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| The next-to-last shot of the day |
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| What Happens in a Scene or a Story; What a character does to pursue an objective; what the director calls to start a shot |
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| The director's right hand person, in charge of all logistics on the set |
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| The second assistant director is in charg of personnel, including the placement and timing of extras in the background action. |
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| Handles paperwork for the second AD |
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| Automatic Dialogue Replacement, a process whereby dialogue from the production sound track is replaced. Also called "looping." |
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| Actors Equity Association |
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| American Federation of Television and Radio Artists |
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| The actors representative who submits the actor for roles and makes all deals; must be franchised by the unions. Recieves a straight commission of 10 percent as the only pay is for services |
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| The position and view of the camera |
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| The proportion (ratio of height to width) of the screen on which the show will be projected. |
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| The people and things that complete the environment, including extras, animals, and vehicles |
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| A signal that a take is ready to be made |
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| The person in charge of the electrical equipment |
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| The closest shot; face only (also known as ECU, or Extreme Close Up) |
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| The positions of the actors in sequence throughout the scene, each marked on the floor with tape. |
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| The arrangement of scenes in the order to shot |
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| A pole on which a microphone is suspended over the heads of actors |
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| A list of roles to be cast with brief descriptions sent to agents by the casting director |
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| The time of day the actor is to report for work |
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| A final stage in the casting process when a final selection is made for a role from among a few actors |
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| The shooting orders for the following day distributed at the end of each day's shooting |
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| The head of the camera crew who frames the shots |
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| The direction of the actors movements as seen from the camera |
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| The person who handles all the logistics of the casting process; they suggest actors, conduct auditions, and make a deal when an actor is hired. |
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| After a scene has been shot, the camera assistant makes sure there was nothing in the mechanism of the camera which could ruin the film |
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| An adjustment in position, look, or movement by the actor for the sake of the camera's perspective or movement |
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| The board which is photographed at the start of each take to identify the shot and to establish sound synchronization by the clapping of a stick |
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| A "medium close-up" chest up |
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| All the people working on the show. When they have to move, it is a "company move" |
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| The smooth flow of shots and scenes with no disruptions by incorrect details |
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| An indoor loctation which is used in place of an outdoor set in case of bad weather |
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| The closer shots taken in a scene to be inserted in to the master |
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| A move by an actor from one position to another |
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| Cards showing an actors lines, held on the actors eye-line |
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| A version of the show as edited; the sequence is usually a rough cut, directors cut, producers cut, final cut. Also what the director calls to stop a take |
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| The Directors Guild of America |
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| Day-out-of-days, a chart showing when each actor works and correlates the days of shooting witht the days of the week and month |
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| The director of photography (cinematographer); along with the director, responsible for the look of the show, including lighting and camera placement |
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| The footage shot the previous day which has been produced and sent to the set and production company for viewing by the director and producers. |
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| Whenever the action of a story moves into a new perion, it is a "day." The script days are numbered consecutively, no matter how much time elapses between them |
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| An actor in a smaller role, usually paid by the day, although these parts can sometimes work for weeks |
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| The narrow range in which the camera's subject is in perfect focus |
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| The camera crew member in charge of moving the camera |
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| Also an actor who replaces another, as in stunt double or photo double; also when more than one piece of wardrobe is supplied in case the frist is ruined |
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| The things on the set that create a complete sense of a real place |
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A location close enough to the home city that accommodations are not provided by the company |
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| Mixing the various sound elements (dialogue, effects and music) to accompany the picture. Also called the Final Mix |
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| The facility in which the picture can be projected while the accompanying sound elements are mixed |
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| Extreme Close Up; Also called "big close-up" |
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| A view of a place which is used to tell the audience where they are |
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| The placement of the actor's eyes as he or she looks at someone off-camera |
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| The people who round out the environment, also called "Background" |
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| When the camera position throws more emphasis to one character over another |
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| The position of each actor as the scene begins |
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| What every director dreams of having |
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| The first compilation of the show with the scenes in order; also called a rough cut, or editors cut |
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| In Television, the director's representative on the floor |
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| The member of the camera team in charge of focus |
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| The footsteps and other sound effects that must synchronize with the picture |
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| The DP's right hand person, in charge of the lighting crew. The best boy is the gaffer's right hand person. |
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| Approval to go into production |
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| A person in charge of moving equipment such as lights or sets. Named after the bag of tools which they used to cary |
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| A prop with special importance often needing special handling by the actor |
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| High Definition digital videos. May someday replace film. |
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| A crew chief; also the principal light source in a scene |
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| When the director, DP, and actors go through a scene to establish camera positions |
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| The producer who handles the details and logistics of the entire company and shoot |
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| Handles casting in the area where a film is about to shoot |
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| An actor or crew member hired locally when on location |
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| One of the places in which the show will be shot |
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| The point after which no further changes in the visual aspects of the show will be made |
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| A distant or wide camera position |
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| Movie of the Week, or movie made for television |
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| The position of each actor marked by tape on the floor |
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| The most inclusive view of a scene, usually shot first |
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| When one thing can be cut to another without disruption |
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| Works with the composer and prepares the recordings from the scoring session for use in the final mix |
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| Moving on to the next scene |
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| When the set is locked down during shooting |
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| WHen an actor is actually not scheduled to work, but must be quickly available in case they are needed |
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| Working away from the sound stage or away from the home city |
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| A short version of the shooting schedule |
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| Production assistant. Does whatever needs doing on a set |
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| A portion of the scene to be reshot |
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| THe post production period during which the film is edited and the sound elements are added |
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The advance preparation of sound elements such as sound effects, dialogue, e.t.c. |
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| Getting ready to shoot a film |
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| The main shooting period of a film |
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| What the director tells the script supervisor when he or she wants a shot to appear on the dailies; may also signal that work on a shot is done, though not always. |
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The sound recorded when the show was shot |
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| Anything handled by the actors during a scene |
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| The person in charge of all props |
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| A microphone hidden in the actors clothes which broadcasts to a reciever nearby |
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| The shooting script with all its changed colored pages in place |
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| Redoing a portion of a film after principal photography has ended |
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| The call from the first AD to start the sound recorder, answered by the call "speed" when the production sound mixer is recording. |
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| When the camera is running; everyone on the set must be absolutely quiet |
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Screen Actors Guild, the union with jurisdiction over film actors |
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| A small camera team which shoots material wich does not involve principal actors, such as sestablishing shots |
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The recording of the music for a film |
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| A visit to the loctation to plan the work to be done there |
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the person in charge of continuity, and remembering every detail of every shot. They also prepare a script that shows how each line was covered and what the nature of each shot was; this is invaluable to the editor. An unsung hero. |
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The stand-ins who substitute for the first team while the lighting is done |
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| Where a scene is being shot, whether it is a real place or was built |
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| A camera position and all the attendant lighting, laying of track, e.t.c. |
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| The period of actual production |
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| A detailed list of sequence of the scenes to be shot and everything needed for each |
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| The script as prepared for shooting, marked with the scenes numbered consecutively |
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| One segment of a scene from one camera angle |
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| The list of shots each camera in a three camera show is to make; in single camera film, a list of some directors supply for the work to be done that day, shot by shot. |
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| The relative distance of the camera which determines exactly what the edges of the frame are |
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| The half-size pages of script distributed each day, containing the scenes to be shot that day |
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| A shot containing only one actor |
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| Te identification of a scene by photographing a board with the necessary information just before the shot begins. See also Clapper board |
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| More politely called Daytime Dramas |
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| The production sound mixer; there are also sound mixers who do re-recording of the show with sound effects and music in the final mix |
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| A special building designed for film production |
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| Locating where the sound effects and music will go in the locked cut |
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| The person who oversees the sound mixing process, including selecting material for ADR, supervising the prelays, source music, and so on. |
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The final performance of a sitcom, usually with a live audience |
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| In multiple camera shows, the person who actually switches from shot to shot |
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| A monitor that shows an actors lines |
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| The time off which must be guaranteed to an actor or crew member between work days; different in various situations |
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| Moving the camera to follow the action, often on an actual track |
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| The old fashioned term for the music, which accompanies the film |
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| Unit Production Manager, See Line producer |
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| A video feed coming directly from the camera lens which can be viewed on a monitor during shooting |
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| Adding the human sounds, such as crowd noises and telephone voices that complete the environment. this is the business of looping groups. |
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| A person who entertains the audience at a sitcom taping between takes |
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| Lines of dialogue recorded without picture for possible use by the editor |
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| The end of work, be it for a day or the entire picture |
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