Glossary
A/B Rolls (92) (140) A negative cutting system. Cut master material is assembled in two rolls with scenes alternating from roll to roll at dissolves or wipes. The system enables optical effects to be printed from original master material in one stage thus ensuring optimum quality copies.
Academy Leader (60) A precise length of film carrying identification and projection operation information which is attached to the head of reels of sound and/or picture.
Acmade Miniola A low cost 16mm editing machine enabling 16mm picture to be edited with one separate 16mm magnetic soundtrack.
Animated Viewer (32) A small viewing device usually employing a rotating prism to back project a picture on a small screen. Though not suitable for creative editing work, viewers can sometimes be useful for locating material.
Answer Print (136) (140) (142) The first graded (‘timed’ in the USA) show print is often known as an answer print.
Big Close Up (abbreviated BCU) (38) Shot framing only a small part of a subject, closer than a close up (CU), part of a human face for example.
Blow Up (148) The technique of making a larger picture copy of a film shot on a smaller gauge material. A 35mm copy of a film shot on 16mm is known as a ‘blow up’.
Camera Original (See Master).
Camera Sheets (40) Information sheets completed during filming, specifying the type of film stock used and providing the laboratory with processing instructions and the editor with exact details of every scene and take filmed.
Checkerboard (86) (87) (140) A negative cutting system similar to A/B rolls in which master material is assembled in two rolls enabling optical effects to be printed directly from the original. In a checkerboard assembly, scenes alternate from roll to roll at every cut, whereas in an ordinary A/B roll they only alternate at dissolves or wipes.
Chinagraph Grease pencils used for marking cutting points and other symbols on base side of film.
Cinex Strips (46) A series of individual frames printed at a range of exposures as a grading test. In a black and white film each frame is printed at different printer light increasing from very light to very dark. In a colour original, the density gradation is replaced by a gradation of colour filter selections.
Clapper Board (120) Frequently referred to as a slate, a clapper board consists of two pieces of board hinged together in such a way that the two parts of the board can be banged together at the start of a synchronised sound take. Scene and take numbers are written on the board so that the action can be later identified. The film editor matches the point where the two pieces of the board actually bang together, with the corresponding bang on the soundtrack and is thus able to synchronise sound and picture.
Close Up (38) (Abbreviated to CU). Shot taken, close in effect, to a subject, revealing detail. In the case of a human subject, a shot of the face only or the hands only, would be classified as a close up.
Combined Print (132) (134) A print where the soundtrack and action are printed together on the same piece of film stock. Also known as a married print. Prints with combined optical soundtracks are known as ‘comopt’ copies and prints with a combined magnetic sound stripe are known as ‘commag’,
Commentary (124) (126) Spoken words accompanying a film. The speaker usually remains unseen. Also known as Narration and Voice Over.
Continuity (64) (66) The flow from one shot to another without breaks or discrepancies. Smoothness in the development of subject matter.
Colour Master (44) Original colour film exposed in the camera.
Core (centre) A plastic core on which film is sometimes wound. In a cutting room film is usually handled on cores rather than on reels with fixed sides. (See Split Spool).
Cutaway (68) A shot of something other than the main theme of the action. A cutaway is inserted between shots of the main action, often to bridge a time lapse or to avoid a jump cut.
Cutting Copy (48) (80) Often abbreviated simply as C/C, and sometimes referred to as a Workprint, the cutting copy is the name given to the print used for editing purposes. Rushes when edited become the cutting copy.
Cutting Ratio (54) The amount of film used in the final edited version in relation to the amount shot. For example a ratio of 10:1 means ten times more film was shot than used.
Dailies (See Rushes)
Dissolve (70) An optical effect in which one scene gradually replaces another. In essence a fade out and a fade in are superimposed. Also known as a Mix.
Double System (100) A system of sound recording used for shooting synchronised sound takes. Sound is recorded on separate magnetic film or on 1/4in tape and not (as in the single system) on the edge of the actual film in the camera.
Double Take (66) Continuity errors in which the same action is incorrectly allowed to be seen twice.
Dubbing (128) (130) The name given to the various processes involved in re-recording a series of different separate magnetic soundtracks to make one final mixed soundtrack. Also the name given to re-voicing a film in another language.
Dupe (74) (146) (148). A dupe negative is a duplicate (copy) negative and not the actual film exposed in the camera.
Edge Numbers (50) Numbers marked on the side of original film and thus on every copy made on a printer printing via a full gate. The numbers are used to match camera original material to an edited cutting copy when the work of cutting has been completed. If edge numbers are missing or are indistinct, ink numbers can be printed on both the original and the copy before cutting starts. Also known as key numbers.
Editor (10) The man (or woman) who does the cutting.
Emulsion The side of the film coated with light sensitive materials in the case of picture stock. The side of a magnetic sound track coated with ferrous oxide. Easily identified in either case by being the least shiny of the two sides.
Fade In (76) Gradual emergence of a shot out of darkness.
Fade Out (76) A shot that gradually disappears into complete darkness.
Film Bin (34) Large receptacle, often made of fibre and usually lined with a linen bag, into which film is allowed while shots are being assembled. In the USA film barrel or cutting barrel are the usual terms.
Final Mix (128) (130) The final composite soundtrack containing all music, dialogue, commentary and sound effects. The soundtrack the audiences hear.
Frame A single picture on a length of cine film or the corresponding amount of a perforated magnetic soundtrack. The lines dividing a picture into frames horizontally are known as frame lines.
Freeze Frame (76) The technique of freezing action so continuous movement stops and one individual frame remains on the screen as long as desired. Sometimes called a stop frame.
Gang Synchroniser (See Synchroniser)
Grading (Timing’ in the USA) (46) (136) Estimating the amount of light which must be allowed to pass through the individual scenes of a film when a copy is printed. In grading a colour film the laboratory grader will also have to assess the colour correction filters required to ensure colour balance from scene to scene. Though still a job which depends ultimately on the skill of a technician, modern equipment like the Haseltine colour analyser is now available to help with the work.
Inter-negative (146) A duplicate colour negative (i.e. not the original exposed in the camera). In the USA the term inter-negative refers primarily to a colour negative derived from a colour reversal original while other negatives are known as colour dupe negatives.
Jump Cut (68) A cut which breaks the continuity by omitting an interval of time, revealing persons or objects in different positions in two adjacent shots.
Key numbers (See Edge Numbers).
‘Laying’ Sound (106) (110) (111) (112) (114) (116) Placing sound in the correct relationship with picture.
Leader (60) Blank film consisting of a coated or uncoated base, used as spacing when building up separate tracks of perforated magnetic film, and also used to provide additional protection at the head and end of reels. (See also Academy Leader).
Level Cut (‘Straight Cut’ or in the USA ‘Editorial Cut’). A cut where sound and picture are cut at the same point.
Library Shot (also known as a Stock Shot) (82) Shot used in a film but not taken specifically for it; shot taken from a film or library source outside the actual unit producing a film.
Loop (118) Short length of film or of magnetic soundtrack joined at its ends to form an endless loop so that it can be projected repetitively either to enable actors to fit words to lip movements (in the case of a picture loop) or to reproduce one sound continuously (in the case of magnetic sound loops).
M & E (130) Widely used abbreviation for a mixed soundtrack of Music and Sound Effects. M & E tracks must be free of voice-over commentary though they should always contain synchronised dialogue scenes. M & E tracks are essential if foreign language versions are required. They are sometimes referred to as ‘I.T. Band’ in European countries.
Magnetic Stripe (132) Magnetic coating on the side of film used for magnetic recording.
Married Print A print combining sound and picture (see also Combined Print).
Master (10) The original film exposed in the camera is the picture master. A master magnetic sound recording is an original recording from which other copies can be made.
Medium Shot (Abbr. M.S.) (38) A shot taken at normal viewing distance, usually cutting actors at the waistline.
Miniola (See Acmade Miniola).
Mix (See Dissolve).
Moviola (20) The trade name of a particular kind of motor driven upright editing machine usually equipped to run one reel of picture with one reel of separate perforated magnetic sound. In the USA the name has been in use for so many years that the term ‘moviola’ is widely used to describe motorised editing machines of any kind.
Narration (See Commentary).
Negative (44) (96) A piece of film where the tone values of the image are reversed. In the case of monochrome film negative, black appears as white and white as black.
Negative Cutting (84) (86) (88) (90) (92) (94) The matching of camera original film to an edited cutting copy.
Negative Cutter (12) (84) The person who matches original and cutting copy.
Optical Dupe Duplicate picture materials produced in the course of preparing optical effects. (See Optical Effects).
Optical Effects (70) (72) (74) (76) (78) (90) (96) Dissolves, fades in and out and other special effects like ‘freeze frames’ are known as optical effects or simply as ‘opticals’.
Optical Sound (132) (134) A photographic soundtrack, printed usually from an optical sound negative. Sound modulations are visible.
Panchromatic Stock (12) (48) Black and white film stock which is sensitive to all the colours of the spectrum. Widely used for making black and white copies of colour originals. The most practical advantage from an editor’s point of view is that edge fogging can be seen, and thus avoided.
Picture Synchroniser (See Synchroniser).
Release Print Projection print of the finished film, produced after the first graded (answer) print has been approved.
Reversal Film (44) (96) A type of film stock which, after exposure and processing, produces a positive image.
Rough Cut (62) The first assembly of picture and sound. In a rough cut scenes are put in script order for the first time but are often left over length.
Rushes (10) (40) (52) (54) (120) Copies of the film exposed in the camera made immediately after the original has been processed. Designed principally for cutting purposes, rushes are often printed ungraded. Also known in the USA as ‘dailies’.
Show Print A graded copy of the finished film ready for projection.
Single System (102) A system of sound recording used for synchronised sound shooting. Sound is recorded on a magnetic stripe on the edge of the actual film in the camera. For rush work, like television news coverage, the processed original can be cut using the sound on the magnetic stripe. Alternatively, when the original has been processed, the sound on the stripe can be re-recorded on separate perforated magnetic film. If you cut with the mag stripe remember the sound will be 28 frames ahead of the picture to which it refers. If you re-record on sepmag stock you can edit in level synch, and thus enjoy more cutting freedom.
Sound Report Sheets (42) Information sheets completed by the sound recordist during filming noting the recording system used and the speed at which the sound was recorded. The sheets also provide transfer instructions for re-recording the masters on perforated magnetic film for cutting. Precise details of each scene and take number are also noted on the sheets.
Spacing (See Leader).
Split Spool (Also known as Split Reel). Reel with one detachable side. Film cores can be mounted on the reel and secured by replacement and locking of the flange. (See Core).
Steenbeck A range of table editing machines made in Germany.
Stock Shot (See Library Shot).
Stretch Printing (78) The optical printing process for making dupes of old film shot at silent film speeds and required for use in films shot at present day sound speeds. The jerkiness of the action can be evened out by printing every second frame twice.
Synchronisation (14) (104) (120) (122) (138) The precise marriage of sound and picture so that the sounds heard on the soundtrack exactly complement the pictures seen on the screen.
Synchroniser (Also known as a Gang Synchroniser) (24) (26) (54) Device used for maintaining synchronism between two or more pieces of film and consisting of two or more sprockets fixed to a common revolving shaft. Film placed on the sprockets can be moved forward or backwards whilst maintaining the synchronous relationship between the different pieces of film. Synchronisers are often fitted with magnetic sound heads and on some models the picture is back-projected on a small screen (Picture Synchronisers). One of the most important items of equipment in the cutting room. (See also Negative Cutting and ‘Laying Sound’).
Wild Tracks (104) Sound recorded otherwise than with a synchronised picture. Wild tracks are normally used for random dialogue and background sound effects. Sometimes referred to as ‘non-sync’.
Wipe Optical effect which provides the transition from scene to scene at the boundary of a line moving across the image until the incoming scene has entirely replaced the outgoing one. Wipes are not now very widely used.
Work Print Another name for the cutting copy.