story. The things that happen in your story are generally a result of your characters doing or not doing something. The actions of your characters drive the plot forward. It is important to get your audience to identify with your characters. Be sure to create active characters that get involved and are interesting. Dialogue is important allowing the audience to get to know the character, but ultimately what a character does is more important than what they say. Beware never to create one-dimensional “stick figure” characters. If the

Chapter 1: Story Development


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Tip: It is important to create characters that are believable. Give your characters some “history”.

Don’t forget these important story concepts: who the story is about (protagonist) what he strives for (goal) what stands in his way (antagonistic force)

audience can’t identify or relate to your characters, the characters will seem shallow and the story won’t engage the audience. The audience needs to care about what’s going to happen to the character next. The plot of a story is simply defined as a series of events that occur in a story. A plot can be broken down into three acts. Act I is known as the set-up. This is where we introduce the main characters and get the audience to start to care about what happens to the characters. In a typical short film, Act I takes-up about 1/6th of the total screen time. Act II takes-up the majority of the screen time, usually about 2/3rds of the total time. This is the portion of the film where the character or characters are dealing with the plot’s twists and turns. When the last big plot point hits the story enters Act III. This is where the last obstacle is dealt with and the story winds down with some type of final resolution. I’ve heard and read several people explaining different theories about how plots should be organized. Ultimately, it really doesn’t matter as long as the story flows well and makes sense to others.

The conflict is the obstacle or obstacles that stand in the way of the protagonist preventing him or her from reaching their goals. In addition to the main plot, many stories also have sub-plots. Usually these sub-plots revolve around interactions between characters. This tension between characters can often help the audience get to know the characters. An important aspect of sub-plots is that they should, in some way, drive the main plot forward or

help resolve the main story conflict. The plot is a series of events that happen to the characters in a story. Films are usually created in a three-act structure.

Three-Act Structure Concept Covered Proportion of Story

Time Act One Beginning/Establishment 1/6 of total story Act Two Middle/Development 2/3 of total story

Act Three End/Resolution 1/6 of total story



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Tip: REMEMBER: The first and primary goal is to engage the audience from start to finish. A filmmaker must strive to evoke a series of emotional responses from the audience throughout the entire story.

Character Development:

Protagonist: The lead character & focus of the plot. Through this person the story flows. This is usually one of the first characters you will see in the film.

Antagonist: The character or thing that stands in the way of the protagonist accomplishing his or her goals. Supporting Characters: Other people in the film that support or motivate the protagonist or antagonist.

The keys to creating characters:

• Your audience needs to identify and care about your characters. • The audience should become attached to the protagonist(s) • Great characters should be original and believable • Short films are often about fast changes in characters. People like to

see characters transform before their eyes after going through some intense life-altering situation (see figure 01).

• What a character does is more important than what he/she says • Create believable and interesting dialogue for every character • Create active characters

Another great storytelling technique is the practice of “foreshadowing”. Foreshadowing gives the audience a glimpse of something important to the plot that will come into play later in the story (usually near the end of the story).

Creativity is an important, often overlooked, concept. Your ideas, projects, and films should always be unique, innovative, and original, in short creative. The problem is, that creativity can’t easily be taught. One tip pertaining to creativity that I can give you is this: Often, creative project ideas take time to develop. Use a notebook to jot down ideas. Do a lot of brainstorming, and not necessarily all at the same

time. Spend some time writing down every idea that comes to you. As an example, you might write down several different possible plot twists for your film short. Over time develop each. Later, pick the one that fits your idea, theme, or character best.



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Character Arc:


Significant Event or Occurrence

Significant Event or Occurrence

Character starts out -good -positive outlook -friendly -moral

Character ends up -bad -negative outlook -evil, anti-social -immoral

Character starts out -bad -negative outlook -evil, anti-social -immoral

Character ends up -good -positive outlook -friendly -moral

Figure 01

Figure 02 Typical Plot/Action Guide

Act I “Setup”

Act II “Obstacles”

Act III “Resolution”

• Get to know and care about the characters • Learn about the setting of the movie

• Characters face the obstacles or challenges in the movie *Remember: The sub-plot will help keep the movie flowing along and will keep viewers from getting board with the main storyline.

• The final conflict is resolved • The characters win or loose

Inciting Incident

Obstacles Conflicts

Interactions

Final Conflict “Climax”

Resolution


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Once you have your ideas down and have a relatively good idea

about how the plot will develop (what will happen in Act I, Act II, and Act III), it is time to write a treatment. A treatment should be short and simple. It should briefly describe what the plot of your project is. It should address the following points: What is the title of the project? What are the most important things that will happen? Who are the main characters (both protagonist and antagonist)? What’s the purpose of doing all of this and writing a treatment? There are two great reasons to write a treatment. Although an idea alone can’t be copy protected, an idea that has been written down (i.e. a treatment) can be. Professional TV/screenplay writers often develop an idea, write a treatment, then send the treatment off to an organization called the Screenplay Writers Guild. This organization will accept the treatment, date/time stamp it and file it. If the issue ever came up where the original author was suing for copyright infringement, this documentation would be vital in the case.

Example:Logline: Action/Adventure: An expedition sets out to create a permanent base on the moon but contact is lost... Treatment: The year is 2032. NASA has sent seven scientists to live on the moon and create a permanent moon base for future exploration. The scientists are attacked by an unknown alien creature. Or so they think... They continue to fight this creature and die one by one. The last living survivor finally discovers that the "alien creature" doesn't actually exist and that a strange unknown chemical discovered on the moon is causing hallucinations. This last scientist dies before he can warn the rescue crew who is already on the way.

Tip: An average Treatment length is one paragraph for every 3-5 pages of script.



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Tip: One page of typed script dialogue is roughly equal to one minute of film time. So, a five-minute video might have a five-page script.

Writing a Script As discussed earlier, it is important to create believable

characters in a story. It is also important to convey information to the audience. This is very difficult without dialogue. So, with dialogue comes scriptwriting. A script is as important with a 30 second commercial as it is with a two-hour feature film. I’ve heard it said that you can make a bad movie from a good script, but you can’t make a good movie from a bad script. A good script comes in many forms but should have a good plot coupled with good dialogue and characters the audience can relate to. When writing a script, one page of typed, formatted script is roughly equal to about one minute of video. Although scripts can ultimately be written in any format, even jotted down on the back of a cocktail napkin, there are industry standard formats. When teaching scriptwriting, I normally stick to the TV three camera format. Though the

different script formats vary only slightly, this particular format is perhaps the most common. All scripts, regardless of the specific format, will contain the same basic elements.

1 FADE IN: EXT. SCHOOL CAMPUS- DAY An unmanned video surveillance camera turns on (red light) and pans to one side. CAMPUS SENTINTAL (O.S.)

Attention students you have 30 seconds to be in your assigned classroom or you will be punished accordingly.

The camera pans to reveal hundreds of students running in a mass, pushing and shoving each other in a panic. CAMPUS SENTINTAL (CONT’D) (O.S.) You now have 10 seconds before punishment is introduced. STUDENT #1 Hey watch it! Student #1 is bumped by another student and she drops her backpack. STUDENT #1 (O.S.) No! Not again! …. (Loud Scream) INT. CLASSROOM- DAY The camera pans from left to right revealing a large classroom with 40 students all sitting at individual desks working silently. They are writing on a single sheet of paper. All the students are looking down at their desk and are completely silent.

Slugline (Scene Heading) New scene heading for every scene

Transition

EXT.=Exterior Scene Location INT.=Interior Scene Location

Location Description in Caps

Time of Day in Caps

4 Inches

3 Inches

1.5 Inches

Page Number

(O.S).=Off Screen (V.O) =Voice Over



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Part II: Preproduction

Part II: Pre-Production


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“Here's looking at you, kid.”

Casablanca, spoken by Humphrey Bogart



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Chapter 2: Project Planning Storyboards Once the script has been written, the preproduction process is well under way. At this point there are a number of preproduction tasks that can be completed simultaneously, if necessary. With the final script in hand, it is now important to begin the process of planning out the shoot. Storyboarding is the process of visually planning the shots by creating a storyboard or visual representation of the events or actions in the story. A good storyboard helps the director and cinematographer (most likely you) visually interpret the script. The storyboard and the shotsheet should tie closely into one another. I’ll discuss shotsheets in the next section. With complex projects, the storyboard can be a valuable tool not only during filming (production) but also during the editing process (post production). As with scripts, the storyboard formats can vary.

Chapter 2: Project Planning


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Shotsheets This is the point in the process where the real logistical planning starts for the filming, which will take place later. The shotsheet is a simple but very important idea, especially with larger, more complex projects. Never underestimate the value of the shotsheet. Whether you’re filming a short or a long project shotsheets are a must. To create a shotsheet, you will simply go through the script, page by page, and list out every single shot you will need to get while filming. Go through the script methodically. For every scene, think about the actions, dialogue, and plot. Think about the location, time of day, and the weather. Using your experience of composition and your own

creative interpretation of the script, decide exactly how you want each scene to be filmed. Use the storyboard as a visual guide. [Remember: It is important to communicate the story visually. You’re not writing a book, you’re making a film.] This list is first created as you read through the script by scene. As an example, you read through Scene One. You find that for Scene One you will need to get seven shots. An establishing shot of this, a tight shot of that, etcetera. You write all of these shots needed down on a piece of paper. After you do this for every scene in your film, you will need to then reorganize the list by location. As an example, at the restaurant location you will be filming scenes one, five, and twenty-seven. For each of these scenes you will also detail what shots you’ll need to get while filming. There are no particular formats for creating a shotsheet. [A good shotsheet will ensure that footage you shoot during production follows the idea or theme you want your project to portray. A little shot planning goes a long way during the filming and editing steps.]

Tip: the shotsheet should be organized by location so that as you move to a new location you already know what shots you’ll need to get at that new location. Tip: The average shot length is 3-5 seconds. Try to avoid long static shots, which can be boring for the audience.



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Location Scouting Once the script is written and the storyboard

created, it is time to start finding locations where you can film that will match the concepts portrayed in your script. If your entire film project takes place in your classroom, location scouting won’t be necessary. Otherwise, location scouting is an important part of the preproduction process. (That is unless you’re award-winning director Robert Rodriguez who filmed the entire feature film Sin City on the green-screen in his garage). Location scouting should focus on the following four concepts.

1. Will the potential location match the ideas or themes as written in the script and portrayed in the storyboard?

2. Can you obtain permission to use this site for filming? When obtaining permission, written permission is best. See the appendix for some example facility use forms.

3. Always think safety first! Are there any hazards you’ll need to contend with at this location? If so, what can you do to mitigate those dangers?

4. What filming related equipment will you need to do a good job shooting at this site? Will you need a dolly? How about special lighting equipment? Is there power available onsite that you can use during filming?

It is important while location scouting, to keep all of this in mind. Take notes and take pictures as necessary to help organize the film shoot at this location.

Tip: Keep the following in mind when location scouting

Do the aesthetics match the mood and content of the scene(s)?

Is the location available for the needed day(s) & times Can you obtain permission to use the area/facility? If so,

will it cost anything? Check availability of:

o Electrical Power o Parking for crew & talent o Restrooms

Overall, what are the day/night lighting conditions? Overall, what are the ambient noise levels?

Chapter 2: Project Planning


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Film Releases

If you’re planning to go commercial with your big project (making money), you’ll need to start acquiring permissions and film releases. You’ll need a film release from every actor/actress even if you didn’t pay them. Some example film releases are provided in the appendix. If you are using city, county, or state properties (including roads) you will need to get permission from those authorities. Usually, to do that you’ll need to obtain insurance first and that can begin to put a big dent in your small budget. The point is, if you are planning to make money on your project you will need to cover all your bases and protect yourself.

Obtaining proper written permissions is the responsibility of the producer of the video. Below are five types of common releases: 1. General Release, which should be used for non-actors. (see appendix A) 2. Talent Release, which should be used with professional actors and models. (see appendix B) 3. Minor Release, which must be signed by a parent or legal guardian of a minor (the legal age varies from state to state). (see appendix C) 4. Materials Release is used for obtaining permission to use photographs, video, film or other media, which may be copyrighted or owned by others. (see appendix D) 5.Location Release when you wish to photograph, videotape or record property, which you do not own. (see appendix E)

Note: I’m not an attorney so the information and documents above should serve as a guide only. Consult an attorney for legal advice regarding acquiring proper releases.



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Part III: Production Phase

Part III: Production


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“Go ahead, make my day.”

Sudden Impact, spoken by Clint Eastwood



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Chapter 3: Gearing Up “Tools of the Trade” If you’ve ever tried to paint a room and ended up with a jagged, uneven mess, you probably know that a good paintbrush is as important as good techniques. Like a great painter demanding good brushes, you need good equipment to produce great films. Fortunate for us, the prices for quality video equipment have dropped over the last few years. Today’s consumer and prosumer level video cameras will do a great job for a reasonable price. Before you head off to the local electronics store, there are some things you should consider. Read on. The video camera is the videographer’s primary tool. With video cameras (as with other types of video equipment) there are three levels of quality (and price). The top-of-the-line video cameras are called “professional”. Professional level cameras have all the bells and whistles. Hide your wallet though because these cameras aren’t cheap. The middle market cameras are called “prosumer”. The prosumer level cameras are usually much cheaper than professional grade cameras. They do usually have a lot of useful options. If you can afford a prosumer level video camera, they will work well for you. The options and features that prosumer cameras come with are not usually available in the lower market models. You will pay more for the prosumer models but the cost is often worth it if you plan on doing a lot of filming. Now you can get your wallet back out because we’re about to learn about cameras that you can afford. Consumer level video cameras are generally the cheapest, smallest, and most widely available. The consumer level models are the cheapest but their prices, options, and features will vary greatly. A trip to the local electronics superstore will likely reveal a dozen or more different models. Although virtually all models sold today are called DV (digital video) cameras, there are several video camera technologies on the market. Some of the cameras might indicate they have one “CCD”, others might indicate they have three. The CCD (charged coupled device) is like the camera’s version of the retina we have in our eyes. Light is focused through the camera’s glass lens onto the CCD. The CCD then converts this light into an electronic signal. This electronic signal can then be recorded in the camera. Cameras that have three CCDs have a much better color quality than those with only one. In cameras with three CCDs , one CCD chip is dedicated to each of the three color ranges we see digitally (red, green, and blue). Every image and color we see on a computer monitor or from a TV

Camera Type Cost Options Professional $$$ Lots Prosumer $$ Some Consumer $ Few

Chapter 3: Gearing Up


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A typical video camera CCD

screen is a combination of those three colors. With one CCD cameras, the one CCD chip converts all three colors by itself. Remember, like chocolate chip cookies, three is better than one. Another major factor to take into consideration when selecting a video camera is its recording format (what it records on). There are a number of camera technologies on the market today. Each technology has its benefits and drawbacks. One of the most popular formats today is called “Mini-DV”. Mini-DV cameras record the electronic signal onto small cassette tapes that use a wound magnetic film as a recording medium. These tapes usually have a recording capacity of 60 minutes. There are several benefits of Mini-DV cameras. The tapes are relatively cheap and can be changed as often as necessary to assure that the “show goes on”. Another advantage of the Mini-DV technology is that these cameras tend to be the easiest to connect to a computer and capture from before editing. One drawback though is that with the camera opening, necessary when inserting or removing tapes, the internal components can be easily damaged or dirtied.

You see a camera that records video directly to a DVD that can then be popped directly into a DVD player. What could be easier, right? Not exactly. There are some significant drawbacks with using mini-DVD recording cameras. With these cameras it is sometimes difficult or impossible to capture the video directly to the computer, which is necessary to be able to edit it. Most lower-end video editing programs won’t capture video directly from a DVD. Unlike mini-DV cameras which use a high-speed connection called “Firewire” to connect to a computer, these mini-DVD cameras often aren’t designed to connect directly to a computer. DVD recording cameras are often bigger and more expensive than other camera types. The recording quality is often less than Mini-DV and other types. Another significant drawback to this camera type comes when you head over to the local electronics store to buy more blank media. The Mini-DVD’s are often more

Recording Medium Space Recording Quality Overall Mini-DVDR (disc) 60-120 minutes Fair Mini-DV (tape) 60 minutes Good Hi-8 (tape) 60 minutes Fair Hard-Drive Recorder 20-80 hours Fair



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difficult to find and cost more than Mini-DV cassettes. Mini-DVD recording cameras might not be your best buy.

A newer technology with consumer video cameras is hard-drive recording. These camcorders don’t use cassette tapes or DVD’s to record the video. These cameras have a built-in hard drive. The camera simultaneously converts the signal into a compressed format and records it internally. These cameras were designed with home editing in mind. To get the footage off of the camera it is necessary to connect it to a computer and basically download it onto the computer. This process is often similar to the process of hooking up a digital still camera to a computer to get the still pictures off of it. This video camera type has some advantages. The camera models I’ve seen advertised recently had recording capacities of 20 or 40 hours. Considering that a Mini-DV cassette tape holds, at most, 60 minutes of video footage, this capacity is a big advantage. It’s sort of like using a Tivo to record your favorite shows. With hard drive integrated video cameras the footage is completely digital and can be erased and the space reused. In the long run, a lot of money could be saved by not needing to purchase more tapes or other recording medium. With all these advantages, there are two problems with this camera technology. As with DVD-based models, the video quality is inferior to the Mini-DV and Digital-8 formats. Another issue that makes these cameras somewhat unsuitable to me in the classroom relates back to how the footage is stored. Unlike other recording mediums, the footage must be downloaded to a computer and erased from the camera to free up space to record more.With numerous students sharing equipment, a risk exists of a student recording over another student’s previously filmed footage. Another disadvantage I’ve heard from other people is that sometimes these cameras are difficult to connect to the computer. Another concern is that some of these cameras record in video formats incompatible with some video editing applications and extra steps are necessary to convert the footage prior to editing. Other Video Camera Types Though I’ve already reviewed the most common video camera types, there are other types of video equipment capable of recording video. It seems that you can’t buy a cell phone or PDA these days that doesn’t have a built-in digital camera for taking those spur-of-the-moment pictures. Most of these devices are capable of recording short video segments at low resolutions. Another type of popular low-resolution video camera is the “web-cam”. Usually used for video conferencing or videophone calls, these cameras are both ultra-cheap and readily available. They can have higher resolutions than a camera phone or PDA, but are still much lower in quality than a video camera. I’ve heard it said that creativity is the cornerstone of innovation.



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These low-resolution video cameras might be useful if used creatively, but good luck there. Camera Features Looking at all those bullet-pointed features lists when shopping for a new camcorder can be a little like trying to decipher ancient Egyptian hieroglyphs. The following is a list of some common camcorder features along with some guidance from me about the importance of each.

Microphone Jack Importance:

An external mic. Jack is used for connecting external microphones of various types. It is usually colored Red or Pink.

Very important (Good sound is important. Without this feature you’re stuck with relying on the built-in camera microphone.)

Headphone Jack Importance:

A jack for plugging in a set of headphones

Very important (Without a headphone jack you can’t monitor the quality of your audio while filming.)

Firewire Jack Importance:

(also known as iEE1393 or DV port)- This is used, along with a Firewire cable, to connect the camcorder to the computer

Very important (When connecting a camcorder to the computer you have two basic options: Firewire and USB. Firewire is faster and more reliable)



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CCD (charged coupled device) Importance:

You basically have two options. One or three CCDs

Somewhat important (As reviewed earlier a three CCD camcorder has better picture quality.)

Image Resolution Importance:

Equates to picture quality

Somewhat important (Whether the resolution is listed in lines or pixels, the more the better.)

Optical Zoom Importance:

This is the mechanical (physical) zoom capability of the camera. Ignore digital zoom information. Using digital zoom at all is not recommended because of pixelization or poor video quality

Somewhat important (Most cameras today have a decent zoom capability. Like resolution, the more the better)

Recording

Format/Medium Importance:

This explains how the video is actually recorded and saved (i.e. Mini-DV, Mini-DVD, Hard Drive Recorder, etc.)

Very Important (As discussed earlier, there are a number of choices, each with advantages and disadvantages buyers should be aware of)



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Progressive (also known as non-interlaced) vs.

Interlaced technology

Importance:

This addresses how the camera records and plays images on screen. Progressive scan means that with every pass of screen refresh every line of resolution is re-drawn on screen

Somewhat important (Progressive scan is better than Interlaced. With Interlaced video freeze-framing or taking still images from the video can result in “Jaggies” or a jagged appearance along lines.)

Manual Controls Importance:

This means you can manually adjust some of the camera settings (i.e. iris control, shutter speed, or manual focus)

Somewhat important (All cameras have automatic controls. Some higher-end cameras also offer manual controls. As you become a more advanced cameraperson/videographer, you will likely want to have manual control of these camera settings while filming.)

On Camera Light Importance:

this is a small light built into the body of the camera or attached to the camera

Not important (This feature isn’t very important because even the best on-camera lights are inadequate for lighting video in most circumstances.)



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Night Vision (also known as “Night Shot

Plus”) Importance:

This means that the camera has the ability to drastically adjust light gain levels. This is used for filming in low light conditions

Not important (Most people would rarely use this feature. Using the feature gives the video a low quality, “grainy” look and is often tinted in green, gray, or blue)

Still Camera/Still Image Capability Importance:

This feature gives the camera the ability to change into a still camera mode to take still images. The images are often recorded onto a separate image card

Not important (Most people would rarely use this feature. It seems to work ok on the models I’ve used, but the image quality is generally less than what you would find with the typical digital still camera.)

Battery Type/Duration Importance:

This lists the type of battery used and how long it will last while filming

Not important (Not that it isn’t important, but the majority of cameras on the market today have batteries that will last a decent amount of time before needing to be recharged.)



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Accessories “Shoe

Mount” Importance:

This is a standardized type of connection on top of the camera. It is designed for mounting lights, microphones, etc.

Important (As you begin to accessorize or add devices to your camera, you’ll want to use this feature.)

Bluetooth Connectivity Importance:

This is the newest of video camera features. This wireless technology is in all kinds of devices today

Not important (Bluetooth technology is used with camcorders for two purposes: To connect wireless microphones to the camera and to connect the camera to the computer. Bluetooth is not very reliable for either purpose.)



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Parts of a Camera

Main Components of any Video Camera Body- main part of the camera Lens- the part that focuses the light onto the CCD Battery- powers the camera Ports & Jacks- to hook up headphones, external microphones, Firewire cables etc. Internal Viewfinder- to see what you’re filming LCD Viewfinder- to see what you’re filming Tripod Mount- the tripod connector plate mounts here holding the camera to the tripod



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Parts of a Camera

Main Components of any Video Camera Body- main part of the camera Lens- the part that focuses the light onto the CCD Battery- powers the camera Ports & Jacks- to hook up headphones, external microphones, Firewire cables etc. Internal Viewfinder- to see what you’re filming LCD Viewfinder- to see what you’re filming Tripod Mount- the tripod connector plate mounts here holding the camera to the tripod



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Selecting the Right Microphone When it comes down to shooting video it is very important not to overlook the audio. All consumer level camcorders have internal microphones. In most cases, the camera’s built-in microphone is not adequate. These internal microphones have many limitations. That being the case, try to use external microphones whenever possible. There are two categories of microphones: wired and wireless. As you might have guessed, wired microphones have a cord that connects them to the camera. Although the sound quality tends to be better with wired mics, the distance between the target and the microphone is often limited by the mic cable. There are two classes of wired microphones: powered and non-powered. Microphones generally take some power to actually operate. Non-powered microphones derive their power from the camera itself. Usually powered microphones have a much better audio pick-up quality. Powered microphones usually derive their power from an external (off camera) source. This is also known as “phantom powering”. The voltages powering the microphones vary from 12 to 48 volts. Some of the phantom powering devices are powered from batteries. Others are powered by plugging them into a 110v wall outlet. The bottom line is that powered wired microphones tend to have a much better sound quality than other types of microphones. Microphones are usually labeled or classified by the “pick-up pattern”. This is the field of direction in which they pick up sound. The following illustration explains the four basic classifications.

Tip to get good audio: Get the microphone as CLOSE as possible to your talent. Usually this should be within three feet.

Cardioid Pattern

Hyper-CardioidPattern

Directional Pattern

Omni-DirectionalPattern



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The list below shows the most common types of microphones:

Microphone Style Type Common Pattern

Camera Mounted

mic. or

Integrated mic.

Handheld (stick mic.)

Lavalier (lapel mic.)

Shotgun mic.

360 Boundary

mic.

*For more information about microphones skip ahead to Chapter 7



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Headphones

As discussed previously, audio is very important. How can we make sure that our audio is good while we are recording? We monitor the audio with headphones, that’s how. We don’t have to go out and buy an expensive pair of headphones to do the job. Remember this though when selecting a pair of headphones: the more the headphone that covers your ear, the less background noise you’ll hear. We want to be sure to focus our attention on the sound that is actually feeding through the camera and not the background noise.

Tip: A good set of noise-canceling headphones would be a great investment for anyone who will be filming in noisy environments.

Circumaural Headphones: These headphones completely cover the ear. They are good at reducing ambient noise while filming and editing. After all, we want to hear the audio being recorded and not the rest of the noise in the background. These are your best bet for video work.

Earbuds & Supra-aural Headphones (on the ear):

Both of these types are normally cheaply made, have poor audio response characteristics and do a poor job of limiting ambient noise. It would be difficult for the average person to distinguish between the audio being recorded and the background noises.



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And Let there be Light... Earlier I explained that buying a camera with a built-in light isn’t terribly important because the on-camera lights don’t work that well anyway. Lighting though is important (see Light It Right Chapter 6). When purchasing lighting equipment, you will find a wide range of types, styles, and prices. It’s good to remember that it does not take expensive lighting gear to light a set well. In many cases, an ordinary lamp or shop light (or two, or three) will do the trick. Every set though, has different lighting needs. The following list would be a good start for your own lighting equipment toolkit. Building a Lighting “Toolbox” Lights: you’ll learn later (in chapter 6) that mixing light types isn’t the best idea. For your toolbox though, get whatever and as much as your budget allows. I’ve found that halogen shop lights are relatively cheap and do a pretty good job of flood lighting. Lots of styles and types of lights will work well. Anything dimmable is a great idea.

Theatrical Style Floodlight

Camera-MountedSpot Light

Theatrical Style Mounted

Floodlight

Camera-MountedLight with

“Barn Doors”

“Soft Box” Diffused Light

Garage Type Halogen

Flood Light Dimmable Fluorescent

Light Bank



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Skrim (translucent film): a skrim is a semi-transparent plastic film used to cover a light source. A skrim can change the color or tone of the light. They can be white (to diffuse strong light) or colored to add “mood” or special effects. It is important to buy materials used specifically for this purpose. Materials not intended for lighting can melt or worse catch fire. I’m guessing you’d prefer not to have your set burn down. Reflectors: You can purchase professional lighting reflectors for a decent price (I recently purchased one on Ebay for $10). These reflectors are usually made of materials allowing them to pop-open quickly. They usually have two sides of different colors or materials. They could be metallic silver or gold or made of a solid white color. Either way, they serve the same purpose: to bounce light onto a person or background. There are low-cost alternatives also. White foam-core poster board does a pretty good job and is cheap. Another idea is to take a piece of cardboard 2’X2’ or larger and cover it with crumpled aluminum foil. The other little stuff: Your lighting toolbox wouldn’t be complete without extension cords, duct tape, clamps, extra light bulbs, etc.

Be sure to use a skrim material that was designed for this purpose. Other materials may catch fire! As Always

Think Safety! As Always Think Safety!



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“I have nipples, Greg, would you milk me?”

Meet the Parents, spoken by Robert de Niro



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Chapter 4: Production Basics

At this point in the project you will have done a great deal of work. You would have written a script, created a shotsheet, drawn a storyboard, scouted locales to film in, and gathered your equipment and crew. Your next step would be to start filming your project. Just a second though before you run off, with camera in hand, ready to change the world with your masterpiece. Let’s examine some basics you’ll need to keep in mind while filming. In this section we’ll review the basic production roles, basic camera movements, how to “frame the shots”, how to light the scenes, and how to get good audio while filming. I’ll end the section explaining some advanced camera techniques and effects including “green screen” shots. Have you ever found yourself reading the credits at the end of a movie and wondered what all those jobs actually are? Most people don’t realize just how many people are involved in TV and film projects. The list below are descriptions for just some of the common job titles you’ll see flying by at the end of the movie while you’re waiting for everyone else to clear out of the theatre. If you’re not interested in knowing about film roles skip ahead to page 41.

Much of the material included in this section has been adapted from Ephraim Katz's The Film Encyclopedia and Baseline's Encyclopedia of Film.

Producer: The producer of a film or TV show is responsible for overseeing the entire project. He or she acquires and control funding for everything. They hire the director and other key personnel. They can be referred to as the “business managers”.

Associate Producer: The much-maligned title of associate producer can mean many things. These individuals often help the producer with numerous post-production activities including lab work, dubbing, and special effects. Occasionally, this title is granted to friends, relatives, and business partners of the powers-that-be.

Casting: Casting directors are not responsible for determining what the final cast list will actually look like. What they are responsible for is determining who will have the opportunity to audition for the producer and director of the film. A good casting director can make or break a film.



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Director: The director is responsible for the entire creative end of the film. Ultimately, the success or failure of the film rests with the director. Can you say, "big job"? The director determines the eventual look of the film, or at least they try to. Sometimes, creative control is removed from the director; when this happens directors have been known to have their name removed form the credits and to have the name Alyn Smithee substituted as director.

First Assistant Director: Think of the first assistant director as the film's general contractor. It is the first assistant director's job to turn the directors dreams into concrete reality. They are the people who make sure that every thing and every one is in the appropriate place at the appropriate time. These people wield tremendous power - they get to yell "Lunch!" It is also the AD's voice that appeals for "Quiet on the set!" and orders the camera operator to "Roll." Prior to the start of production, the AD is often assigned to break down the script for a shooting schedule (the shooting schedule is exactly what it sounds like - a calendar that lists what scenes will be shot in which order and on which days). This particular job often serves as a gateway to other positions, most notably that of director or producer.

Second Assistant Director: The second assistant director is the person who makes certain that the first assistant director's orders are carried out. They are frequently in charge of filming "we-the-people scenes" (scenes that feature casts of thousands where the primary actors are not seen). They are often assigned to film battle sequences and stunt sequences where extras are utilized. This particular job can also serve as a gateway to other positions, such as that of director or producer.

Script Supervisor: This is the person who is in charge of what is known as "continuity" in the industry. Continuity refers to the job of making certain that a movie that is actually shot out of sequence (most films are) eventually makes sense. Script supervisors make certain that actors say the same lines and wear the same clothing during each "take" of the scene. If the script supervisor does not do their job, the film is liable to have a bruise on one arm in the first scene and the other arm in the next. Script supervisors often carry Polaroid cameras so that they can consult pictures of the scene to make certain that everything matches up. This is an extremely important job. You can bet that if Harrison Ford has a hat on one minute and it is gone the next only to reappear without warning the moment the camera changes angles there will be a film critic out there only too happy to point it out.



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Camera Operator: The camera operator is the person who is responsible for carrying out the cinematographers directions. They are the ones who actually aim the camera. This can take several forms ranging from tilts (moving the camera up and down), pans (moves right and left), and zooms (moves in closer or further away from the subject). It is their job to make certain that everything and everyone remains within the frame and in focus.

Cinematographer: The cinematographer or director of photography is just what the name implies. The cinematographer defines the photographic style or look of the film. The cinematographer is responsible for transforming the screenwriter's and director's concepts into real visual images. The cinematographer is second only to the director when it comes to creating the mood, atmosphere, and visual style of the film. This entails doing everything from measuring the light to lining up the shot. Lining up the shot is more involved than it sounds; it requires determining which lens and filter to use, the way to point the camera and how to mount the camera. In short everything from ascertaining the best camera angles, setup, and movement to determining the exposure, and lighting necessary to achieve the desired effect.

Gaffer: The gaffer is the head electrician. This means that they are in charge of all the lighting personnel. How they got this name, I have absolutely no clue - but rumor has it that the name gaffer predates the sound era in a time when electricity was used to a lesser degree than today. The early stages had canvas roofs that were opened and closed to emit varying degrees of light. This canvas was moved with large gaffing hooks which had been traditionally used to land large fish. I won't swear that this is the actual reason we call them gaffers, but it is the only explanation I have heard that sounds reasonable.

Best Boy: The best boy is the gaffer's assistant.

Key Grip: The key grip is the person in charge of all the people who move anything. This means that they are the boss of all the individuals who move scenery, cameras (these things often weigh a ton), and set up and take down the scaffolding that the lights, microphones etc. are hung on. In live theater, these folks are called stage hands, and in film they are called key grips. The way to remember this is to remind yourself that you can't move it if you can't get a grip on it.



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Production Designer: This is the individual who is responsible for the "look" of the film. The production designer is responsible for the appearance of all of the movie's sets, locations and costumes. If it isn't an actor, the production designer was responsible for its selection. Production designers generally have a background in scenic design and or architecture. These individuals make a significant contribution to the "feel" of a movie.

Art Director: The art director is generally the production designer's assistant. They work with sets and locations.

Set Designer: The set designer translates the production designer's ideas and sketches into blueprints for the construction crew.

Set Decorator: The set decorator works with the production designer to select all of the decorations that will be used in a scene. This includes everything from furniture to carpeting to the drapes on the windows. These individuals are often the recipients of fan mail - the kind that asks where can I get a painting, a clock, a flower vase, etc. like the one that was featured in a film.

Property Master: The property master is in charge of procuring and preparing any object that an actor comes in physical contact with during a film. The prop department handles everything from food on a plate to weapons. If an actor touches it, it is a prop. If, for example, an actor throws a flower vase at a wall it is a prop. If it sits on the table and is never moved, it's set decoration. The prop department also handles promotional items and their placement in the film. Promotional items can run the gamut from candy and gum to which beverage an actor consumes in a film.

Special Effects: Special effects is the art of illusion that makes the dangerous, magical, expensive, or physically impossible seem perfectly believable. Special effects tend to fall into several broad catergories: optical, physical, animated, and computerized. In laypersons terms, the special effects department is responsible for anything that explodes, smokes, breaks away or bleeds on the set. If an actor has to bleed on screen it is the responsibility of the spfx department. If the blood doesn't have to burst out, then it is the makeup person's job. In short the special effects department is responsible for what has appropriately been referred to as movie magic. It's a great job if you can get it.



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Production Assistant: The production assistant, or PA, is an entry level position. This position is the moral equivalent of serfdom, as these individuals often work for little or no money in the hopes of eventually advancing up the ladder. PAs are generally assigned every lousy task that comes along. So why do they do this? On the premise that their perseverance will eventually pay off in the form of a better job. Don't laugh -- today's PA may be tomorrow's movie mogul (they could also be the son or daughter of the producer, director or big name star).

Sound Mixer: The sound mixer records the dialogue and ambient noise of a scene. The sound mixer is in charge of all the microphones used on the set, everything form the wireless body mikes the actors wear to the big boom mikes that constantly hover over the scene. It is the sound mixer's job to make things sound like they look. For example, if actors are whispering the dialogue should be quieter than when they are shouting, and if actors are being filmed in the distance the sound should also reflect this. How important is this? If you have ever watched a film only to have the dialogue obscured by overly loud background noise or music you know how important this is.

Music Editor: The music editor's job begins in post-production. It is the music editor's job to insert the composer's prerecorded score into the sound track. This can be more complicated than it sounds, since the composer may have recorded the score before the sequence was even filmed, and as such the music may or may not be the right length for the scene.

Makeup Artist: These wizards of grease paint do the actors' makeup. In rare instances, The Academy has chosen to recognize them with an Academy Award for outstanding accomplishments in this area. The award was instituted in 1981and was first given to Rick Baker for "An American Werewolf In London"

Hair Stylist: Amazingly enough, the hair stylist does the actors' hair. Don't laugh, it can be a challenge to make a guy with a buzz cut look like he has a Mohawk.

Costume Designer: The costume designer is responsible for the appearance of the actors' wardrobes. The frequently design and sketch out the costumes for the actors in a film. The Academy Awards for Costume Design was first instituted in 1948 and was won by Roger K. Furse for "Hamlet". One the most recognized costume designers was Edith Head



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who died in 1981. Head received 35 Academy Award nominations, and was an eight-time Oscar winner.

Costumer: The costumer carries out the costume designer's directions. This can mean anything from purchasing or renting costumes for the actors to making certain that these garments have been altered for the actors.

Assistant to the director or to an actor: These individuals are the director's or actor's right hand man (I should say person since many women serve as assistants). These are the people who make certain that the director's or star's lives do not fall apart during the making of the movie. They do everything from making the director's or performer's schedule to running their errands (yes, they have laundry and bills to pay, too). These individuals perform personal and administrative duties for the director or actor. The power of this position varies greatly. One assistant may be nothing more than a glorified baby-sitter while another may be the power behind the throne. For a better understanding of what this entails read the irreverent book Wannabe.

“Billing” is a term relating to the way film/TV credits information is listed in advertising materials and/or in the film or TV itself. Opening title credits are at the beginning (before the show starts) and closing title credits are at the end (after the show). Information given in billing usually consists of the actors appearing in the movie, the director for the project, producer(s) for the project, and the company producing the film or TV show. The order in which credits are billed generally indicate the importance of the individuals to the project. For example, the first is usually the motion picture company, followed by the producer. Next, is usually the director, then followed by the major starring actors, the title of the movie and the rest of the principal cast. The order of credits for the actors and actresses often depend upon their popularity in the industry. Other positions though, like script writers for example, depend upon how much time or work he/she did on the project. The various unions in the industry strickly regulate how the billing information should be listed.



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Basic Camera Movements Before I discuss “flingin’ the camera around,” I should step back and explain how important it is to stabilize the camera during filming. Simply put, stabilizing the camera is very important. Seriously though, the number one thing that sets a home video apart from a professional shot is the stability of the camera. There’s nothing worse than watching a poorly shot video that moves and shakes so much that it makes people motion sick when they watch it. I highly suggest the use of a tripod or some other stabilization method on most, if not all, of your shots. There are a number of ways to assure a good, steady, shot. These include: Tripods: These have three legs and a head on which the camera mounts. This platform is generally very steady and allows for a good range of camera movement. Tripods can range in price from $30 to $300 or beyond. As the old adage goes: you get what you pay for. My suggestion is to get a mid-market tripod that is metal or fiberglass and has a fluid head. A fluid head allows for smooth, adjustable camera movement.

Head

Legs Pan Handle

Quick-Release Plate

Quick-Release Lever



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Stabilizing the camera on a solid object: This involves setting the camera on a solid, non-moving object. An example might be a park bench or a table. It is important to place the camera in a way such that it will not fall off and break. The disadvantage of this method is that it does not allow for a free range of camera movement. Another problem is that the object you’re stabilizing the camera on might not be at the height you’d like. Holding the Camera: When tripods or other fixed stabilization methods are not available, you will likely be forced to hold the camera while shooting. If you must hold the camera while filming, the following are several tips to help get decent shots. 1. Always use two hands to hold the camera [shops pics] 2. Move slowly with the camera: rotate your whole upper-body with the camera. Never just twist your wrist. 3. If possible, stabilize yourself first: The more stable you are as a shooting platform the better. Lean up against a tree or another non-moving object to help steady yourself. 4. Keep the camera in a comfortable position for you: avoid getting fatigued (and shaking the camera) by keeping the camera in a comfortable position. This position will differ depending upon your body type and the style of the camera. It is usually best to keep the camera below heart level. Holding the camera above this point causes greater fatigue on your muscles. For smaller, consumer level cameras, I suggest keeping the camera at chest level. Be careful not to rest the camera against your chest though because breathing could result in unwanted camera shake due to the movement of your diaphragm while breathing.

Camera resting on a stable object Camera resting on a stable object



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Standing with the camera: Basic Camera Movements While filming, you may wish to move the camera. The following diagrams show some basic camera movements. A word of warning though, as Frank Lloyd Wright said “less is more”. Use camera movements sparingly and with purpose. It is usually better to get several “static shots” (shots where the camera isn’t moving) than to film a shot where the camera is moving all over.

Keep legs shoulder width apart and slightly bent

Use two hands to stabilize the camera

Tip: Handheld shots are best reserved for POV (point of view) shots. A handheld shot combined with an up or down angle shot can be very effective at making the viewers feel as though they were looking through “someone’s eyes.”



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Pan - While filming, the cameraperson physically turns the camera from left

to right or right to left. The camera stays fixed to the tripod and doesn’t get closer to or farther away from the ground. The shot is taken moving on a horizontal plane (from left to right, or right to left). Practice a Mounted Camera Pan:

With the camera mounting on a tripod, move the camera horizontally from left to right. The camera shouldn’t tilt at all. Pan shots are used to show the viewer more of the location or scenery. This technique is also often used to show views from high places, such as overlooks. Pan shots should begin with a still shot, then pan, then finish with a still shot. You should practice panning at various speeds before you start filming until you find the speed that works best for you.

Tilt - While filming, the cameraperson physically moves the front of the

camera up and down (pointing up or pointing down). The camera pivots on the tripod and doesn’t get closer to or farther away from the ground. The camera moves on a vertical plane. (up or down) If you want to show a tall object but you can't get it all in your shot, you might start at the bottom of the object and tilt revealing the rest.

Practice a Mounted Camera Tilt:

Doing A tilt movement with a camera mounted on a tripod is simple. You move the camera up or down, without lowering or raising the position of the camera in relation to the ground. This movement is done vertically. This video camera technique is used to follow the subject that you are photographing, or to show the viewer a large object from top of bottom (or from bottom to top). The use of a tilt shot can make objects look bigger, smaller, thinner or thicker depending on where the camera is in relation to the top or bottom of the object. With this technique you should begin with a still shot, do the tilt movement, and then stop on a still shot. Again, practice this technique at various speeds before recording until you find what works for you.

Pan

Tilt



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Zoom - While filming, your cameraperson manipulates the wide angle/ tight angle button on the camera. The camera focuses closer to or farther away from the target. The camera stays fixed to the tripod and doesn’t get physically closer to or farther away from the target. This shot merely moves the camera’s view aspect. As an example, you might start off with a wide shot showing a whole crowd of people then zoom in to focus the audiences attention on one individual person.

Reverse Zoom - This shot starts out tight and moves out wide into a Medium Shot or a Wide Shot. You might start off with a close up shot of an insect, then reverse-zoom to reveal the entire jungle the insect is in.

Practice Camera Lens Zoom: All video cameras have zoom function. With it you can get many

different effects. Zooms work well when combined with other video camera movement techniques. You should practice zooming at different speeds. Most cameras have a zoom control button that will allow you to zoom slowly or very fast. It does take practice to get used to controlling the zoom feature appropriately though. With this zoom function on a camera you can create lots of effects and illusions. For example, you can manipulate the focal length of the camera to control the clarity (focus) of the background behind a person. It is highly recommended that you use a tripod when zooming as any camera shake or movements will be magnified.

Truck- While filming, your cameraperson physically moves alongside your

target. The camera moves with the target and at the same speed. The target doesn’t get any closer or farther away from the camera while moving. As an example, you might move the camera alongside a person as they are walking down a street.

Dolly- While filming, the cameraperson physically moves the camera closer to or farther away from the target.

Practice a Camera Dolly or Truck Movement:

A Truck or Dolly movement is very simple but does require the use of equipment beyond the camera and tripod. The objective is to have the camera mounted on a device capable of allowing the mounted camera to roll some distance. You can make your own dolly with a wheelchair, an office chair, a skateboard, a rolling cart, or just about anything with wheels that can give you a steady filming platform. This video camera movement technique is used in two ways. To bring the camera closer to or farther away from the subject or to follow your subject as they move. The use of a



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dolly opens up many possibilities, especially when used in conjunction with other techniques. If you are filming with audio you will need to choose a platform that is relatively quiet when rolling. Practice using this technique before you start filming with it. Make sure you can freely move from point A to point B without problems prior to filming.

Boom/Crane- While filming, your cameraperson physically raises or lowers

the camera so that the camera is moved closer to or farther away from the ground. An example might be to move your camera high into the air above a crowd of people.

Practice a Mounted Camera Boom, Crane, or Pedestal:

Doing a Boom, Crane, or Pedestal can be simple or very complicated. Unlike the tilt, you physically move the camera in relation to the ground to get the shot you need. Often this technique is used to get “eye-to-eye” with your subject. The key to this movement is to complete it smoothly. Doing a Boom or Pedestal handheld takes some practice. Make sure the camera doesn’t jerk or shake. To get a crane or high boom shot you might need a special piece of equipment to get the shot you want. These techniques are often combined with up or down angle shots to get believable point-of-view shots.

Tip: Have a plan if you are using a moving shot (pan, tilt, zoom, etc..) in your scene. Use moving shots only if you have to. Most (if not all) of your shots should be with the camera stabilized. Remember a tripod is the best way to get steady shots.

Camera mounted on a Crane Camera mounted on a Crane



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Chapter 5: Composition that Works Teaching people to compose shots well is probably the most difficult thing to teach someone. Unlike most of the concepts I’ve reviewed so far, it really takes a good eye. It is often difficult for most people to take a three-dimensional image with foreground and background elements and lay it out on a two-dimensional plane that looks “pleasing to the eye”. Although I can’t exactly teach creativity, I will give you some basic techniques that should make your shots look much better. The first technique is called the “Rule of Thirds”. When filming and looking through the camera’s view finder, think of a tic-tac-toe grid drawn on the screen. Or, if you wish, use a marker to actually draw a tic-tac-toe grid on the camcorders LCD viewfinder. This grid will help you start to align key elements on screen. When composing shots using this technique, keep the following points in mind: 1. For close and medium shots keep the subject’s eyes at or above the top third line. 2. Keep the person’s or “target’s” eyes affixed at one of the top intersections. This will cause your target to be cantered off to one side of the screen. This technique is effective for close or medium shots only. 3. Leave “look room” or “lead room”. This means that there should be more room in front of the target than behind them when framed as a side profile. If you don’t leave look room, your target will appear to crowd the screen and it does not look good. Also, leaving lead room for a moving target will help you keep that target in frame. 4. While filming, avoid looking directly at the person or target with your naked eye. Instead, focus on what the shot looks like on camera using the camera’s viewfinder. Pay attention to objects that don’t look natural on camera or background elements that seem oddly aligned. An example might be a telephone pole located behind your target. When you look up and observe the scene with your naked eye the shot might look fine. With the depth perception we observe with normally, our brains can separate the target from the background elements (in this case the telephone pole). It might look

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perfectly natural to us. Always ask yourself, How does this look on camera? Once the image is displayed in two dimensions, the telephone pole might appear to be growing out of the target’s head. 5. When filming people in close or tight shots, it is ok to cut off their forehead (if you absolutely have to) but never cut off their chin. If a person’s chin is wagging in and out of the scene while they are talking it can be very distracting and it does not look good.

This picture demonstrates good composition for a medium shot. The subject’s eyes are on the top line and the subject is cantered off to one side of the screen.

This picture demonstrates good composition for a medium shot with a moving target. The subject’s eyes are generally on the top line and the subjects are cantered off to one side of the screen with plenty of lead room.

This picture demonstrates good composition for a medium-tight shot. The subject’s eyes are on the top line and the subject is cantered off to one side of the screen with look room in front of the subject. This picture demonstrates good composition for a tight shot. The subject’s eyes are on the top line and the subject is cantered off to one side of the screen. The subject’s forehead can be cut off (if necessary) but not their chin.This picture demonstrates good composition for a long or wide shot. The subject’s eyes are on the top line and the subject is cantered off to one side of the screen. With wide/long shots it is not always necessary to have the subjects eyes on the top line of the grid.



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Here are a few more basic things to keep in mind when framing your shots:

Make sure the clothing your talent (actors, actresses, etc.) is wearing is suitable for filming. Avoid having the subjects wear bright “neon” colors, especially bright red, blue, or green. These colors tend to “bleed” on screen. Also, avoid having them wear clothing with defined contrasting stripes or parallel lines. When viewed on a TV, these lines may appear wavy. Make sure your talent’s clothing contrasts (even if just a little) with the background. It usually looks best to be able to visually separate the target from the background.

It is usually good to get an establishing shot when changing locations from scene to scene. An establishing shot is a brief shot that helps the viewer understand where the following scene is taking place. It gives the viewer context so he or she doesn’t feel lost. An establishing shot is usually a wide shot showing the exterior of the building where the scene takes place or it’s just a wide shot of the interior or exterior landscape. An example might be showing the outside of a house guiding the viewer’s attention to one of the second story windows. Then the next shot cuts to the interior of that room. The viewer can easily understand where the scene is taking place.

I once had a film teacher tell me “never forget the master and two pops”. What he meant by this was the importance of getting a wide shot showing the target(s) in the location, again giving context to the viewer, and then getting the two or more close up shots. Often, these two tight shots are actually “over the shoulder” shots. As a general rule, it is best to always show a person’s face when he or she is speaking on camera. I tell my students; “if their lips are moving we should be seeing it.”

Pay attention to the background. Are there people waving their hands

at the camera in the background? Is there a backlighting problem? Are there background elements that are poorly aligned on screen and look unnatural? While filming, don’t forget two other important points. Video is a visual medium. We aren’t telling a story. We are showing it. Use the storyboard to stay visually true to the theme and concepts of the story.

Master Shot (Establishing Shot) Showing subjects in surroundings

Over The Shoulder Shot Over The Shoulder Shot



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180 Rule (also know as “Line of Action”) Another key concept to keep in mind while composing shots during filming is the 180 Rule. The concept is simple. When you show your establishing shot you are helping your viewers understand where the following shots are taking place and how the subject(s) fits in to their environment. It is important to keep this original establishing shot in mind when filming the other shots for that scene. The purpose of the 180 Rule is two fold. First is to assure that the viewers are always seeing a background that they have seen previously (they understand where the subjects are in relation to everything else). The second purpose of using the 180 Rule is to assure that if, for example, one of the subjects is shown on the right in the establishing shot, the viewer will expect that subject to be on the right for the rest of that scene (or until you show them another establishing shot). If you cross the line of action while filming then your subject will flip from one side of the screen to the other and it becomes very distracting and hard to follow for the viewer.

Line of Action

Safe Camera Movement Area



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When creating shotsheets and using storyboards, keep the following basic shot types in mind: [show a list of shot types]

EWS (Extreme Wide Shot)

The view is so far from the subject that she isn't even visible. This is often used as an establishing shot.

VWS (Very Wide Shot) The subject is visible (barely),

but the emphasis is still on placing her in her environment.

WS (Wide Shot) The subject takes up the full frame, or at least as much as possible. The same

as a long shot.

MS (Mid Shot)

Shows some part of the subject in more detail whilst still giving an impression of the whole subject.

MCU (Medium Close Up)Half way between a MS and a

CU.

CU (Close Up) A certain feature or part of the subject

takes up the whole frame.

ECU (Extreme Close Up)

The ECU gets right in and shows extreme detail.

CA (Cutaway) A shot of something other than

the current action.

Cut-In Shows some part of the subject in

detail.

Two-Shot

A comfortable shot of two people, framed similarly to a mid shot.

(OSS) Over-the-Shoulder Shot

Looking from behind a person at the subject.

Reaction Shot Usually refers to a shot of the

interviewer or talent listening and/or reacting.

Point-of-View Shot (POV) Shows a view from the subject's

perspective.

Up Angle The camera is pointed at an angle in an upward direction

(toward the sky). Used for POV shots or to show scale.

Down Angle The camera is pointed at an angle in an downward direction (toward the ground). Used for POV shots or to

show scale.



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“If you listen real close, you can hear them whisper their legacy to you. Go on, lean in. Listen, you hear it? ---- Carpe -- hear it? – Carpe, Carpe Diem, seize the day boys, make your lives extraordinary.”

– Dead Poets Society



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Chapter 6: Light it Right As I mentioned previously, lighting is important. Most of the time

the lighting found onsite isn’t quite adequate for filming. Achieving good lighting requires a well thought out lighting plan. On professional sets, the lighting scheme can take hours to set up for the filming of a single five minute scene. If you’re reading this, It’s probably unlikely that you will be that detailed with your lighting plan, at least not yet. The lighting of a scene can make a huge impact on the mood and tone of the scene. Lighting is a key component to the visual concept of the film. When it comes to lighting there are a few key things to keep in mind.

It is important not to “mix light”. Different light sources give off slightly different color tones (see the chart below). White is not always white. In general, we don’t normally notice this difference in color tone because our brain compensates for this difference. Unfortunately for us, a video camera isn’t as smart as we are. As a camera operator, we need to tell the camera what color is supposed to be “true white” given the lighting conditions. Doing this is called setting the camera’s “color balance”. With different camera models this is done differently. Usually this is done by holding a white card or piece of paper about two feet in front of the camera, focusing in on it and pressing a color balance button. Check the user manual for the camera you’re using to figure out exactly what the process is for that camera. Mixing light from various lighting sources basically confuses the camera and makes color balancing difficult.

8,000k 7,000k 5,000k 3,000k 2,000k

Blue Sky, Water & Snow

Fluorescent Light Tubes

Overcast Day

Bright Sunlight

Sunlight in early morning and late afternoon

Candle Light

Incandescent Light Bulbs Tungsten & Halogen Light Bulbs

Color Temperatures in Degrees Kelvin

Most digital still cameras and digital video cameras have an option for manually setting the color balance.

Blue

Orange

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Achieving good lighting can be a little tricky. It’s important to get good lighting on the foreground target, as well as the background. At the same time, it’s important not to have so much light that it washes out the person on camera. A typical lighting setup (a 3-point lighting scheme) involves the use of a “key” light for the primary lighting, a “fill” light for filling in shadows (not as bright as the key light), and a “back” light for lighting the background and silhouetting the target. The following examples show some basic lighting methods.

Standard 3-Point Lighting (Top View)

BACK LIGHT for lighting the background and silhouetting the target (usually higher than the subjects head)

KEY LIGHT for the primary lighting of the subject

FILL LIGHT for filling in or reducing the shadows on the subject

Standard 4-Point Lighting (Top View)

Back Light Or

Hairline Light

Key or Fill Light

Key or Fill Light

Light for Background



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When creating a lighting plan for your film shoot it is important to

take a few things into consideration. Here are a list of lighting do’s and don’ts that might help you with your planning.

Lighting Do’s: Plan out your lighting scheme. Know exactly what you’re going to do. Under most circumstances use the standard three-point lighting set-up Get good, even light with some minor shadowing to add depth White balance your camera before filming

Lighting Don’ts Don’t overlight your target (also called “washing out”) leaving over exposed areas. Don’t underlight your target (leaving undesirable shadowing) Don’t backlight your target. Backlighting occurs when you have a bright light behind your target. Your target is between the bright light and the camera. Your target will end up looking like a black silhouette with indistinguishable features. Backlighting is a very common problem. Don’t mix light. Avoid using light from different light sources at the same time. An example would be using fluorescent lights and incandescent lights at the same time or using sunlight and other lights at the same time.

Lighting for a Chromakey Shoot (Top View)

Hairline Light (Mounted above subject)

Key or Fill Light

Key or Fill Light


Green or Blue Screen Background


Subject should be as far away from the screen as possible

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Backlighting This occurs when the background is over exposed and the subject is underexposed. This can be a common mistake when filming outside or around bright windows. There are two ways to fix a backlighting problem. Light the subject better or move the subject in relation to the source and the camera so that the light source is not behind the subject.

Example of a backlighting mistake Backlighting problem fixed by moving the subject

The bright light source behind the subject causes the background to become “over exposed” meaning that it is so bright that the camera or video camera can’t pull any detail from this area. It is all white. The bright backlighting also causes the subject to be “under exposed” or very dark and shadowy. It is difficult to make out the subjects features.



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Chapter 7: Sounds Good: The Other Half of Video In my experience, the most overlooked aspect of videography is audio. What people hear is as important if not more important than what they see. Viewers will forgive a small mistake with the composition or lighting, but they won’t forgive an audio problem. Poor sound will ruin a video project in the blink of an eye. All consumer and prosumer level cameras have integrated microphones (microphones that are built into the body of the camera). My suggestion is whenever possible don’t use the built-in microphones. These microphones have some real limitations. When mic’ing your talent, the closer the microphone is to the mouth of the person speaking the better. With built-in microphones this can often be a real limitation. In addition, integrated microphones can also pick up “user noise” (the sounds of the camera operator using the camera) as well as mechanical noise caused by the camera itself. Think twice before using an integrated microphone. Selecting the right microphone is an important first step in preparing for great audio. The following illustrations show some common microphones and the advantages of each.

Microphone Style Type Pattern

Camera Mounted mic. or Integrated mic. Pros: cost (camera comes with it), easy to use

Cons: mic. usually isn’t close enough to the subject, can pick up operator noise

Handheld (stick mic.) Pros: mic can get close to the subject speaking, can be

inexpensive to buy Cons: the audience will see the microphone, it must be

held close to the subjects mouth

Lavalier (lapel mic.) Pros: usually wireless, easy placement, can be hidden

Cons: can be expensive, can pick up noise with clothing or body movements of a subject

Shotgun mic. Pros: can get audio from a small area, audience won’t

see the mic (if framed correctly) Cons: can be expensive, usually requires the help of a

second person while filming (to hold the mic)

360 Boundary mic. Pros: can pick up audio from a large area (360°)

Cons: can be expensive, picks up all background noises

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It is important to make sure you limit, if possible, any background noises on the set. As an example, turn off any air conditioners or other machines that make noise. If shooting inside, close windows and doors when you can. You might be suprised just how easy it is to limit background noise. Most microphones are directional so minimizing background noise (ambient noise) could be as simple as proper placement of the camera and the target. Camera and target placement is especially important when filming outside. Similar to backlighting, try to avoid having the target between the noise source and the microphone. The following illustration depicts some examples of good and poor microphone placement.[pictures & examples of mic placement] It is sometimes effective to block background noise (especially wind noise) while filming by holding a large piece of wood or cardboard next to the microphone (out of camera view). Another effective strategy is using a “baffle” or “windsock” to cover the microphone and reduce wind noise and “plosives”. Plosives are caused by excessive air compression when speaking. If the microphone is too close to the mouth it sometimes causes a distracting popping sound. Another important consideration with audio is the camera’s AGC (automatic gain controller). Every consumer level video camera and most prosumer level cameras have this built-in feature. The A.G.C. controlls the camera’s audio recording level. When you hit record, the camera begins checking the audio levels. If there isn’t much audio, the camera automatically raises the audio level. This can be a problem for videographers. As an example, if you hit record the camera’s AGC automatically starts trying to adjust the audio level. If your talent isn’t yet speaking, the camera might raise the audio level dramatically in an attempt to normalize the audio level. As soon as your talent starts speaking, the audio volume will be really high, often way too high. It will sound excessively loud for a few seconds before the camera’s AGC lowers the audio levels. This can be a real problem. There are a few work-arounds for dealing with the camera’s A.G.C. Doing an audio cue can help resolve the AGC problem. While mic’ed, have your talent do an audible count down after recording is started. For example, hit record then have your talent say outloud “5,4,3,2,1” then pause for a second before starting the dialogue for the scene. It’s important to do this audible count in the vocal level that he/she will be using for the dialogue. Actually, doing this cue can help with more than just setting the AGC level. It can help with another common problem also. When the record button is pressed on the camera, it can take 3-4 seconds for the mechanical components in the camera to actually begin recording audio and video. Doing this audio cue can kill two birds with one stone. Try it. By now hopefully you’ve learned a lot about getting good audio while filming. So, the question is: How do we know if we are getting good



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audio while filming? Use headphones! In my opinion, one should always use headphones to monitor audio levels while filming. It’s truly the only way to check that your audio is good while filming. This all comes back to what I wrote in chapter three about the importance of selecting a camera with a headphone jack.

Tip: The use of a Clapboard can be invaluable in certain circumstances. Say, for example, that you are filming a school play with two different video cameras. One camera is in the back of the room filming the whole stage. The second camera is closer and is getting the close shots you plan to edit in later. Using a Clapboard you can film yourself on both cameras slapping the clapboard shut. Later, in post (editing), all you need to do is line up the audio spikes (from the Clapboard) on both video tracks and your two videos are now in perfect sync. This trick will make editing the project much easier.

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“Life is like a box of chocolates. You never know what you’re going

to get.”

– Forrest Gump



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Chapter 8: Movin’ On Up Advanced Production Techniques Now that you have some basic concepts down, we’ll move into the fun stuff. As with many of the skills and techniques we’ve reviewed, it takes a little practice and a little creativity to really get the hang of it. I would categorize the following techniques as advanced only because the average home movie maker probably wouldn’t use them. Not that any of these techniques are necessarily difficult to do. I break these advanced techniques down into four basic categories: camera settings, accessories, camera movements, and special effects. Camera Settings If you’re using a good video camera you will have some manual control over what your camera does. Basic manual controls include controls of the cameras iris and shutter speed settings. Both of these controls help you adjust the “depth of field” for the camera. The iris on the camera works much the same way that the iris in your eye works. It opens and closes letting more or less light pass through and onto the CCD (Charged Coupled Device). As you open and close the camera’s iris you are actually doing more than just affecting the amount of light entering the camera. You are actually affecting the depth of field. The depth of field can be described as the area or range in front of the camera that stays in focus. An example would be to manipulate the depth of field in order to blur the background behind the target in an attempt to help separate the foreground from the background. The depth of field is affected by three factors: the iris setting, the distance between the target and the camera, and the focal length of the lens. You can easily manipulate the depth of field in the following ways: If your camera is positioned relatively close to your target you will have a deep depth of field. (see figure A) What a deep depth of field means is that your foreground target and the background will both be in focus. On the other hand, if you move the camera back away from the target, then zoom in on your target, framing the same shot, you will have a shallow depth of field. (see figure B) You will find that the background is now out of focus (or “soft”). There are times when this effect is desired. A shallow depth of field helps separate the foreground and background elements. Manual adjustments of the camera’s shutter speed can also have some desirable effects. Simply put, the shutter speed is the amount of time (per frame) that the light is allowed to strike the camera’s CCD. In low-light situations, your camera’s iris will typically be opened to its widest setting. This allows the camera to get more light on film (By that I mean on the tape. We’re digital filmmakers right?). In low light conditions, you have two options for controlling the depth of field. Use more lights or slow down the shutter speed. A slower shutter speed allows more light to strike the CCD on

Chapter 8: Advanced Tech.


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every pass. This, in effect, lightens up the video to some extent. If you find yourself filming an action sequence or special effect shot with a lot of movement, you might want to increase your shutter speed. Using a slow shutter speed while filming a fast moving object (a baseball flying through the air for example) will result in a blurred image. Fast shutter speeds work great for fast moving objects and for doing slow-motion shots. Also, fast shutter speeds can be desirable if you plan on taking a snapshot (still image) from a frame of video.

Tip: All consumer level cameras have something called auto-focus built in. When using auto-focus, the camera automatically adjusts the iris and shutter speed settings. When in auto-focus mode, the camera will focus on the object nearest to the camera. Now if you’re just filming a friend’s birthday party this is probably ok. But, there are times that you might want to use the focus to guide the viewer’s eye. It is important as a filmmaker to always show the viewer only what you want them to see. If you can manually focus the camera you can, for example, bring the background into focus to reveal a bad guy who is sneaking up behind your main character.

Deep Depth of Field Shallow Depth of Field Figure A Figure B

Subject and background are in focus Subject is in focus while the background is out of focus



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Camera Accessories Lens Filters & Mats Lens filters are basically devices that screw on to the front of the camera covering the lens. A filter affects light as it passes through the filter and into the lens. Lens filters come in a variety of types and do a variety of things. The most common lens filter is a UV filter, which reduces the amount of ultra-violet light entering the camera. It also protects the camera’s lens from being scratched or damaged. Other lens filters can limit the amount of light, making daylight shooting look like it was shot at dusk or it can change the colors. Diffusion filters give you that soft romantic look seen in some movies and TV shows. Polarizing filters use the same technology found in polarized sun glasses. These filters can reduce or even eliminate glare. A diffusion filter is commonly used when filming near windows. A multi-filter takes a single image and breaks it up like a kaleidoscope. This could be handy if you were filming a bug or alien point-of-view shot. There are a lot of filters on the market that can add lots of different effects to your footage. My advice, with the exception of the UV and polarized filters, is use filters sparingly. Most filter effects can be created later during post production via video effects in the editing application. Once you film with a filter on the camera, you can’t undo these changes and you’ll be stuck with the look of what you filmed. Think it through before using a lens filter.

Tip: UV filters are cheap and can protect your cameras lens from damage. It is a good investment.



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Chromakey a.k.a. “Green-Screening” If you’ve watched a movie or two in the last ten years you’ve likely seen this effect in use. If it was done well you didn’t even realize it. The green-screen technique has been used in film and television for several decades now. Historically, the most common application of the green screen technology was by news meteorologists doing the weather forecasts. The weather man or weather woman would stand in front of a well lit green wall. Electronic hardware combined with a computer would replace the green wall with the graphic showing weather trends etc.. Sounds simple right? It is and it isn’t. In theory, the idea is very simple. Film someone or something in front of a green screen. Then tell the computer to make the green invisible (create an Alpha channel) replacing that color with a background image or video. Really, any color can be “chromakeyed”, it doesn’t have to be green. In the past the film industry primarily used blue screens and not green screens. This was due to the fact that the color Blue 255 seemed to record well on 35mm film medium. With the changeover in the film industry to using digital camera technologies though, the color Green 255 is now used. Why green? Simple. The color green 255 seems to clash less with eye, hair, clothing and skin tones. You see, the computers aren’t all that smart. If you task the computer with getting rid of the green and a person is wearing a green shirt, that too will disappear causing a floating head. That might or might not be what you want. Like I explained earlier, you can generally select any color to chromakey (make transparent). You can also make darks transparent (lumakeying). The objective is to pick a color that is very different with your target’s clothes, hair, etc. When it comes to chromakeying and its uses, the sky is the limit. Just about anything that can be imagined can be accomplished with a little creativity. For example, the Hollywood director Robert Rodriguez filmed the entire movie Sin City on a green screen in his garage. I think that’s pretty amazing. The vast majority of films these days use green-screen technology to put the characters in places or positions that they couldn’t be in by other means. I’ve seen students use green screening to make it look like they were flying through the air. Another group of students used a green screen and a convertible car to make it look like they were jumping around in a vehicle while driving down the freeway even though the car was never moving. The students in my news studio use live green screen technology and virtual news sets to make it look as though they are in a professional news studio even though there is nothing behind the anchors but a green wall. It looks very professional. With green screening your imagination can truly take you away.


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Remember when I wrote that chromakeying is simple and at the same time not so simple? The most difficult thing about chromakeying is setting up a lighting scheme correctly. Figure D shows some basic lighting setups. The background should be large. As large as possible in fact. I’ll explain why later. The background should be solid, smooth, well lit, free of holes, wrinkles or discoloration, and again, large. Any wrinkles, holes, or texturing will cause undesired shadowing. Walls can be painted or covered. Special “Green Screen” paint is available but isn’t really necessary. You can get custom mixed paint at your local hardware store much cheaper. As for wall coverings you have several options. Heavy felt fabrics are best. They tend to be very durable and are free from wrinkles and seams. These fabrics are also the most expensive. Other options are lighter weight fabrics and even specialty paper backgrounds which come on rolls. Paper is usually the cheapest wall covering but tends to get smudged and dirty very quickly. It is very important that the background be one solid color. Smudges, dirty spots, etc. can change color shades and therefore make keying more difficult. If you have the money, I suggest a heavy muslin fabric background. When shooting on a green screen, it is important to keep several things in mind. Lighting the background is very important (see the examples figure D). Get the target as far from the background as possible and use a shallow depth of field to ensure the background is as out of focus as possible. This will help cover up any small problems with the background surface. Another important consideration is assuring the edge of the screen or wall doesn’t come into frame while filming. Try to avoid any quick movements on screen and be sure your talent does not have or wear anything that is close to the background color.

Lighting for a Chromakey Shoot (Top View)

Hairline Light (Mounted above subject)

Key or Fill Light

Key or Fill Light


Green or Blue Screen Background


Subject should be as far away from the screen as possible

Figure D



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Advanced Camera Movements Once you’ve mastered the basic camera movements (which shouldn’t take long) you can move onto some of the more difficult stuff. Although I previously listed arcs, dollies, crane, and truck movements in the basic movements category, they might actually be better classified as intermediate movements because they take a little more practice and they can require special equipment. My definition of an advanced movement is one in which two or more basic (or intermediate) movements are completed simultaneously. One advanced camera movement that can make a dramatic impact visually is called a “Hitchcock Zoom” (a.k.a. Dolly Zoom). The idea is simple enough. Combine a dolly in and a zoom out (simultaneously) or vice versa. The objective is to get a smooth, well coordinated dolly movement and zoom movement that are perfectly paced. Doing a dolly-in while zooming out will make the target seem to jump out of the background. Doing a dolly-out while zooming in will give an appearance that the background is crashing in on the target. It might be a little difficult to visualize the effect right now, but do a little experimenting on your own and you’ll see what a dramatic effect this can make. Another advanced technique my students seem to find a regular use for is the spinning-crane. This shot is simply a combination of a crane move (moving the camera up or down) while simultaneously performing an arc move (moving the camera around a stationary target). One example of this technique in action was used to reveal what a person was wearing in a school dress code video. As with other camera movements, it should be completed in a slow, steady, smooth motion.


Example: Dolly Zoom

Zoom in while

dollying out or zoom out

while dollying in


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Simple Special Effects As you develop your skills as a videographer you will inevitably build a stash of special effects you like to use while filming. There are thousands of special effect techniques and tools used regularly by the film and TV industries. If you are interested in this area, numerous books have been written focusing exclusively on special effects techniques. The effects found in this section are a few that I’ve found simple and cheap enough to be useful when filming on a shoestring budget.

Light Sweep Normally, the lights in a shot are stationary and are completely out of

view of the camera. The objective with a light sweep is to shine the light in a way that it makes some dramatic impact. As an example, lights could be set up on the other side of a door or window. Often the camera would be positioned in a dark or dim room. The light would then shine through a keyhole, under a door or through window blinds. This causes a streak of light to pass through or beyond the object. Additionally, If the light was moved during the shot it could be made to represent vehicle headlights, a security guards flashlight, an alien aircraft, or whatever your imagination suggests.

Twins Have you ever seen a movie or television show where it appeared

that an actor or actress had a twin even though you know in reality they don’t? There are several ways that this effect can be accomplished. The following is one simple way to achieve this effect. You’ll need to use a little creativity and a good tripod to achieve success with this effect. Another key to this effect is to select a backdrop (background) that will not change at all. This includes the background lighting conditions. Although a solid background will work best (because it is easiest to match in editing) you can use most backgrounds just as long as the background conditions do not change (as discussed previously). Ok. Ok. I’ll get right to it.

Step 1: Get a good backdrop and set up the camera on a sturdy tripod. Step 2: Frame the shot so that the screen can be easily divided into two

parts (left and right). Step 3: Film your talent on one of the two sides. Make sure that he/she

does not cross into the other half of the screen. Step 4: Film your talent from the opposite side of the screen. Step 5: In post (editing), use a split screen technique to merge the two

shots together paying close attention to matching the background. I have found this technique most effective when the filming is completed against a green screen background. Chromakeying the dual background is very effective and assures the viewer will not notice a seam.



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3D Hologram With a little creative camerawork and editing, it is very easy to produce an effective hologram-like image. The steps to this technique are relatively simple: Step 1: Film your foreground target against a green screen background. The

filming must be done with an arc shot of less than 120 degrees or so. Remember that when filming this shot you shouldn’t show any of the borders of the green screen.

Step 2: Film your backdrop. When filming the backdrop it is important to use the same shot arc and the same pull rate that you used when filming the foreground target.

Step 3: While editing, chromakey the foreground and use some transparency. It might also be desirable to add a color overlay or a blur effect as well. Experiment a little to see what gives you the appearance you’re looking for.

The Jump Shop If you’ve ever watched a movie and saw the main character leaping

from building to building you might very well have seen the following technique in action.

Step 1: Establish the forthcoming action. Let the audience know what your character is about to do. Show the audience the distance to be jumped.

Step 2: Get a shot of the character looking at the jump he/she is about to make

Step 3: Now get the motion shot. Place the camera on the ground with the lens facing toward the sky. Have your talent jump over the camera.

Step 4: Film the big landing. Get a few different shots of the talent making the landing (or so it should look). Remember to always be safe.

Step 5: In post, edit these shots together to give the viewer the impression that the actor/actress jumped a vast expanse.

Time Passing By With this effect it will appear as though time is passing by all around your talent but he/she is unaffected. This can be a pretty interesting shot when filmed correctly. The first objective is to find a good location. You want to choose a location that has a lot going on (a lot of movement)- preferably quick movement. A good example is a busy intersection. To accomplish this shot your camera should be mounted on a sturdy tripod and your talent should be sitting. During the filming, the actor/actress needs to remain perfectly still. This includes his/her hair and clothes as well. I’ve found it difficult to accomplish this shot on a windy day. Film your talent for



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several minutes or more depending on what you wish to achieve with your shot. Any intentional movements your talent makes should be done extremely slowly. When filming is complete it will be necessary to speed up the shot in post. I suggest you speed it up by at least five times or 500%. If done correctly you should end up with an impressive shot. The Driving Shot The scenes in TV shows and movies that show the actors/actresses driving can ultimately be done in several ways. The following two methods can give you an effective driving shot.

Method #1: The traditional technique This method requires some specific equipment (most of which can be rented).

Step 1: Get some exterior establishing shots of your talent driving the vehicle. This footage might show the talent taking a corner or sitting at a stop light, doesn’t really matter. These shots just need to show the whole vehicle and some of the background.

Step 2: Place the vehicle on a car trailer and mount your camera(s) on the trailer facing the interior of the vehicle. Make sure that the other cameras are not in each others frame. Also, make sure that the cameras are securely fastened to their mounts and the mounts to the trailer.

Step 3: While towing the trailer (with a vehicle on it) film the actors/actresses inside the vehicle.

Step 4: In post edit these shots together. Remember to always be safe while filming and be sure to abide by any

applicable traffic/vehicle code laws.

Method #2: The Green Screen Approach This method also requires some specific equipment, namely a large green screen and a good lighting setup.

Step 1: Get some exterior establishing shots of your talent driving the vehicle. This footage might show the talent taking a corner or sitting at a stop light, doesn’t really matter. These shots just need to show the whole vehicle and some of the background.

Step 2: Also get some footage that will be used later for the background. While driving stabilize a camera and film facing out the open windows. Depending on what shots you plan on using later, you might need to face the camera in several directions.

Step 3: Place a large green screen next to or behind the vehicle and assure you have good chromakey lighting. Film your actors/actresses in the



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vehicle with a green screen backdrop. Pay attention to assure you frame the green screen well and don’t show any of the lighting equipment etc.

Step 4: In post, edit these shots together chromakeying the green screen footage and using the previously filmed background.



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Part IV Post Production (a.k.a. Non-Linear Editing)

Part IV: Post Production


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“Fear is the path to the dark side. Fear leads to anger. Anger leads to

hate. Hate leads to suffering. I sense much fear in you.”

– Star Wars Episode I



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Chapter 9: Editing In the last decade, computers have come amazingly far. Ten years ago, digital video editing wasn’t really possible with a home PC. Times have definitely changed. The level of editing possible today was only possible with professional (and very expensive) editing machines only ten years ago. Today the two most popular computer operating systems (from Microsoft and Apple) both provide a free video editing (movie making) software program. Microsoft calls it Windows Movie Maker and Apple’s version is called iMovie. Before we move into discussing the process of digital video editing, let me briefly review some basic ideas about a good editing computer. Video editing is just about the most demanding thing you can do with a computer. Computer technology is rapidly changing but the following are some things to keep in mind while looking for an editing computer. A good editing machine will have a fast CPU, a fast front side bus, a Firewire port (for connecting a camera), at least two gigabytes of ram, at least 200 gigabytes of hard drive space (for storing video) and a decent video card. Long story short, if you purchase a top of the line machine (or even one close to it) you’ll do fine. After completing the production process (the filming) of your project, it is time to sit down and edit all those shots together and create the masterpiece you’ll be proud to show off. It is important to remember that during postproduction you should still be using your script, shotsheet, and storyboard you created during preproduction. After filming, you can use these documents to help you stay on track while editing. Digital video editing or home movie making is a quickly expanding market. There are numerous video editing software programs on the market today at every price range. If you take a trip to your favorite electronics superstore you’ll probably find at least five different editing programs on the shelf. Some are better than others. Remember though that Microsoft and Apple both offer free editing programs. Because there are so many editing programs on the market and they change so frequently, it would be impossible for me to go in-depth into how to edit with all of them. That being the case, in this section I will present some basic steps and tips that will apply to any of the editing programs. The process of digital video editing can be broken down into three basic steps: getting the footage onto the computer, manipulating it (editing it), and getting the footage back off the computer.

Hardware Tip: Video converter devices have become popular over the last few years. These devices plug directly into your computer’s Firewire port. You can then plug in a number of different A/V sources into it (i.e. analog video cameras, DVD players, VHS decks, etc.). Your editing application will treat this device like a DV camcorder. It is a handy little device that costs between $75-$200.

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Step 1: Getting Video (capturing video) The process of capturing video basically means to hook-up your videocamera to your computer and move the video footage from the camera to the computer. In order to edit the footage, it needs to first be on your computer. The two most popular ways to connect a videocamera to a computer is through a USB or a Firewire (iEEE1394) connector.

The two connectors work a little differently. Firewire is a dedicated (not shared) connection meaning that it is generally faster and more reliable than a USB connection. Video files tend to be large files and can take up a lot of hard drive space. It is not recommended to edit from an external hard drive because the connection is often too slow for editing purposes. Most editing programs will give you options for what format (file type) to capture your video footage as. One of the most common formats for capturing video footage is AVI. AVI is a relatively uncompressed format. This format has a high video quality but results in large file sizes. MPG files on the other hand are a compressed video format. The video quality is less than AVI files, but the file sizes are considerably smaller than those of AVI. If you are cramped for hard drive space, you should consider capturing video in a compressed file format. More on file types to come later in this section.

FireWire a.k.a. “DV” USB



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Troubleshooting Capturing Problems

Capturing stops unexpectedly √ Did you accidentally stop the

capture by inadvertently hitting a key on the keyboard?

√ Did you run out of hard drive space on the drive you’re capturing to?

√ Was the tape in the camera cued up correctly and rewound if necessary?

√ Did the aspect format change (i.e. 4:3 or 16:9) while you filmed this footage?

√ Does the tape have a timecode break? (see the paragraph on timecode in chapter X)

√ Is the hard drive you’re capturing formatted with Fat16 or Fat32? If so, these file systems do not allow capturing beyond 4.2 gigs of data (approximately 15 minutes of AVI footage)

During capturing you notice lots of dropped frames

√ Other programs might be running in the background on your computer, hogging system resources.

√ Your capture drive might be to slow. Are you trying to capture to an external hard drive?

√ Is your computer powerful enough for editing digital video?

You’re using a hard drive camcorder and your editing software won’t recognize the video files.

√ Most consumer level hard drive recording camcorders store the video footage in either MPG format or Apple QuickTime MOV format. Some editing applications will not open video footage of these types. Check the directions for both your software and the camera.

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The editing program doesn’t recognize that your camera is hooked up to the computer and/or it wont let you control your camera

√ Is the camcorder turned on, in the correct mode for capturing, and plugged into your computer?

√ Sometimes cameras are designed to power down during periods of inactivity. If this is the case, turn the camera off and then back on.

√ Is the camera model you are using supported by the editing software you’re using?

*If all else fails: Turn the camera off, close out of the editing software, check all connections, then turn the camera back on and re-open the editing software.

Hardware Tip: Video slates are those black and white clapping things you see when the director yells “action” or “cut”. Slates aren’t just for looks. They serve a good purpose. The information written on the slate (scene, take, etc.) is very useful later while editing. The sound made when the slate (a.k.a. clapboard) makes when it strikes closed is very helpful when synchronizing the audio tracks to the video. This is very important if the audio is recorded separately from the video.



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Step 2: Editing Your Raw Footage Once you have your raw unedited video on your computer it’s time to get down to the business of editing. There are a lot of aspects to the process of editing. As explained previously, there are numerous editing programs on the market today and each of these is a little different. The concepts I will review in this section should be basic enough to apply to most editing programs.

Editing with Audio Good, clear audio is an important part of any video. Hopefully you got good audio while filming your footage. If not, you might need to think about re-shooting. In most editing programs you can use tools specifically designed for helping you fix any audio problems you might have encountered. Be aware though that these tools can’t work magic. A great idea that helps tie your scenes together is to use a background music track that spans multiple scenes. Music can also help set the mood of a scene. The music track doesn’t need to be very loud either. Often, a light music track is best. When using music in your video it is important to keep copyright law in mind, especially if you plan on producing your video for profit. Most editing applications will allow you to use music from numerous sources including: from an audio CD, music in MP3 format, and music in WAV format. Some editing programs, including Pinnacle Studio and Adobe Premiere, offer 3rd party royalty-free music collections that you can purchase for use with your videos. In my classroom I use royalty-free music sets called “Smart Sound”. The benefit of Smart Sound music is that these music tracks can be shortened or lengthened while editing. In contrast, say you have a video that is two minutes long and you’d like to add your favorite song to it. If your song is three minutes long, the last minute of your song will be cut off (remember your video is only two minutes long). If you’re using standard audio tracks (other than Smart Sound) you need to pay attention to the length of the audio tracks. Sound effects, also called “Foley”, is an important part of video. All movies produced for the mass market over the last 50 years or so has had Foley artists doing their audio magic. Most people have no idea how much Foley work goes into today’s movies and television shows. Virtually every time you hear footsteps, breaking glass, etc., these sounds were generated in post production in a Foley studio. Sound effects can truly make a significant difference. A large number of software companies have begun selling sound effects libraries. The prices and quality of these libraries differ. Depending upon the number and type of video you’ll be creating, the purchase of a sound effects library might be a good investment.

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Transitions Most video editing programs allow you to apply transitions between

scenes or segments in your project. A transition is simply a method of going from one scene to the next. A transition can be as simple as a fade from one scene to another or as complex as a multi-screen graphic effect. As a video production teacher, one common mistake I’ve seen my students make is to overuse transitions. For some reason many of my students like to use fancy transitions between each scene. Although movies and TV shows do use transitions, they do not do so frequently, and when they do it is usually a simple fade or dissolve. My suggestion is that you shouldn’t use transitions unless you absolutely have to and in those cases use a simple transition. Also, it is usually best to use the same transition all the way through the project.

Text Sometimes in a project it is necessary to use text to convey a

message to the audience. Again my advice with most project types is to avoid using text unless it is absolutely necessary. When it comes to the size, style, and location of text there are a few things you should consider. In general, I’ve found the following as a good set of guidelines for using text in video projects.

√ Select an easily readable, block-style font √ When possible, center the text on screen and keep the text

away from the edges of the screen as it might be cut off when viewed on some TV’s

√ Make the text readable from a distance √ It is better to have several screens of larger text than one

screen with a lot of small text crammed onto it √ It is usually best (because of readability) to use white text on

a black background

Light text on a dark

background Is easiest to read



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Video Effects Video tools and effects are included in many of the editing programs

on the market today. These tools can be used to make any number of visual changes to your videos. With some of these effects, for example, you can make color, contrast, and brightness adjustments. You can also apply special visual effects that do things like speed up the video, blur portions of the screen, etc. The term “plug-in” generally means that the feature is a “pay-to-use” add on usually available through a 3rd party company.

Graphics & Images Using still pictures/graphics in your video projects is something you’ll likely do at one point or another. Graphics could be used to show logos, as backgrounds when chromakeying, for creating text titles, and for lots of other reasons. So, let’s discuss using graphics in your videos. Most still cameras and most TV’s have a basic aspect ratio of around 4:3. But there are some small differences between the aspect ratio of a still camera and that of a traditional TV. The actual resolution for a standard definition TV is 720x534 (for the NTSC standard used in the United States). Lucky for us, most editing programs will automatically convert various graphic/picture resolutions to a standard that will work on a TV. It is important to remember though that the image resolution can be reduced. A common mistake I find my students making is using low resolution graphics in a video project. It is important not to use low resolution graphics in video projects. Why? That’s a good question. Let me give you an example of the problem. If you were to use a low resolution image as a full-screen background you would see a lot of “pixelization” or jagged edges and boxed lines. It will not look good. Another difference between still image graphics from a camera and those designed for video is the colors that the graphics contain. Computer (and digital camera) graphics can show many more colors than those that can be shown on a TV. Colors that cannot be depicted on a TV are called “out-of-gamut”. Again, lucky for us, most video editing applications will automatically convert your graphics into a TV friendly version when you insert them into your project. The editing program will take any out-of-gamut colors and basically recolor them with similar colors within the rage that can be shown on TV. The reason I bring this up is that you need to be aware that these graphics might not always look exactly the same when viewed on a TV vs. being viewed on a computer monitor.

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Step 3: Finalize your Movie George Lucas once said, “Movies are never finished, they are abandoned.”

Once you’ve had enough of the editing it’s time to wrap it up. Before you quit though, it is important to preview your work. Depending upon the type of project you are working on, it might be helpful to ask another person to preview your video. This person should be someone whom you trust to give you honest feedback and criticism. He or she might point out something that you can easily change or tweak to improve your video. It could also be helpful to preview your work on an external TV set. This is a good practice for several reasons. The TV screen will often be larger than your computer monitor. It will often have a lower overall resolution than your computer monitor. Also, the color ranges are different between a computer monitor and a standard TV. So, sit back and enjoy the preview because you’re almost done.



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Chapter 10: Finishing the Video Once the preview is over and the lights are back on you’ll need to decide how to finalize your project (that is if it’s not back to the drawing board based on the feedback you got from the preview). When it comes to getting your video off of the computer, you have several options. Among these options are: creating a DVD, saving the video as a file for viewing on a computer, sharing the video over the internet, or recording the video back to the video tape. Creating a DVD from your video project is one of the most popular options for finishing amateur movies and home videos. When you choose to turn your project into a DVD, you should be aware that it often requires a little more work during the editing process. Depending upon the editing software and the DVD player you’re playing it on, you might be required to create a disc menu while editing. Another problem with this process occurs when you have difficulty with the editing software accessing the burner you are attempting to use. The burner must be compatible with the editing software. Hopefully when you’re recording your movie to a DVD you won’t encounter burning problems. It is also very important to choose the right disc type.

As you know DVDs (digital video discs) have slowly muscled VHS, Video CDs, and laser disks out of the market over the last ten years. DVD’s have some real advantages over those other mediums. DVD’s are compact, DVD discs last for a very long time, and the video itself has superior audio and picture quality. But, in the world of technology, nothing stays on top forever. The two newest technologies HD-DVD (high density DVD) and Blue-Ray discs (similar to HD-DVD) are becoming increasingly popular. These two new disc types have the same look and feel as conventional DVD’s but they boast much higher data capacities and data transfer rates. These new technologies offer storage capacities of double or triple that of a standard DVD allowing for a much higher resolution of video. In order to take advantage of DVD’s as a method of saving or distributing your videos, you’ll need three things. First, you’ll need an editing application that will allow you to burn DVD’s from your projects. Most editing applications incorporate this feature, but some lower-end programs don’t have much functionality when it comes to creating DVD features. Another item you’ll need to create a DVD is an optical drive on your computer capable of recording (a.k.a. burning) on a blank DVD. If you’ve purchased a new computer recently you probibly have a DVD recordable drive. If you don’t have a DVD recordable drive on your computer, don’t worry, you can always purchase a portable or external DVD recordable drive and simple plug it into your computer. A USB 2.0 or a Firewire drive will do fine (that is if you have a USB 2.0 or a Firewire port on your computer). When purchasing a drive, the higher record speed the

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better. One of the newest DVD recording formats is double-layer or DL-DVD. It has twice the video capacity and can be a great investment. The third thing you’ll need to take advantage of DVD authoring is the blank media (blank discs on which you’ll record). You have lots of options when it comes to selecting the rights DVD disc type. The most important thing is to assure that whatever type of disc you purchase will work with the drive you plan on burning it with. The disc type must match the capability type of your burner. The following table gives you some basic information to think about when buying blank DVD media. Disc Type Description DVD-R These discs can be recorded onto

only once. They are usually the cheapest disc type and are the most compatible with DVD players.

DVD+R These discs can be written on only once. They use a slightly different recording format than that of a DVD-R disc. This format is primarily used for home theater DVD recordable drives.

DVD-RW These discs can be erased and re-recorded on

DVD+RW These discs are similar to DVD+R discs but can be erased and re-recorded on

Single-Sided Single-Layer

These discs have a storage capacity of about 4.7GB (or about two hours of uncompressed video)

Single-Sided Double-Layer

This is a newer disc format with a capacity of about 8.5 GB (or about four hours of uncompressed video). These discs are one of the most expensive disc formats but can give you twice the video capacity of a regular DVD-R disc.

Hardware Tip: “Light Scribe” DVD/CD recording drives have a unique quality. Once you’re done recording the disc you can flip it over in the drive and burn or etch a custom-made label on the top of the disk.



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Saving your project to the computer With the growing popularity of internet file sharing and websites like YouTube.com creating a file out of a video project to share with others is very common. When it comes to creating a video file from your project you have a lot of options. There is a lot to know about different file types, codecs and formats. “MPG” files are actually a series of different codec (compression/decompression) standards. Each MPG type (standard) is encoded totally differently and is like its own file type. MPG encoded videos have been around for a long time and continue to be very popular formats for saving video. If you decide to save your video as an MPG file you will first need to understand your MPG encoding options. .MPG (MPG-1) This was the first MPG format. It has a maximum

video resolution of 352x240 pixels. Due to this resolution restriction, this format is rarely used today.

.MPG (MPG-2) This is still the most widely used video format mainly because this is the format that DVD discs use. The resolution is much better than that of MPG-1 and the file is much more compressed (smaller).

.MP3 (MPG-3) Usually called “MP3”, it is a compressed audio format. You won’t be saving your video file in this format.

.MPG (MPG-4) This is the most recently adopted MPG compression format. The video quality is better than that of MPG-2 and the file size is much smaller. Videos encoded in this format may cause difficulty playing in some devices.

Most video editing applications will give you a choice of compression algorithms (level of compression) when selecting MPG format. Oftentimes these applications will use names for these compression levels (i.e. “internet” or “high bandwidth” on the lower end and “DVD Compatible” on the high end).Your choice of compression levels will depend on how large (or small) you want the file to be. Remember though, generally the smaller the file, the lower the resolution.



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Other Video Formats If you are saving your video to share on the internet, you will likely be saving your project in one of the following formats which were designed for internet distribution. .WMV format (windows media video) is a Microsoft video format. This codec comes free and preinstalled with windows media player. It is a great standard for internet use because it offers good resolution with a very small file size. .MOV format (Apple QuickTime Movie) is a video standard created by... you guessed it: Apple. It is one of the oldest yet still one of the most popular internet video formats. It usually has a lower resolution but also a small file size. Some video editing applications won’t give you the ability to save your videos in this format. To view videos in this format on your computer you must have QuickTime Player software installed on your computer. It is free to download. .RM format (Real Media/Real Player) is a video standard created by Real Network Company. This format was designed for video streaming on the internet. It is not a very popular format for a few reasons. Viewers must have the Real Player software installed on their computer to view these video files. Many video editing programs will not allow you to save your videos in this format. Flash & Shockwave formats. These two internet video formats are gaining in popularity. Most video editing programs will not save videos in this format. Instead, your video must later be converted into these formats with separate software. These video formats were designed specifically for use on the internet. Streaming Video vs. Progressive Video: Streaming video sends video directly to your computer via a web page. The video is sent at the same rate it is displayed. The file is not downloaded onto your computer prior to viewing. An example of streaming video is Shockwave video. Progressive downloads may look and act similar to streaming video, but they have a difference. These video files are saved to your computer. The video will first “buffer” or download enough video to play the video without stopping. As you can tell, there are a lot of options when it comes to saving files for the internet. Your decision should be dictated by what options you



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have for saving your video in your editing program and what your intended purpose is. Consider who your audience is. Back to Tape As you already learned, when you finish editing your project you have a lot of options for saving it. Creating DVDs and creating video files are only two of your three options. Most editing applications will give you a third option. This last option entails plugging your Mini-DV video camera back into the computer and recording this new (edited) footage back onto a blank tape. This option requires you to have a Mini-DV camera onto which you can record. Although this method isn’t necessarily very popular, it does have its uses. You’ll need to refer back to your editing program’s manual on just how to do this.


RELEASE AGREEMENT Whereas, ______________ (the "Producer") is engaged in a project (the "Video"), and Whereas, I, the undersigned, have agreed to appear in the Video, and Whereas, I understand that my voice, name, and image will be recorded by various mechanical and electrical means of all descriptions (such recordings, any piece thereof, the contents therein and all reproductions thereof, along with the utilization of my name, shall be collectively referred to herein as the "Released Subject Matter"), Therefore, in exchange for $1.00, receipt of which is hereby acknowledged and whose sufficiency as consideration I affirm, I hereby freely and without restraint consent to and give unto the Producer and its agents or assigns or anyone authorized by the Producer, (collectively referred to herein as the "Releasees") the unrestrained right in perpetuity to own, utilize, or alter the Released Subject Matter, in any manner the Releasees may see fit and for any purpose whatsoever, all of the foregoing to be without limitation of any kind. Without limiting the generality of the foregoing, I hereby authorize the Releasees and grant unto them the unrestrained rights to utilize the Released Subject Matter in connection with the Video's advertising, publicity, public displays, and exhibitions. I hereby stipulate that the Released Subject Matter is the property of the Producer to do with as it will. I hereby waive to the fullest extent that I may lawfully do so, any causes of action in law or equity I may have or may hereafter acquire against the Releasees or any of them for libel, slander, invasion of privacy, copyright or trademark violation, right of publicity, or false light arising out of or in connection with the utilization by the Releasees or another of the Released Subject Matter. It is my intention that the above mentioned consideration represents the sole compensation that I am entitled to receive in connection with any and all usages of the Released Subject Matter. I expressly stipulate that the Releasees may utilize the Released Subject Matter or not as they choose in their sole discretion without affecting the validity of this Release. This Release shall be governed by state law. I hereby certify that I am over the age of eighteen, and that I have read, understood, and agreed to the foregoing. Print Name Signature Date Address: City, State, Zip: Phone No: ( )

Appendix A

TALENT/MODEL RELEASE [Production Company Name/Address] In consideration of the sum of $ [type amount here] and any other good and valuable considerations, receipt of which is hereby acknowledged, I, being of legal age, hereby give [Production Company Name], their licensees, successors, legal representatives, and assigns the absolute and irrevocable right and permission to use my name and to use, reproduce, edit, exhibit, project, display, copyright, publish and/or resell photography images and/or moving pictures and/or videotaped images of me with or without my voice, or in which I may be included in whole or in part, photographed, taped, videotaped, and/or recorded on [date] and thereafter, and to circulate the same in all forms and media for art, advertising, trade, competition of every description and/or any other lawful purpose whatsoever. I also consent to the use of any printed matter in conjunction therewith. I hereby waive any right that I may have to inspect and/or approve the finished product or products or the editorial, advertising, or printed copy or soundtrack that may be used in connection therewith and any right that I may have to control the use to which said product, products, copy and/or soundtrack may be applied. I hereby release, discharge and agree to save [Production Company Name], their licensees, successors, legal representatives and assigns from any liability by virtue of any blurring, distortion, alteration, optical illusion or use in composite form whether intentional or otherwise that may occur or be produced in the making, processing, duplication, projecting or displaying of said picture or images, and from liability for violation of any personal or proprietary right that I may have in conjunction with said pictures or images and with the use thereof. AGREED AND ACCEPTED this [day] of [month], 2000. [Talent/Model signature with printed name below] [street address] [city, state, zip] [ac/phone number] [Social Security Number,] (be sure they furnish a W-9 as well)

Appendix B

STANDARD/MINOR RELEASE

PARTICIPANT’S NAME: _______________________________________________________

PROGRAM: _______________________________________________________

In consideration of the sum of One Dollar, ($1.00), receipt for which is hereby acknowledged, and

for the opportunity to participate in the above-identified video program produced by [YOUR COMPANY

NAME], I agree that the program(s) may be broadcast and distributed without limitation through any

means and I shall not receive any compensation for my participation.

I confirm that any and all material furnished by me for this program is either my own or otherwise

authorized for such use without obligation to me or any third party. I also agree to the use of my name,

likeness, portrait or pictures, voice and biographical material about me for educational, program or series

publicity and organizational promotional purposes.

I further agree that my participation in the program confers upon me no rights to use, ownership

or copyright. I release [YOUR COMPANY NAME], its employees, agents, and assigns from all liability

which may arise from any and/or all claims by me or any third party in connection with my participation in

the program(s).

It is understood that [YOUR COMPANY NAME] is under no obligation to broadcast the above-

identified program(s) or series. Agreed to and signed this day of , 2000 by: Participant’s Signature Street Address City, State, Zip

I, am the parent or legal guardian of the above-named

minor and I endorse the above statement in his/her behalf on this day of

, 2000. / / Parent or Guardian Street Address City, State, Zip

Appendix C

MATERIALS RELEASE FORM [YOUR COMPANY NAME], respectfully requests permission to use _____________________________________________________________________________ _____________________________________________________________________________ _____________________________________________________________________________

which will become part of the television broadcast and/or video program entitled, ____________ _____________________________________________________________________________

produced by [YOUR COMPANY NAME]. This program will be recorded on video tape for later broadcast,

as well as distributed on video.

Full credit would be given to ______________________________________________________

_____________________________________________________________________________

at the close of the show in which this video is used.

We sincerely hope that you will grant us the permission requested, and will indicate such by signing and

returning this form. Your prompt and courteous consideration of this request is very much appreciated. PERMISSION GRANTED THIS [DAY] OF [MONTH], [YEAR]: [NAME OF FIRM OR ORGANIZATION]

Authorized By: ________________________________________________________________

Position: _______________________________________________________________

Address: _______________________________________________________________

City, State, Zip:

Phone Number: (area code) ______________________________________________________

Appendix D

STANDARD LOCATION RELEASE

SERIES / PROGRAM TITLE: _______________________________________________________

PRODUCTION DATE: _______________________________________________________

Permission is hereby granted to [YOUR COMPANY NAME] to use the property located at

___________________________________________________________________________________

consisting of ________________________________________________________________________ for the purpose of photographing and recording scenes for the above program produced by [YOUR COMPANY NAME].

Permission includes the right to bring personnel and equipment onto the property and to remove them

after completion of the work. The permission herein granted shall include the right, but not the obligation,

to photograph the actual name connected with the premises and to use such name in the program(s).

The undersigned hereby gives to [YOUR COMPANY NAME], its assigns, agents, licensees, affiliates,

clients, principals, and representatives the absolute right and permission to copyright, use, exhibit,

display, print, reproduce, televise, broadcast and distribute, for any lawful purpose, in whole or in part,

through any means without limitation, any scenes containing the above described premises, all without

inspection or further consent or approval by the undersigned of the finished product or of the use to which

it may be applied.

[YOUR COMPANY NAME] hereby agrees to hold the undersigned harmless of and free from any and all

liability and loss which [YOUR COMPANY NAME], and/or its agents, may suffer for any reason, except

that directly caused by the negligent acts or deliberate misconduct of the owner of the premises or its

agents.

The undersigned hereby warrants and represents that the undersigned has full right and authority to

solely enter into this agreement concerning the above described premises, and that the undersigned

hereby indemnifies and holds [YOUR COMPANY NAME], and/or its agents, harmless from and against

any and all loss, liability, costs, damages or claims of any nature arising from, growing out of, or

concerning the use of the above described premises except those directly caused by the negligent acts or

deliberate misconduct of [YOUR COMPANY NAME], or its agents.

By: ________________________________________________________________________________ Signature of Authorized Property Representative

Date: ______________________________________________________________________________

Appendix E


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Video Production/ Digital Filmmaking Glossary

A/B Printing: Printing from original film stock which has been conformed into two rolls with alternating shots and black opaque leader. This methodology will eliminate any potential splice marks from showing up on prints and permits the incorporation of optical effects and titles. (Film Editing) A/B Rolls: Two or more rolls of film having alternate scenes intercut with opaque leaders in such a way that the 'A' roll presents its picture at the same time that the 'B' roll presents opaque leader, and vice versa. (Film Editing) Above the Line: Refers to the creative elements of a production such as the writer, producer, director and actors. Literally, these are the elements which appeared above a bold line which divided standard production budget sheets. (Production) AC: Alternating Current. An electric current with periodically changing polarity (i.e. 60 times a second for 60Hz power). (Electricity) Accent Light: A light unit that emphasizes one subject. This might be a key light, a kicker, or a backlight. (Lighting) Acetate Base: The tranparent cellulose acetate plastic film which for years served as the backing for magnetic recording tape. (Sound Recording) Acetone: An organic liquid chemical used in the manufacture of some types of film cement. Also used to clean film splicing equipment. (Film Editing) Acoustics: The science of the transmission of sound waves. Generally refers to the characteristics of auditoriums, theatres and studios with respect to their design.

Video Production Glossary


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Action Cutting: The cutting of film from one shot to another in a way yielding the impression that action is continuous and uninterrupted. (Film Editing) ADC: Analog-to-Digital Converter. An electronic device used at the input of digital audio equipment to convert analog electrical signals to digital values whose numbers represent the level and frequency information contained in the original analog signal. (Sound) ADR: Automatic Dialog Replacement. Also known as "looping." A process of re-recording dialog in the studio in synchronization with the picture. Address Track: A control/timing track on the edge of videotape which contains control data for quick and accurate location of program material. Aerial Shot: An extremely high angle view of a subject usually taken from a crane or a high stationary camera position, but may also refer to a shot taken from an actual airplane or helicopter. (Production). Aliasing: An undesirable distortion component that can arise in any digitally encoded information (sound or picture). Ambient Light: General, nondirectional, room light. (Lighting) Ambient noise: The total sound in a given are which is peculiar to that space (room tone). (Post Production) Amplitude: The strength of an electronic signal as measure by its waveform height. (Sound) Amplitude Distortion: The nonlinear relation of input and output induced harmonics which is a function of voltage fluctuations or power consumption. (Acoustics)



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Analog: An electrical signal that continuously varies in strength as related to some form of input. Analog Recording: A means of recording audio or video whereby the recorded signal is a physical representation of the waveform of the original signal. Anamorphic: An optical system having different magnifications in the horizontal and vertical dimensions of the image. Angle of View: This is the size of the field covered by a lens, measured in degrees. However, because of the aperture masks in film, the angle of view for a given lens is generally described in terms of the height and width of a lens. (Cinematography). Answer Print: The first print combining picture and sound which is submitted by the laboratory for the customer's approval. (Laboratory) Anti-Aliasing: Filtering of erroneous frequencies that are created during the analog to digital conversion process. (Sound/Picture) Aperture: A variable opening inside a lens that regulates the amount of light reaching the image plane. Also known as an iris. (Camera/Lighting) Apple Box: A box build of a strong wood or plywood which is capable of supporting weight. These may be of various sizes, the smallest of which is also known as a 'pancake' because it is nearly flat. (Lighting/Grip) Arc: A lighting unit that generates illumination from an electrical arc between two carbon electrodes. (Lighting) Art Director: The art director is generally the production designer's assistant. They work with sets and locations.



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Aspect Ratio: The proportion of picture width to height (1.33:1, 1.66:1, 1.85:1 or 2.35:1). Asperity Noise: (Hiss) Noise that is caused by minute imperfections in the surface of a recording medium (tape). (Sound) ASA: The exposure index or speed rating of a film which denotes the film's sensitivity. Assemble: The work of organizing and joining the shots of a film in the sequence in which they will appear in the finished print. (Film Editing) Assistant to the director or to an actor: These individuals are the director's or actor's right hand man (I should say person since many women serve as assistants). These are the people who make certain that the director's or star's lives do not fall apart during the making of the movie. They do everything from making the director's or performer's schedule to running their errands (yes, they have laundry and bills to pay, too). These individuals perform personal and administrative duties for the director or actor. The power of this position varies greatly. One assistant may be nothing more than a glorified baby-sitter while another may be the power behind the throne. For a better understanding of what this entails read the irreverent book Wannabe. Associate Producer: The much-maligned title of associate producer can mean many things. These individuals often help the producer with numerous post-production activities including lab work, dubbing, and special effects. Occasionally, this title is granted to friends, relatives, and business partners of the powers-that-be. Associational Editing: The juxtaposition of shots in order to present contrast, comparisons or ideas. (Film Editing) Asynchronous Sound: Sound which is indigenous to the action but not precisely synchronized with the action. Atmosphere: Extras who are staged and photographed to portray normal human traffic needed to add detail in various script situations. (Production)



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Attenuate: To reduce a signal's strength. Audible Spectrum: When wave motion in the atmosphere has a frequency that lies between 20 and 15,000 Hz it produces a sound which is apparent to the average human. (Acoustics) Automatic Slating: A camera attachment which records the film shot and take numbers and a visible sync mark which corresponds to a tone fed to an audio recorder. A-Wind: An indication of the emulsion position on a roll of film. An 'A' wind is a roll with the emulsion facing the center of the roll. (Film Editing)

Baby: Usually a reference to a 1K light unit. It is also used to describe any light unit which is smaller than a standard size unit of comparable intensity (i.e. baby 1K, baby 2K, baby 5K, etc.). For grips, it refers to anything with a 5/8 inch stud (i.e. baby plate). (Grip/Lighting) Baby Legs: A short tripod. (Camera) Baby Plate: A steel plate with a baby pin (5/8 inch pin) welded on to it. These plates are used for mounting lights or grip heads on a wall, box, or other surface. (Grip/Lighting) Background: This is a term with a broad range of meanings, depending upon the context. In production, it has the same connotation as 'atmosphere', meaning extras who are staged to supply detail in the form of normal human traffic in a scene. In sound, it can mean the same as 'ambience' or it may refer to relative volume. Backing Track: Prerecorded accompaniment for a singer or voiceover actor who then listens through headphones to a replay as he/she performs. Generally, the two signals are ultimately mixed to produce the final recording. (Post Production)



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Backlight: A light which is generally mounted behind a subject to light the subject's hair and shoulders without illuminating a subject's front. (Lighting) Balanced: An audio circuit with 3 wires, two which carry signal, and a third which is contected to a ground (grounded). (Sound) Balance Stripe: On magnetic-striped film, a narrow band of magnetic coating applied to the edge opposite the magnetic sound track which serves to make the film lie flat when it goes over magnetic sound heads. Bar Sheets - Lead Sheets: A chart showing words of dialogue which have been recorded, and the number of motion picture frames of duration for each syllable. Barndoors: Folding doors which are mounted on to the front of a light unit in order to control illumination. (Lighting) Base-to-Base Splice: A splice made with the base side of the end of one piece of film overlapping the base side of the piece to which it is being attached. (Film Editing) Bazooka: Similar to a 2K stand, but without support legs. It has a junior hole at one end and a junior stud at the other, and it usually has a sliding riser. (Grip/Lighting) Beat: A periodic variation of amplitude resulting from the addition of two slightly different frequencies. (Sound) Beaver Board: A 2K pigeon on an apple box. (Lighting/Grip) Bed: Background music used underneath a narrator or foreground dialog. Primarily applied to commercial radio or television spots. Beef: The output of a light. (Lighting)



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Beefy Baby: A heavy duty 2K stand without wheels. (Lighting/Grip) Beep: A short duration sound track tone aligned to a point on the film for precise reference in synchronization in the editing and printing processes. Below the Line: Refers to the technical elements of the production staff. Literally, these are the budget elements that appeared below a bold line on a standard production budget form. (Production) Best Boy: The assistant chief lighting technician or the assistant to the key grip. (Grip/Lighting) Bin: A reference to a storage container lined with a cloth bag, into which cut film or sound stock may be arranged and hung. In digital audio and video terms, this can be related to a film and/or directory from which stored shots or sound segments are selected for use. Bit: A minor acting role in which an actor may only speak a few lines. Black Leader: Opaque film leader used in conforming original film for A and B roll printing. (Film Editing) Black Wrap: Black Aluminum foil which is used for wrapping lights, to control light spill, and for making small flags. (Grip/Lighting) Blip Tone: A sync pop. This is usually done by placing a piece of 'toned' tape on a particular frame of film to establish a 'synch' point. (Film Editing) Blocking: Plotting actor, camera and microphone placement and movement in a production or scene. (Production) Blonde: An open face 2K lighting unit, also known as a 'mighty'. (Lighting)



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Bloop: The sound produced in an energized amplifier and speaker system when a film splice passes the photo cell to which the amplifier is connected. Blooping: Any method of silencing unwanted noise produced by the passage of a splice through a sound reproducer. Traditionally, a small opaque tape is fixed over a splice. (Post Production) Blooping Tape: Tape used to cover unwanted portions of sound tracks. Blow-Up: A film enlargement from a smaller gauge of film to a larger gauge (i.e. 16mm to 35mm). Bobbinet: Black mesh cloth which is used for grip scrims. It also is available in rolls for darkening windows. (Grip/Lighting) Boom: A telescoping arm for a camera or microphone which might be available in a variety of sizes from the very small handheld types to the very large, which might be transported as an integral part of a motor vehicle. (Production) Bottom Chop: A flag or cutter which is used to keep light off of the floor or the lower part of a scene. (Grip/Lighting) Box Rental: A fee or allowance paid to a crewmember for providing his/her own equipment or other specialized apparatus for use in a production. (Production) Branch Holder: A pipe-like unit with a locking nut which is used to hold branches, wooden poles, or other items. (Grip/Lighting) Breakdown: The separation of a roll of camera original negative (or in some cases a workprint) into its individual takes or scenes. (Film Editing) Also a very common term which refers to a preproduction function where discrete elements of a script are isolated and noted. (PreProduction)



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Breast Line: A guide line attached to anything being hauled up on a crane or by a pulley. (Grip/Lighting) Broad: A rectangular open-faced light which is used for general fill or for cyc illumination. (Lighting) Brute: A brute arc light, usually 225 amps DC powered. Bulk Eraser: A device which magnetically aligns all of the iron oxide molecules on a magnetic tape or film, thus eliminating any 'sound' on them. Burn-in Time Code: A videotape in which a "window" displaying the time code count on the tape is superimposed over part of lhe picture. Bus: A mixing network that combines the output of two or more channels. (Electronics) Butt Splice: A film splice in which the film ends come together without overlapping. (Film Editing) Butt-Weld Splice: A film splice made by joining the two pieces of film, without an overlapping portion, usually by applying both heat and pressure. (Film Editing) Butterfly (Butterfly Kit): Assorted nets, silks, solids, and grifflons which are used for light control; usually 5' x 5', or 6' x 6' frame size. Commonly a 12' x 12' or 20' x 20' is called a butterfly kit, however, it they should be called an overhead kit. (Grip) Butthead: A producer who thinks he knows more about a film technicians job than the tech himself knows. (Film) Someone who changes lanes without looking. (General)



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B-Wind: An indication of the emulsion position on a roll of film. A 'B' Wind indicates that the emulsion is facing out, or away, from the center or core of the film roll. (Film Editing)

C-47: Ordinary wooden clothespins which are used to secure gels to barndoors. They are also known as a #1 wood clamp. (Grip/Lighting) C Stand: A general purpose grip stand. (Grip/Lighting) California Scrim Set: A scrim set with two doubles. (Lighting/Grip) Call Sheet: A form which refers to all of the scenes to be filmed and all of the personnel and equipment required for shooting on a particular day. (Production) Camera Angle: The view point chosen from which to photograph a subject. (Cinematography) Camera Blocking: The process of notating the changing position of the camera, lens size, and focus during a particular scene. (Production) Camera Log: A record sheet giving details of the scenes or shots photographed on a particular roll of negative. Camera Operator: The camera operator is the person who is responsible for carrying out the cinematographers directions. They are the ones who actually aim the camera. This can take several forms ranging from tilts (moving the camera up and down), pans (moves right and left), and zooms (moves in closer or further away from the subject). It is their job to make certain that everything and everyone remains within the frame and in focus. Camera Wedges: Small wooden wedges, usually 4 inches long by 1/2 wide at the thickest end. (Camera)



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Cam-Lok: A feeder cable connector which is similar to a Tweco, but with a more positive locking mechanism which is easier to disconnect. (Grip/Lighting) Candela: A unit of light intensity, a standard candle. (Lighting) Canted Frame: Often described as a 'Dutch Angle' or 'Dutching'. This is a device or process whereby the camera is angled so that the horizontal frame line is not parallel to the horizon. (Production) Capacitance: An electrical component's ability to store electrical charges. (Post Production) Casting: Casting directors are not responsible for determining what the final cast list will actually look like. What they are responsible for is determining who will have the opportunity to audition for the producer and director of the film. A good casting director can make or break a film. CC Filters: Color compensating filters made in precise density values of the primary and secondary colors. (Cinematography) Clipping: The phenomenon where an input signal exceeds the capability of electronic or digital equipment to reproduce the signal. This results in an audible distortion (analog) or an incomprehensible noise (digital). (Sound) CD (Compact Disc): A digitally encoded disc capable of containing more than one hour of music at a sampling frequency of 44.1 khz. The data is read by a laser beam. (Sound) Celo: A type of cookie which is made from wire mesh coated with plastic. (Grip/Lighting)



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Center Track: A standard position for the placement of the audio signal on magnetic film. The placement is in a narrow band centered between the two edges of the film. (Sound) Century Stand (C-Stand): A multipurpose grip stand. (Grip/Lighting) Chain Vise Grip: A vise grip with a chain that is used for its clamping capability. (Grip) Changeover Cue: A mark at the end of a release print reel to indicate the moment at which to switch over to the next reel on the second projector. (Film) Checkerboard Cutting: A technique of splicing A/B rolls in order to eliminate the image of the film splice from the duplicates or to allow for rapid readjustments of optical printer settings from shot to shot. (Film Editing) Cinch Marks: These are marks which may result if the center of a roll of film is rigidly held while the outside end is moved. (Film Editing) Cinemascope: A trade name for a system of anamorphic widescreen projection.(Cinematography) Cinematographer: The cinematographer or director of photography is just what the name implies. The cinematographer defines the photographic style or look of the film. The cinematographer is responsible for transforming the screenwriter's and director's concepts into real visual images. The cinematographer is second only to the director when it comes to creating the mood, atmosphere, and visual style of the film. This entails doing everything from measuring the light to lining up the shot. Lining up the shot is more involved than it sounds; it requires determining which lens and filter to use, the way to point the camera and how to mount the camera. In short everything from ascertaining the best camera angles, setup, and movement to determining the exposure, and lighting necessary to achieve the desired effect Cinex Strip: A short test print in which each frame has been printed at a different exposure level. (Film/Laboratory)



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Click Track: A prerecorded track of electronic metronomic clicks used to ensure proper timing of music to be recorded. Essential in music scoring sessions. (Music) Coded Edge Numbers: A system of marking films with a series of sequential numbers for the purpose of maintaining an established synchronous relationship. (Film Editing) Combo Box: A six pocket stage box that can be converted from three-phase four-wire to single phase three-wire operation. (Lighting) Combo Stand: A heavy duty 2K stand without wheels. It is called a combo because it can be used for both reflectors and lights. (Grip/Lighting) Compander: Refers to a device that compresses an input signal and expands the output signal in order to reduce noise. (Sound) Completion Bond: An insurance guarantee that principal photography on a given film will be completed. It indemnifies a production against the unforeseen costs of any type, whether or not they result from problems which are covered by other types of insurance. Composite Print: A motion picture print with both picture and sound on the same strip of film. (Laboratory) Compression: The reduction of a span of amplitudes done for the purpose of limiting the reproduction of those amplitudes. (Post Production) Condenser Microphone: The simplest type of microphone in which the capacitance (electrical charge) is varied by sound, causing movement in one plate (diaphragm) in relation to a fixed backplate. (Sound)



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Contingency: A designated amount of a budget which is added in anticipation of potential cost overruns. Continuous Printing: A method of printing in which both the original and the raw stock move continuously past the point of exposure. (Laboratory) Control Track: A recorded track used to adjust or manipulate a recording or playback device. Generally, these are used to maintain consistent playback speed of video and/or sound recorders consistent with the recorded speed. (Post Production) Cookie: A perforated material which is used to break up light or create a shadow pattern. Also known as a cucoloris. (Grip/Lighting) Core: A plastic cylinder on which film is wound for transport or storage. Costumer: The costumer carries out the costume designer's directions. This can mean anything from purchasing or renting costumes for the actors to making certain that these garments have been altered for the actors. Costume Designer: The costume designer is responsible for the appearance of the actors' wardrobes. The frequently design and sketch out the costumes for the actors in a film. The Academy Awards for Costume Design was first instituted in 1948 and was won by Roger K. Furse for "Hamlet". One the most recognized costume designers was Edith Head who died in 1981. Head received 35 Academy Award nominations, and was an eight-time Oscar winner. Coupler: A chemical incorporated into the emulsion of color film stocks which produces a dye image associated with the developed silver image. Counter: A device for measuring lengths of film by counting the number of frames. Coverage: An indeterminate number of more detailed shots which are intended to be intercut with a master shot or scene. (Production)



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Cover Set: A location which is kept in reserve to serve as an alternate shooting site in case the chosen shooting site is unusable. It is most commonly used in the context of shooting planned for an out of doors location. (Production) CP Filters: Color printing filters made in precise density values for the colors; yellow, cyan, and magenta. (Cinematography) CRI: Color Reversal Intermediate. This is a duplicate color negative which is made by the reversal process. (Laboratory) Cribbing: Short pieces of lumber which are used for various grip purposes. (Grip/Lighting) Crossfade: The gradual mix of sound sources accomplished by the simultaneous manipulation of two or more mix console faders. (Post Production) Crossmodulation Tests: Tests which are used to determine the correct negative and print densities for a variable area optical sound track. (Sound) Crossover: The frequency at which a signal is split in order to feed separate parts of a loudspeaker system. (Sound) Crosstalk: In stereo, this is the breakthrough between channels measured as separation (in decibels) between the wanted sounds of the desired channel and the unwanted sounds from the second channel. (Sound) Cucoloris: A perforate material used to break up light or create a shadow pattern. Also known as a cookie. (Grip/Lighting)



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Cueing: A term with a broad range of meanings depending on the particular context. For Voice-Over Narration or Dialogue Replacement: The marking of the cue point in a way which will permit a signal to be given to the 'talent' to begin each element of work at the appropriate time. In General: Any system used by a second person to signal 'talent' that recording should begin. Cue Patch: A piece of self adhesive magnetic or metallic material placed on the edge of film as a means of actuating a printer light change or an automatic stop on a projector. (Film Editing) Cup Blocks: Wooden blocks with a dish or indentation in the center which are used to keep the wheels of light stands from moving. (Grip/Lighting) Cutaway: A single shot inserted into a sequence of shots that momentarily interrupts the flow of action, usually introducing a pertinent detail. (Production/Editing) Cutting: The selection and assembly of the various shots or sequences for a reel of film. Cyan: A blue-green color which is the complementary color to red. Cyc Lights: Row lights for evenly illuminating a cyclorama or other background. (Lighting) Cyclorama: Permanent background built in a studio which is nearly always coved or curved at the floor line to create a shadowless, unending backdrop. (Grip/Lighting)

Dailies: The first positive prints made by the laboratory from the negative photographed on the previous day. It also now refers to video which is transferred from that original negative. (Laboratory)



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Dance Floor: A floor built of 3/4 inch plywood which is usually covered with masonite to provide a smooth surface for free-form dollying. (Grip) DAT (Digital Audio Tape): Two-channel digital audio has become increasingly common as a professional master reference and for use in field recording. (Sound) DAW (Digital Audio Workstation): A computer-based recording and editing machine used for manipulating sounds. (Sound) Day Out of Days: A form designating the workdays for various cast or crewmembers of a given production. Deal Memo: A form which lists the pertinent details of salary, guaranteed conditions, and other essentials of a work agreement negotiated between a member of the cast or crew and a production company. Decoder: The device which reads the enclosed signal or pulse and turns it into some form of usable information. Deep Focus: A style of cinematography and staging that uses relatively wide angle lenses and small lens apertures by maintaining objects in the extreme background and foreground simultaneously focused. (Cinematography) Dead spot: A place in which a sound waves are canceled by reflections arriving out of phase with the wanted signal thus creating an area of silence or poor audibility. (Acoustics) Dead Sync: An editorial term meaning that sound and picture elements are perfectly aligned. (Film Editing) Degausser: A device used to erase recordings on magnetic tapes and films or to demagnetize magnetic recording heads.



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Density: A factor which indicates the light-stopping power of a photographic image. Depth of Field: The amount of space within lens view which will maintain acceptable focus at given settings (i.e. camera speed, film speed, lens aperture). (Cinematography) Developing: The chemical process which converts a photographic exposure into a visible image. (Laboratory) Deuce: A 2K fresnel lighting unit. (Lighting) DGA: Director's Guild of America. A union which represents directors, assistant directors, production managers, and various video personnel. Dialogue track: A sound track which carries lip sync speech. (Sound) Differential Rewind: A device designed to permit simultaneous winding of film on more than one reel at a time even though the diameters of the rolls are unequal. (Film Editing) Digital: A reference to a system whereby a continuously variable analog signal is reduced and encoded into discrete binary bits that establish a mathematical model of an original signal or other information. Digital Recording: A method of recording in which samples of the original analog signal are encoded on tape or disk as binary information for storage or processing. The signal can then be copied repeatedly with no degradation. (Sound) Dimmer: A device for varying power to the lights. (Lighting) Dingle: Branches which are placed in front of a light as a cookie would to cut the light and provide a shadow pattern. (Grip/Lighting)



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Dissolve: A transition between two scenes where the first merges imperceptibly into the second. (Film/Video) Distortion: A modification of the original signal appearing in the output of audio equipment which had not been present in the input. (Audio) Directional Characteristic: The variation in response or perception for different angles of sound incidence. (Acoustics) Director: The director is responsible for the entire creative end of the film. Ultimately, the success or failure of the film rests with the director. Can you say, "big job"? The director determines the eventual look of the film, or at least they try to. Sometimes, creative control is removed from the director; when this happens directors have been known to have their name removed form the credits and to have the name Alyn Smithee substituted as director. Dolby Digital: This is a 5.1 channel digital film format that if optically recorded on to a film release print in the blocks of space located between the film's sprocket holes. (Sound) Dolby SR: Spectral Recording. An encoding/decoding noise reduction system developed by Dolby Laboratories and used increasingly in film sound. Dolly Shot: Any shot made from a moving dolly. These may also be called tracking or traveling shots. (Production) Doorway Dolly: A plywood dolly with four soft tires which is narrow enough to fit through a doorway. It is used to carry a camera on a tripod or for transporting other heavy items. (Grip) Dots: Small nets and flags used to control light. (Grip/Lighting)



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Double-System Sound: Sound and picture on separate transports. This refers to the normal methodology of recording the picture on a camera while recording sound of a separate magnetic tape recorder. (Film) Drift: Flutter which occurs at random rates. (Acoustics) Drop-In: The process of inserting recorded audio by playing up to a chosen point and switching from playback to record mode. (Video/Audio) Drop Frame: American system of time code generation that adjusts the generated data every minute to compensate for the spread of the NTSC television system running at 29.97 frames per second. Drop Out: Loss of a portion of a signal, usually due to a loss of a tape's oxide coating or due to dirt or grease covering a portion of a tape. DTS: This is a film sound system which utilizes a CD-ROM disc which is sychronized to film by means of timecode which is optically encoded into the exhibition film print. (Sound) Dub: To make a taped copy of any progam source record, CD, tape. Also, the copy itself. Sometimes used to refer to the ADR process. (Audio/Video) Dub Stage: Term generally used in California but to refer to the room where the final audio mix is made for a program or film. It might also be known as a mix stage. Dubber: A high quality sound reproducer which is mixed with outputs from other dubbers that are generally loaded with sprocketed magnetic film. (Post Production)



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Dubbing: An actor's voice synchronization with lip movements which are not the originally recorded sound. This is used to replace unusable dialogue or recordings, and also used to prepare foreign films for new markets. (Post Production) Dupe: A copy of a negative. Short for duplicate negative. Dutch Angle: This is the process where a camera is angled so that the horizontal frame line is not parallel to the horizon. (Production) Duvetyne: A heavy black cloth, treated with fire proofing material, which is used for blacking out windows, making teasers, hiding cables, and hundreds of other uses. (Grip) Dynamic Distortion: Alteration of volume range of a sound when it is transmitted. (Acoustics) Dynamic Range: The difference in decibels between the loudest and quietest portions of audio. (Sound)

Ear: To put a flag up on the side of a lighting unit to block light. Better known as a 'sider'. (Grip/Lighting) EBU: European Broadcast Union. This generally identifies a 25 FPS time code standard. Echo: A sound wave that has been reflected and returned with sufficient magnitude and delay to be perceived as a wave distinct from that which was initially transmitted. Edge Numbers: Coded numbers printed along the edged of a strip of film for identification purposes.



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Edge track: A standard position for the placement of the audio on a single perforation magnetic film. Edison Plug: An ordinary household plug with two flat blades and a ground pin. (Lighting) Edit Decision List (EDL): The list of SMPTE codes, in footage and frames, and including instructions for fades, dissolves and other special effects which corresponds to all the segments that the editor of a film or videotape production has decided to use in the final cut. Edit Master: Video industry term for the tape containing the finished (edited) program. Edit Points: Also known as "edit in" and "edit out." The beginning and end points of an edit when a video program or soundtrack is being assembled. Effective Output Level: The microphone sensitivity rating defined as the ratio in dB of the power available relative to sound pressure. (Acoustics) Emulsion: The gelatine layer of photo-sensitive material in which the image is formed on film. (Film) Envelope: The shape of the graph as amplitude is plotted against time. A sound's envelope includes its attack, decay, sustain and release (ADSR). (Sound) Environmental Sound: General low level sound coming from the action of a film, which can either synchronous or nonsynchronous. Equalization: The alteration of sound frequencies for a specific purpose, such as to remove 'noise' frequencies or to improve speech clarity.



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Equivalent Noise: A microphone in a completely silent room still generates some residual noise. This noise can be measured and can be computed. That computation is the 'Equivalent Noise'. (Acoustics) Establishing Shot: Usually a long shot at the beginning of a scene which is intended to inform the audience about a changed locale or time for the scene which follows. (Production) Exciter Lamp: An incandescent lamp used to supply nonvarying luminous energy to a photoresponsive cell. Used in film projectors to illuminate the optical sound track.

5.1 Channel Digital Sound: The film digital sound exhibition standard which utilizes five output speaker channels (left, center, right, right surround, left surround, and subwoofer). (Sound) Fade: An optical effect in which the image of a scene is gradually replaced by a uniform dark area or vice versa. FAST: The camera assistant's motto. Everything he/she must do before each shot (Focus, Aperture, Shutter, Tach). (Camera) FAY: A 650 watt PAR light with daylight balance dichroic fliter. (Lighting) Feather: Moving a 'flag' closer to or further away from a light source that it is in front of will feather (soften/harden) the shadow on the surface upon which the light falls. (Grip/Lighting) Feed Lines: Lines of dialogue which are read outside camera range for the benefit of an 'on camera' or 'on microphone' actor or voice over artist.



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Fill Leader: Film leader used to fill in the blanks in picture workprint. (Film Editing) Film Base: The flexible, usually transparent support on which photographic emulsions and magnetic coatings are carried. (Film Editing) Film Cement: A common term for the welding solvent used in splicing film. (Film Editing) Film Notcher: A device used to punch out a small portion of the edge of a piece of film in order to permit electrical contacts on a printer to come together and thus activate light changes. (Film Editing) Filter: A transparent material having the ability to absorb certain wavelengths of light and transmit others. Fingers: Small flags used to control light. (Grip/Lighting) First Assistant Director: Think of the first assistant director as the film's general contractor. It is the first assistant director's job to turn the directors dreams into concrete reality. They are the people who make sure that every thing and every one is in the appropriate place at the appropriate time. These people wield tremendous power - they get to yell "Lunch!" It is also the AD's voice that appeals for "Quiet on the set!" and orders the camera operator to "Roll." Prior to the start of production, the AD is often assigned to break down the script for a shooting schedule (the shooting schedule is exactly what it sounds like - a calendar that lists what scenes will be shot in which order and on which days). This particular job often serves as a gateway to other positions, most notably that of director or producer. Fixing: The removal of unexposed silver halides from the film during processing. Flat: Usually an agreement to perform work or provide a service for a fixed fee or wage which will not be affected by overtime restrictions of unexpected costs. Also used in terms of sets and set construction elements which are generally used to create walls.



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Flatbed: A modern film or sound editing system where reels are laid horizontally on "plates" on a mechanized table with sound and picture heads. Flicker: The alternation of light and dark which can be visually perceived. Float: Periodic vertical movement of the image which occurs as a result of mechanical faults in the camera, printer, or projector. Flood: The widest beam spread on a lensed light. (Lighting) Flop-over: An optical effect in which the picture is shown reversed from left to right. Flutter: The rapid period variation of frequency caused by unsteadiness of the film or tape drive. (Sound) Flux: An amount of light which is present as measured in lumens. Foamcore: Polystyrene which is sandwiched between paper. It is used to relectors, soft boxes, and other items because it is stable and easily cut. (Grip/Lighting) Focus Pull: The refocusing of a lens during a shot to keep a moving subject in focus or to change the person or object of attention. (Cinematography) Fog Level: The minimum density of the unexposed area of processed film. Foley: Creating sound effects by watching picture and mimicking the action, often with props that do not exactly match the action. Format: The size or aspect ratio of a motion picture frame.



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Frame: The individual picture image on a strip of motion picture film. Also, one complete screen on videotape. Frame Rate: The frequency at which film or video frames run (i.e. 24 fps; 29.97 Hz in NTSC; 25 Hz in PAL European format). Freeze Frame: An optical printing effect in which a single frame image is repeated so as to appead stationary when it is projected. Frequency: The number of times a signal vibrates each second as expressed in cycles per second (cps) or Hertz (Hz). (Sound) Frequency Discrimination: Exaggeration or diminution of particular frequencies in relation to others. (Acoustics) Frequency Response: This represents the sensitivity of a given sound, video, or other recording/playback system. Fresnel: A stepped convex lens. It is most commonly used to descripe tungsten-incandescent lamps. (Lighting) Full-Coat: Film which is coated with an iron oxide compound on which sound is recorded and from which sound is reproduced.

Gaffer: The gaffer is the head electrician. This means that they are in charge of all the lighting personnel. How they got this name, I have absolutely no clue - but rumor has it that the name gaffer predates the sound era in a time when electricity was used to a lesser degree than today. The early stages had canvas roofs that were opened and closed to emit varying degrees of light. This canvas was moved with large gaffing hooks which had been traditionally used to land large fish. I won't swear that this is the actual reason we call them gaffers, but it is the only explanation I have heard that sounds reasonable.



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Gain: The ratio of the signal level at the output of an audio device to the signal level at its input. Expressed in decibels (db). Gamma: The degree of contrast in a negative or print. Gang Synchronizer: A synchronizing device having more than One sprocketted wheel which is used to set up synchronized relationships between film and sound tracks which have been recorded to magnetic film. (Film Editing) Gate: The aperture assembly at which the film is exposed in a camera, printer, or projector. Gigabyte (GH): A unit for measuring computer memory capacity, equivalent to 1,000 megabytes (MB). Gobo: A grip head or "C" stand head used as a clamping device for holding other equipment. (Grip) Grading: The process of selecting the printing values for color and density fo successive scenes in a complete film to produce the desire visual effects. (Laboratory) Grifflon (Griff): A durable material made of three ply high density rubber. The material is attached within a frame and used as either a soft reflector of sunlight or cut or soften direct sun. It generally comes in three sizes: 6' X 6', 12' x 12', and 20' x 20'. (Grip/Lighting) Grip Tape: This is Duct tape style tape, also known as gaffer's tape or cloth tape. (Grip) Guillotine Splicer: A device used for butt splicing film with splicing film. (Film Editing)



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Handle: An extra number of frames attached to the head and tail of an optical print as a safety precaution. (Laboratory) Hair Stylist: Amazingly enough, the hair stylist does the actors' hair. Don't laugh, it can be a challenge to make a guy with a buzz cut look like he has a Mohawk Hard Disk: A data storage and retrieval device consisting of a disk drive and one or more permanently installed disks. Increasingly common for storing sound effects and archiving for future use. Harmonic Distortion: Acoustic distortion characterized by unwanted changes between input and output at a given frequency. (Acoustics) Hazeltine: A machine which a color time at a lab or optical house uses to determine how to 'time' a film print for the proper amounts of red, blue, and green light. Also called a color analyzer. (Laboratory) Hertz (Hz): Unit for measuring frequency of d signal; formerly called "cycles per second." Hi-Con: Generally a high contrast film print which provides the maximum contrast between the light and dark elements. (Laboratory) Highboy: A heavy-duty rolling stand, usually with a combo head, that has a junior receiver and a large grip head. Also called Overhead Stands. (Grip/Lighting) Highkey: An overall brightly lit scene with realtively few shadows. (Lighting) High-Pass Filter: An electronic filter used in various audio circuits to attenuate all frequencies below a chosen frequency.



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Hiss: Asperity Noise. Noise caused by minute imperfections in the recording medium (tape). (Sound) HMI: An enclosed, AC mercury arc lamp. (Lighting) Hollywood Box: A stage plug-type box without fuses. (Lighting) House Sync: An internal timing reference used to synchronize all transports within a facility. Horse: A support for one or more rolls of film used on a cutting table. Hot Splicer: A film splicing machine of precision construction in which portions of a film are overlapped, cemented, then warmed and dried by a heating unit. (Film Editing)

Incoming Scene: The second scene to appear in a dissolve or wipe effect. Inductance: The resistance of a coil of wire to rapidly fluctuating currents which increases with frequency. (Acoustics) Inkie: A small (250 watt) fresnel type light. (Lighting) Insert Editing: Used in videotape or digital audio editing to describe the process of replacing a segment located between two specific and previously dubbed segments. Intercutting: An editing method whereby related shots are inserted into a series of other shots for the purpose of contrast or for some other effect. (Film Editing)



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Interlock: A term that generically refers to two or more machines running in sychronization; often shortened to "locked." Interlock Projector: A projector used to reproduce the picture while synchronized sound is played back on an accompanying machine or other linked sound device. (Film Editing) Intermediates: A general term for color masters or duplicates. Intermodulation Distortion: An amplitude change in which sum and difference tones (harmonics) are present in the recorded signal. (Acoustics) Internegative: A color negative duplicate made from a color positive. Internegatives are used for release printing in order to protect the original negative from damage. Interpositive: Any positive duplicate of a film which is used for further printing. Invisible Cut: A cut made during the movement of a performer which is achieved by overlapping the action or by using two cameras, then matching the action during editing. (Film Editing) IP/IN: The process of making a new negative of a film by striking an interpositive and then, from that, striking a new negative (internegative). (Laboratory) Iris: A variable aperture that controls exposure or the amount of light which is released from a lighting unit. (Camera/Lighting) Iris Wipe: A wipe effect in the form of an expanding or diminishing circle.



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J-Lar: A transparent tape which is used to splice jels together. (Grip/Lighting) Jam Sync: A process of locking a time code generator to an existing coded tape in order to extend or replace the code, used when code is of poor quality. Japanese Lantern: A paper-covered wire frame globe into which a socket and bulb may be placed. (Lighting) Jib Arm: A mechanical are which is supported on a dolly, tripod, or other device, which is counterweighted to hold a camera for an increased range of motion. (Production) Juicer: An electrician. Jump-Cut: An editorial device where the action is noticeably advanced in time, either accidentally or for the purpose of creating an effect on the viewer. (Film Editing) Junior: A 2K fresnel light unit. It may also mean any 1 1/8 inch spud or mounting pin or any 1 1/8 inch female receiver. (Grip)

K: Kelvin, the unit of measurement used for absolute temperatures and color temperatures. KEM: A brand name for a common 'flatbed' film editing machine. (Film Editing)



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Key Grip: The key grip is the person in charge of all the people who move anything. This means that they are the boss of all the individuals who move scenery, cameras (these things often weigh a ton), and set up and take down the scaffolding that the lights, microphones etc. are hung on. In live theater, these folks are called stage hands, and in film they are called key grips. The way to remember this is to remind yourself that you can't move it if you can't get a grip on it. Key Light: The main light on a subject. (Lighting) Key Numbers: Numbers placed on the edge of the film stock by the manufacturer as a unique identification point (35mm - every 16 frames: 16mm - every 20 frames). (Film Editing) Kick: An object with a shine or reflection on it from another object. (Grip/Lighting) Kiss: A light that gently brushes a subject. (Lighting)

L-C-R-S (Left, Center, Right, Surround): The four playback channels used in 35mm motion pictures, now available on home hi-fi systems. L, C and R speakers are located behind the screen. The S channel surrounds the audience and may be mono or encoded stereo. Lamp: A reference to the bulb inside a lighting unit, but may sometimes be used to refer to the entire lighting unit. (Lighting) Latitude: The range between overexposure and underexposure in which a film will still produce usable images. (Camera) Lavalier Mic: A small microphone that can be easily hidden on a piece of clothing so as not to be seen by the camera.



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Layback: Transfer of the finished audio mix back onto the video edit master. Layoff: Transfer of audio and time code from the video edit master to an audio tape. Layover: Transfer of audio onto multitrack tape or hard disk. Also referred to as "layup." Lexan: A plastic sheeting material, available in varying widths, that is optically clear and used to protect camera personnel from explosions or the results of other action. (Grip/Camera) Leader: A length of nonimage film which is used for threading, identification, or fill-in purposes. (Film Editing) Leko: An ellipsoidal reflector spot light. Usually used for theatrical purposes. (Lighting) Level: The ratio of an acoustic quantity to a reference quantity. A measurement of amplitude in decibels. (Acoustics) Library Shot: Stock footage shot or other footage which is germane to a given visual presentation but which was not generated for that specific film or television presentation. (Film Editing) Light-Struck Leader: Film which was fully exposed to light which is then used as leader. (Film Editing) Light Value: A reference to a fast acting, variable opening shutter to control the light intensity in printing film. (Laboratory) Lip-Sync: The relationship of sound ad picture that exists when the movements of speech are perceived to coincide with the sounds of speech.



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Liquid Gate: A printing system in which the original is immersed in a liquid at the moment of exposure. This is done in order to reduce the adverse effects of surface scratches and abrasions. Looping: A continuous sound track that runs repeatedly in playback as a guide for re recording. (Post Production) Low Contrast Original: An original reversal film which is designed to yield prints having good projection contrast. Lowboy: A heavy duty rolling stand, usually with a combo head, but without the height of a 'highboy'. (Grip/Lighting) Lowkey: A high contrast lighting style with lost of shadows and large areas of darkness. (Lighting) Lowpass Filter: A filter that attenuates frequencies above a specified frequency and allows those below that point to pass.

Machine Leader: Strong leader threaded through a film processing machine which is used to pull film through the machine during its operation. (Laboratory) Makeup Artist: These wizards of grease paint do the actors' makeup. In rare instances, The Academy has chosen to recognize them with an Academy Award for outstanding accomplishments in this area. The award was instituted in 1981and was first given to Rick Baker for "An American Werewolf In London" Mater: A small adjustable clamp with a baby stud which can be interchanged with a variety of accessories. (Grip)



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Magenta: A red-purple color which is the complementary color of green. Magnetic Film (mag film): Film which is coated with an iron oxide compound on which sound is recorded and from which sound is reproduced. Masking: A phenomenon whereby one or more sound "trick" the ear into not hearing other, weaker, sound that are also present. (Audio) Master (print master): A positive print made specifically for duplicating purposes. (Laboratory) Match Cut (match-action cut): A cut made on action or movement between two shots in which the action has been overlapped either by repetition of the action or by the use of more than one camera. (Film Editing) Match Dissolve: A dissolve linking images which have similar content. (Film Editing) Match-Image Cut: A cut from one shot to another shot having an image of the same general shape as the one in the prior shot. (Film Editing) Matching: Arranging for the impedances presented by a load to be equal to the internal impedance of the generator. This is essential to avoid loss of power. In microphones, the loss results in poorer signal-to-noise ratio. Matching is done by means of a transformer. (Acoustics) Matching Action: The process of aligning or overlapping the shots of a film sequence in order to achieve a smooth transition from the action in one shot to the action of the succeeding shot. (Film Editing) Maxi-Brute: A 9 light unit with (9) 1000 watt PAR 64 lights. (Lighting) MB: The acronym for megabytes which is a measure of computer storage capability; the equivalent of 1,000 bytes.



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ME Track: This refers to the music and effects tracks which are combined into one (or a stereo pair) for use with foreign language re recording of a film or video program. Meat Axe: An grip arm-like accessory which is designed to clamp onto the hand rail of a studio overhead catwalk, or other suitable surface, and has a gobo head at the end of the arm. (Grip) Mercer Clip: A trade name for a small plastic clip which is used to hold film ends together during film assembly. (Film Editing) Mickey: An open faced 1K lighting unit. Also known as a 'Redhead'. (Lighting) Microphone Impedance: The nominal load impedance for a microphone indicates the optimum matching load which utilizes the mike's characteristics to the fullest extent. Impedance is a combination of dc resistance, inductance and capacitance, which act as resistances in ac circuits. An inductive impedance increases with frequency; a capacitative impedance decreases with frequency. Either type introduces change in phase. (Acoustics) MIDI: Musical Instrument Digital Interface. A machine protocol that allows synthesizers, computers, drum machines and other processors to communicate with and/or control one another. (Sound) Mix: Electrically combining the signals from microphones, tape, and/or reproducers and other sources. (Post Production) Mix Cue Sheet (cue sheet): A sheet having several columns for notations of footage, fades. volume levels, and equalizations which are used in mixing sound tracks where each column usually represents one track. Montage: The assembly of shots and the portrayal of action or ideas through the use of many short shots. (Film Editing)



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MOS: Silent filming. Traditionally explained as Motion Omit Sound. Motivated Lighting: A lighting style in which the light sources imitate existing sources, such as lamps or windows. (Lighting) Moviola: A trade name for an upright film editing machine. M-S: (Mid-Side). A stereo microphone technique where two microphones are incorporated into a special configuration for recording. (Audio) Multichannel: In film, used to refer to a final mix that includes more than stereo information (i.e., LCRS or six-channel surround formats). Multitrack: An audio tape recorder capable of handling more than two tracks of information separately. Musco Lights: An array of permanently crane mounted HMI lights. (Lighting) Music Editor: The music editor's job begins in post-production. It is the music editor's job to insert the composer's prerecorded score into the sound track. This can be more complicated than it sounds, since the composer may have recorded the score before the sequence was even filmed, and as such the music may or may not be the right length for the scene.

Negative: ( 1) For a black-and-white image those tonal values which are the opposite of those in the original subject. (2) For a color image, those color values which are the complement of those in the original subject. (Film Editing) Nets: A bobbinet on a frame used to cut lighting intensity by either a half stop or full stop. (Grip/Lighting)



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Neutral Density (ND): Colorless filters that reduce the amount of light in controlled degrees. (Camera/Lighting) Noir: Usually refers to the classic black and white film noir style used in detective mysteries, typically employing hard lighting and dark, low key lighting. (Camera/Lighting) Noise: In audio systems, noise is the electrical interference or other unwanted sound introduced into the system (i.e. hiss, hum, rumble, crosstalk, etc). (Sound) Notch: A recess on the edge of a piece of film which automatically triggers a mechanism effecting some modification of the duplication process, commonly a change of exposure light intensity. (Film Editing) NTSC: National Television Standards Committee. The organization that sets the American broadcast and videotape format standards for the FCC. Color television is currently set at 525 lines per frame, 29.97 frames per second.

Obie: An eyelight mounted on the camera. (Lighting) Octave: The interval between two sounds having a basic frequency ratio of 2 to 1. (Sound) Offline: The videotape editing process whereby the final edit list is compiled, usually in a more inexpensive edit room, in preparation for the on-line edit. (Video) Off-Scale: Outside the range of the standard light values of a printer. (Laboratory) One-Light Print: A print made with a single printer light setting for all shots in the film being printed. A common method to produce a 'daily' color print. (Laboratory)



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Online: The videotape editing process that creates the final video edit master, including effects, from the offline edit list. (Video) Opacity: The ratio of the amount of light falling on a surface to the amount of light which is transmitted. (Lighting) Opaque Leader: Any strip of flexible, optically opaque material used to space picture in A/B roll film cutting and editing. (Film Editing) Optical Effects: A laboratory or print procedure in which shots are modified by use of an optical printer. These are most commonly seen as fades and dissolves, however, it can include a wide range of special effects procedures. (Laboratory) Optical Printer: A printer in which an image of the original is transferred to raw film stock by means of light and a lens system. (Laboratory) Optical Sound: A sound track in which the recording uses variation of a photographic image. Optical Stereo: A film recording system replayed by scanning the stereo tracks by means of a photo cell lamp. Outgoing Scene: The first scene of a dissolve or wipe effect which changes into the second, or incoming scene. Out-Take: A take of a scene which is not used for printing or for the final assembly of a film. Overlapping and Matching Action: Repeating part of the action in one shot at the beginning of the next shot, or covering the action with two or more cameras, then matching the overlaps on the editing table for the purpose of making a smooth cut on action. (Film Editing)



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Packaging: A combination of several creative elements such as a script, actor/s, and director which is used to attract interest in a production for the purposes of obtaining financing or distribution. PAL (Phase Alternating Line): The European color television standard that specifies a 25Hz frame rate and 625 lines per frame. Pan: A horizontal movement of a camera on a fixed axis. Parallels: Temporary Scaffolding, used as a platform for the camera, lighting, or other rigging. (Grip/Lighting) Pay or Play: A contract provision which commits the production company to compensate a cast or crew member for a project whether or not that project ever goes into production. Phase Distortion: This is a shifting of output voltage relative to input by an amount which is disproportional to frequency. This will not detectable until it an amplifier. (Acoustics) Phase shift: The displacement of a waveform in time. Some electrical components introduce phase shift into a signal. When various frequencies are displaced differently, distortion occurs. Electrical cancellation may occur when two equal signals are out of phase by 1~3()¡. However, this may also be used are a encoding method where the shift is removed on playback (similar to the method in which a Dolby Surround sound track is encoded and played back. (Post Production) Phantom Power: A method of remotely powering the preamplifier or impedance converter which is buitlt into many microphones by sending a voltage along the audio cable. (Audio)



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Phase: The timing relationship between two signals. (Audio/Electronics) Pick-up Shot: Reshooting a portion of a scene, the rest of which was acceptably filmed in a previous take. Pilot Tone: A sine wave signal, recorded by various field audio recorders at a known frequency, which is used to resolve the tape speed on playback to retain sync with film camera footage. Pin: A component of a camera or printer mechanism which engages with a perforation hole to move and locate film for exposure. Pink noise: A sound signal that has an equal amount of energy per octave or fraction of an octave. (Sound) Pitch: The distance between two successive perforations along a strip of film.(Film) The frequency of audible sound (Sound). Plate: A background for any type of process shot. (Laboratory) Playback: A technique of filming music action first, the playing the music through loudspeakers while performers dance, sing, etc. Positive Scratch: The black image on a print of a scratch on the positive from which the print was made. (Film Editing) Post-Production: The period in a project's development that takes place after the picture is delivered, or "after the production." This term might also be applied to video/film editing or refer to audio post-production. Practical: Any light that appears in the scene. (Lighting)



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Preamplifier: An electronic device that boosts extremely weak signal voltages, such as those from microphones or mag heads, to a level that is usable by power amplifiers. (Electronics) Pre-Blacked: A video tape which has already had a control track, usually with SMPTE encoded time code, but without any picture or sound. This is done to facilitate the video editing or assembly process. Prescoring: Recording of music or other sound prior to the shooting of the picture which is to accompany it. The most common usage is in animated film. (Sound) Principal Photography: The main photography of a film and the time period during which it takes place. (Production) Printing Sync: The relation between the picture and sound components in which they are printed to give the necessary displacement for projection as a composite print. (Laboratory) Prism Shutter: A device used on many film viewers, editing machines, and some high-speed cameras, consisting of a rotating prism of four or more sides through which the viewer light passes as film is pulled continuously through it. (Film Editing) Process Shot: A shot that will be composited from two other shots. The background part of this process is called a 'plate'. (Laboratory) Producer: The producer of a film or TV show is responsible for overseeing the entire project. He or she acquires and control funding for everything. They hire the director and other key personnel. They can be referred to as the “business managers”.



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Production Assistant: The production assistant, or PA, is an entry level position. This position is the moral equivalent of serfdom, as these individuals often work for little or no money in the hopes of eventually advancing up the ladder. PAs are generally assigned every lousy task that comes along. So why do they do this? On the premise that their perseverance will eventually pay off in the form of a better job. Don't laugh -- today's PA may be tomorrow's movie mogul (they could also be the son or daughter of the producer, director or big name star). Production Designer: This is the individual who is responsible for the "look" of the film. The production designer is responsible for the appearance of all of the movie's sets, locations and costumes. If it isn't an actor, the production designer was responsible for its selection. Production designers generally have a background in scenic design and or architecture. These individuals make a significant contribution to the "feel" of a movie. Production Dupe: A duplicate negative prepared in the final form for release printing. (Laboratory) Production Sound: Recording and/or mixing sound on location during the film or video shoot. Typically this has been recorded to an analog Nagra reel-to-reel machine, though DAT recorders and other digital formats are now making significant inroads. Projection-Contrast Original: An original reversal film which is designed to have normal contrast when projected. (Film Editing) Projection Leader: A short length of film having standard markings on it, used to enable projectionists to make instant changeovers from one projector to another. (Film Editing) Property Master: The property master is in charge of procuring and preparing any object that an actor comes in physical contact with during a film. The prop department handles everything from food on a plate to weapons. If an actor touches it, it is a prop. If, for example, an actor throws a flower vase at a wall it is a prop. If it sits on the table and is never moved, it's set decoration. The prop department also handles promotional items and their placement in the film. Promotional items can run the gamut from candy and gum to which beverage an actor consumes in a film.



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Punch: A device for punching a hole in film leader to locate a starting point for editorial or printing synchronization. (Film Editing). Also refers to specular light. (Lighting)

Quarter Inch: A reference to the standard width magnetic audio tape which is used to record film production sound. (Sound) Quartz: Tungsten-Halogen lights or lighting units. The name is derived from the material which encloses the lighting element. (Lighting)

Rack: A frame carrying film in a processing machine. Ofter used to refer to frame edit alignment in which the projected film remains properly framed on the screen (in rack). (Laboratory) Rank: A shortened term which refers to a "Rank-Cintel Flying Spot Scanner". This is a telecine device which transfers a film image into electronic signals which are then recorded on to video tape. Reaction Shot: A shot of a player listening while another player's voice continues on the sound track. (Production) Redhead: An open faced 1K lighting unit. Also known as a 'Mickey'. (Lighting) Reduction Printing: The production of a copy of a film which is of a smaller size or gauge than the original (i.e. 35mm to 16mm). This is done of an optical printer. (Laboratory)



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Relational Editing: Editing of shots for the purposes of comparison or for the contrast of content. (Film Editing) Release: The general distribution of a film for public exhibition. Release negative: A duplicate negative from which release prints are made. (Film Editing) Re-recording: The process of mixing all edited music, effects and dialog tracks of a film or video production to mono, stereo, multichannel or whatever audio format is desired for the final print master. Resolving: The process of regulating tape speed by comparing a reference signal on the tape with an external reference and adjusting the speed so that they match. Reverberation: The presence or persistence of sound due to repeated reflections. Reversal film: A film that is manufactured and processed in such a way as to produce a positive image after exposure. (Film Editing) Reversal Intermediate: A second generation duplicate which is reversed to make it the same type, negative or positive, as the original. It is used for printing in order to protect the original. (Film Editing) Reversal Original: A reversal film designed to be exposed in a camera. (Film Editing) Reverse Action: An optical effect in which the action appears backwards from its chronological sequence. (Laboratory) Reverse Angle: A shot that is turned approximately 180 degrees in relation to the preceding shot. (Cinematography)



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Rim: A hard backlight, is generally on the same level as the subject, that casts more light than the key light. (Lighting) Riser: (1) A cylindrical metal device placed betwen the dolly head and the camera base to raise the camera. (2) A prebuilt platform used to raise the set, camera, or lights. (Grip/Lighting) RMS (root-mean-square): Effective sound pressure. (Acoustics) Room Tone: The "noise" of a room, set or location where dialog is recorded during Production. Used by film and dialog editors as a "bed" to form a continuous tone through a particular scene. This is often confused with ambience, which might be sound effects and/or reverberation added when the dialog is mixed. Rough cut: A preliminary trial stage in the process of editing a film. Shots are laid out in approximate relationship to an end product without detailed attention to the individual cutting points. (Film Editing) Run of the Picture: A cast member whose work may be required any of the days scheduled for principal photography without incurring liability for additional compensation. Rushes: This refers to daily prints of a film used for evaluation purposes. (Laboratory)

Score: The original-music composition for a motion picture or television production which is generally recorded after the picture has been edited. Scrim: A metal 'window screen' that can be placed in front of a lighting unit to decrease the lighting intensity by a predetermined amount. (Grip/Lighting)



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Script Supervisor: This is the person who is in charge of what is known as "continuity" in the industry. Continuity refers to the job of making certain that a movie that is actually shot out of sequence (most films are) eventually makes sense. Script supervisors make certain that actors say the same lines and wear the same clothing during each "take" of the scene. If the script supervisor does not do their job, the film is liable to have a bruise on one arm in the first scene and the other arm in the next. Script supervisors often carry Polaroid cameras so that they can consult pictures of the scene to make certain that everything matches up. This is an extremely important job. You can bet that if Harrison Ford has a hat on one minute and it is gone the next only to reappear without warning the moment the camera changes angles there will be a film critic out there only too happy to point it out. Scrub: Moving a piece of tape or magnetic film back and forth over a sound head to locate a specific cue or word. Scrub Wheel: A mechanical control for scrubbing film or magnetic tape. SDDS: Sony Dynamic Digital Sound System. A film sound format which encodes eight tracks of digital audio outside of the sprocket holes on both edges of a film print. (Sound) Second Assistant Director: The second assistant director is the person who makes certain that the first assistant director's orders are carried out. They are frequently in charge of filming "we-the-people scenes" (scenes that feature casts of thousands where the primary actors are not seen). They are often assigned to film battle sequences and stunt sequences where extras are utilized. This particular job can also serve as a gateway to other positions, such as that of director or producer Second Unit: A photographic team that shoots scenes which do not involve the principal cast, such as stunts, car chases, or establishing shots. Senior: A 5K fresnel lighting unit. (Lighting) Senior Stand: A braced junior stand sufficiently rugged for large lights such as a 5K, 10K, or 'Big Eye'. (Grip/Lighting)



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Sensitivity: An indication of recording or playback efficiency as might be measure of a microphone or audio tape recorder. Sequencer: The hardware or software based brain of a MIDI studio. It receives, stores and plays back MIDI information in a desired sequence. Set Decorator: The set decorator works with the production designer to select all of the decorations that will be used in a scene. This includes everything from furniture to carpeting to the drapes on the windows. These individuals are often the recipients of fan mail - the kind that asks where can I get a painting, a clock, a flower vase, etc. like the one that was featured in a film. Set Designer: The set designer translates the production designer's ideas and sketches into blueprints for the construction crew. Set Dressing: Items of decoration which are not designated in the script or by the director as part of specific action. (Production) Set Up: Each discrete position of the camera, excluding those in which a dolly or crane is used to move the camera during filming. (Production) Shiny Boards: A grip reflector used for reaiming sunlight to provide a key or fill light. (Grip/Lighting) Shotgun Mic: A highly directional microphone, usually with a long, tubular body; used by the production sound mixer on location or on the set for film and television productions. Showcard: A white artists' cardboard which is used as a reflector or for making other special rigs. It is easily cut and formed. (Grip/Lighting) Siamese: A splitter that divides a power line into two parts. (Grip/Lighting)



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Sibilance: An exaggerated hissing in voice patterns. (Post Production) Sider: A device which cuts the light from the side of a lighting unit, usually a flag or a cutter. (Grip/Lighting) Sight Line: An imaginary line that is drawn between a subject and the object that he/she is looking at. Silk: A lighting diffusion or reflective material, formerly real silk. (Grip/Lighting) Single: A shot with only one subject in the frame. (Production) Signal: The form of variation with time of a wave whereby information is conveyed in some form whether it is acoustic or electronic. Signal to Noise Ratio: This is the ratio of the desired signal to the unwanted noise in an audio or video record/playback system. Single-Stripe: Magnetic film that contains a single audio track, which is coated with oxide. Single System: A method of recording sound and picture on the same medium, most typically used in news gathering. Skip Frame: An optical printing effect which eliminates selected frames of the original scene to speed up the action. (Laboratory) Slate: The identifier placed in front of the camera at beginning of a take.



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Slave: An audio tape or videotape transport, projector or mag film dubber whose movements follow the movement of a single master transport. Accomplished electronically by using SMPTE time code numbers or mechanically by motor linkage of sprocketed machines. Slug: A strip of blank leader or image-bearing film used as leader. (Film Editing) SMPTE: Society of Motion Picture and Television Engineers. SMPTE Time Code: Also known as Longitudinal Time Code. A high frequency signal that allows the accurate "locking" of film audio and video equipment. Locator information is displayed as numbers. Snake: A multi-channel audio cable intended for use with microphone level signals and/or line level signals. (Audio/Video/Electronics) Sound Designer: A film sound specialist responsible for the development and augmentation of all soundtrack material, or a significant portion thereof, and is ultimately in charge of the entire sound production. Occasionally, it is used to refer to a person who is responsible for creating unique sounds or sound elements which are incorporated into a sound track. (Sound) Sound Effect: A recorded or electronically produced sound that matches the visual action taking place onscreen. Sound Master Positive: A sound print on made from the sound negative for producing duplicate negatives of the sound record track for release printing.



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Sound Mixer: The sound mixer records the dialogue and ambient noise of a scene. The sound mixer is in charge of all the microphones used on the set, everything form the wireless body mikes the actors wear to the big boom mikes that constantly hover over the scene. It is the sound mixer's job to make things sound like they look. For example, if actors are whispering the dialogue should be quieter than when they are shouting, and if actors are being filmed in the distance the sound should also reflect this. How important is this? If you have ever watched a film only to have the dialogue obscured by overly loud background noise or music you know how important this is. Sound Negative: A negative sound image on film which is obtained by exposure through a positive sound image. Sound-on-Sound: A method in which previously recorded sound on one track is rerecorded onto another track while new material is added. Sound Print: Any positive sound track print which is obtained by printing from a sound negative, or direct positive recording. or by the reversal process from another negative. Soundtrack: Generically refers to the music contained in a film, though it literally means the entire audio portion of a film, video or television production, including effects and dialog. Spacer: A hub placed between reels on rewinders to keep the reels in the proper position to feed into, or take up from, a synchronizer. (Film Editing) Special Effects: Special effects is the art of illusion that makes the dangerous, magical, expensive, or physically impossible seem perfectly believable. Special effects tend to fall into several broad catergories: optical, physical, animated, and computerized. In laypersons terms, the special effects department is responsible for anything that explodes, smokes, breaks away or bleeds on the set. If an actor has to bleed on screen it is the responsibility of the spfx department. If the blood doesn't have to burst out, then it is the makeup person's job. In short the special effects department is responsible for what has appropriately been referred to as movie magic. It's a great job if you can get it.



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Specular: A term used to describe highly directional, focused light. This is often perceived as a very 'hard' light. (Lighting) Speed of sound: The velocity of sound in air is 770 mi/hr. This speed however, is influenced by temperature and air pressure. (Acoustics) Spill: Light that is escaping from the sides of a lighting unit, or any light that is falling where it is not wanted. (Grip/Lighting) Splice: The act of joining two pieces of film by any of several methods. (Film Editing) Split Screen: An optical or special effects shot in which two separate images are combined on each frame. Spool: A flanged roll on which film is wound for general handling or projection. Spot: On a lensed light, the smallest beam spread. (Lighting) Spotting: Used in scoring and sound effects editing to identify the specific scenes or points where music cues or effects cues will take place. Usually, this will include information on length and style. Sprocket: A toothed driving wheel used to move film through various machines by engaging with the perforated holes in film stock. Stage Box: A distribution box with six pockets for stage plug connectors. Standing waves: A deep sound in a small room or booth from low frequency caused by long waves with short reflection patterns. (Post Production)



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Step Printer: A printer in which each frame of the negative and raw stock is stationary at the time of exposure. (Laboratory) Stinger: A single extension cord. Most often referred to a single 'hot' extension that is left lying around for occassional use. (Grip/Lighting) Stock: A general term for motion picture film, particularly before it is exposed. Stock Numbers: Edge numbers provided on film raw stock by the manufacturer. Stop Frame: An optical printing effect in which a single frame image is repeated in order to appear stationary when it is projected. This may also refer to a camera technique in which only one frame at a time is exposed. Striking: The breakdown process of a camera position, location, or set. Suicide: A term for a distribution wiring connector with male plugs at both ends, (Grip/Lighting) Surround Sound: Sound that is reproduced through speakers above or behind the audience. Sweeten/Sweetening: Enhancing the sound of a recording or a particular sound effect with equalization or some other signal processing device. Sync Beep (sync tone): In double system shooting with certain cameras, a tone feed into a magnetic tape recorder at the same time that a light in the camera exposes a few frames of film. The fogged section is later aligned with the beep tone to achieve synchronization of the sound to the picture. Synching Dailies: Assembling, for synchronous interlock, the picture and sound workprints of a day's shooting. (Film Editing)



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T Stop: A true f/stop as opposed to one dereived mathematically. It is the actual light transmission of a lens as measured on an optical bench. (Camera) Tail Leader: Leader used at the finish end of a strip of film. (Film Editing) Take Down: Reducing the light on an object by means of nets, scrims, dimmers or wasting light. (Grip/Lighting) Telecine: A machine that transfers film to a video signal. This also generically refers to the process of film-to-tape transfers. Temp Dub: A preliminary mixing of dialogue, music, and sound effects, usually so that a first cut may be viewed with all of these elements incorporated. (Post Production) Tenner: A standard studio 10K lighting unit, as opposed to a baby 10 or a Big Eye, which are also 10K lighting units. (Lighting) THX: A theatrical film exhibition sound system which maintains a consistent sound standard from theatre to theatre. Generally, this system uses Dolby Stereo Surround as the basis of the exhibition standard, although a number of other systems have also now qualified. (Sound) Tie In: A power feed obtained by temporarily clipping on to the main service of a location. This methodology is illegal in many areas. (Lighting) Time Base Signal: A signal recorded on the edge of film in a camera to match a signal recorded on a magnetic recording which is used as a fast means of synchronizing film and sound workprints. Time Code: Also known as Longitudinal Time Code. A high frequency signal that allows the accurate "locking" of film audio and video equipment.



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Timing: The process of selecting the printing values for color and density of successive scenes in a complete film in order to produce a desired visual effect. (Laboratory) Trailer: A short publicty film which advertises a film or forthcoming presentations. Traveling Matte: A process shot in which foreground action is superimposed on a separately photographed background by an optical printer. (Laboratory) Trims: Portions of a scene left over after the selected section has been used in final cutting. Trombone: A tubular, extending device which is generally used for suspending lights from set walls. (Grip/Lighting) Turtle: A flat, on the floor mount, for large lights with a junior receiver. (Grip/Lighting) TV Safe: The area of a filmed image which will normally appear on a home television set after a film has been transferred in a telecine and then transmitted. Tweco: A device similar to a slip pin connector, which is used on a feeder cable, and which has a positive twist connection. (Lighting)

Ultrasonic Cleaner: A device used to clean film without pressure or abrasion. (Laboratory) Underscore: Music that provides emotional or atmospheric background to the primary dialog or narration onscreen.



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Unsqueezed Print: A print in which the distorted image of an anamorphic negative has been corrected for normal projection.

Variac: A simmer that reduces the voltage. It stands for VARIable AC. (Lighting) Varispeed: Increasing or decreasing tape speed to match the musical pitch of tape playback. Veeder Counter: A trade name for a mechanical counter which is actuated using a rotary shaft movement which can be calibrated to any system of measurement such as feet or frames. (Film Editing) Video Assist: The process of simultaneously recording filmed picture onto video tape by means of the same lens system in order to immediately evaluate a take as soon as it is completed. (Production) Virgin Stock: Magnetic tape onto which nothing has yet been recorded. VITC: Vertical Interval Time Code. A time code signal that is written in the vertical interval by the rotating video heads, allowing it to be read when the tape is not moving. Requires special equipment to read and write. Voice-over: Narration or non-synchronous dialog taking place over the action onscreen. VU Meter: A meter designed to measure audio level in volume units which generally correspond to perceived loudness. (Audio)

Walla: Background ambience or noises added to create the illusion of sound taking place outside of the main action in a picture.



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Waste: Shining a light on an object, then slowing turning the light away so that some of the light will miss or fall off the object. (Lighting) Wave: A regular variation in electrical signal level or sound pressure level. (Sound/Electronics) Wedges: Wood wedges cut from 2x4 lumber which is used for leveling and stablizing. (Grip) Western Dolly: A plywood dolly, with four large soft tires, which is used as a camera dolly on smooth floors or on plywood. It is also used to transport other equipment. (Camera/Grip) Whip: A section of feeder cable siamesed off the main line to a secondary location. (Grip/Lighting) White noise: A signal having an equal amount of energy per hertz. Widescreen: A general term for film presentation in which a film is shown in an aspect ratio of greater than 1.33 to 1. In today's terms, this now means in an aspect ratio of greater than 1.85 to 1. Wild Line: A line of dialoge, recorded either on set or at a looping stage, without any picture running. Wild Track: Audio elements that are not recorded synchronously with the picture. Wipe: An optical transition effect in which one image is replaced by another with a boundry edge that moves in a selected pattern across the frame. (Laboratory)



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Workprint: Any positive duplicate picture, sound track print, or magnetic duplicate which is intended for use in the editing process. (Film Editing) Workstation: This term generally refers to a disk-based audio recording and editing system. Wow: Repetitive but slow variations in recording or playback tape speed. Wow and Flutter: The deviation of frequency resulting from irregular motion in the recording or from deformation of the recording medium. (Acoustics) Wrap: The span of the tape path along which the tape and head are in contact. (Audio/Video) More often, this refers to securing equipment at the end of the day or when work is completed at a particular set or location.

Xenon: A high intensity light, with a polished parabolic reflector. (Lighting) XLR: One of several varieties of sound connectors having three or more conductors plus an outer shell which shields the connectors and locks the connectors into place. (Sound) X-Y Pattern: A pair of cardioid microphones or elements aimed in crossed directions, which feed two channels for stereo pickup. (Sound)

Y M C Numbers: The 'timing lights' that the negative is printed at, representing the numerical value of the red, blue and green lights used in the printing process. These printing lights are referred to by their complements: yellow, magenta, and cyan.



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Zero Cut: A method of preparing A and B rolls for printing in which the original shots overlap several frames or more. The change from one roll to another to match the edited workprint is done automatically by the printer. (Film Editing) Zoom: An optical effect in which the image rapidly grows larger or smaller as though the camera is moving closer or away from its subject.


Director’s “Perfect Shoot” Checklist · location o Camera ... Director’s “Perfect...

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