A
A side, of cut 242
Abby Singer 227
above the line 80
accounting 192
act-in 106
act-out 106
Acting for Young Actors 201
action 218
actor availability 74
actor turnaround 75
actors 26–27, 32–33, 101–102, 170–178; 5 Ws 157–161; children 200–202; code words 165–168; comedy 168–170; performance 161–165, 228; production design 55–56; see also blocking; casting
actor’s director 32
add to 242
additional labor 193
adjustment 36
aged 224
air 243
Alice in Wonderland 52
Allen, W. 175
Ally McBeal 240
alts 247
American Federation of Television and Radio Artists (AFTRA) 33
American Film Institute (AFI) 11, 308
angle 241
Anne of Green Gables 292
art director 54
art vs. commerce 54
assistant director see first assistant director
Atonement 159
automated dialogue replacement (ADR) 259
axis 140
B
B side, of cut 242
“B”/“C” stories 11
back to one 225
background casting 188
backlight 63
backstory 36
Badham, J. 31
Bailey, R. 307
Baio, S. 293
band-aid fixes 92
Barclay, P. 306
base camp 63
Bassett, A. 40
Baxter, K. 241
bell 220
Belli, M.L. 316; being a director 273, 275, 280–283, 292–293; prep 11–12, 15–16, 27–28, 31–32, 34, 95, 105; shoot 161–162, 168, 171, 201
below the line 80
Berg, R. 53
Bergan, J.M. 292
Bill, T. 171
billing 33
binge watch 263
Blackman, S. 18
Blair, A. 28
block shoot 119
blocking 102–105, 111, 115, 130–132, 136, 149
boarding 74 closed rehearsal 161
C
closed-captions 262
Cold Case 11
color corrected 257
color timed master (CTM) 257
colorist 257
commercials 106
complementary shots 240
complications 8
composited 211
condors 63
construction 193
Cooper, J. 271
costumes 24, 48, 55–56, 94–95, 190
counter 129
courtesy screen 203
covering 167
cowboy 112
crafts service 192
crane shot 114
crew call 75
crisp 128
cross platforming 263
crossed camera 132
crossing the line 114
cue 225
cut 218
cuts together 133
cutting pattern 240
D
Damon, M. 140
dance floor 125
day-out-of-days (DOOD) 78
daybreaks 78
department heads 46, 55–56, 95
Depp, J. 160
determination 274
digital camera 124
digital doubling 212
directionally 119
director 1–3; being a 271–278, 312–316; demands of 279–288
director of photography (DP) 51, 66–67, 119, 128–130, 136–137, 150–151, 182–184, 219–220
Directors Guild of America (DGA) 34, 80–81, 206, 275–277
discovery 166
dolly 124
dolly back 108
Domestic Life 292
Dorf, J. 27
double-check 119
doubled 205
Dougherty, C. 260
downstage 104
dramatic structure 8
drop a scene 139
dry run 204
dubbed 262
Dugally, D. 59
Durance, E. 32
dutch 128
E
edit decision list (EDL) 256
editing 239–243, 249–253; director’s cut 243–248
electric 48
Ellis, S. 303
emancipated 202
Emerson, R.W. 97
enthusiasm 275
exit frame 108
extender 127
extras 225
extreme 112
eyeline 123
F
feed 169
fill 242
final air master 262
final touches 220
Fincher, D. 241
find peaks and valleys/find more colors 165
first aid 192
first assistant director (1st AD) 71–73, 79–85, 181–182; shooting schedule 73–79
first cut 106
first draft 89
first team 79
fish-eye lens 127
fixed lens 128
flyaways 224
foley 260
Foley, J. 260
follow vans 207
foreshadowing 15
frame 108
frame the joke 105
Frankenheimer, J. 31
from the top 225
Fryman, P. 294
full mag 223
G
gaffe 79
gender 277
gentle command 275
Gerstein, L. 28
get it on its feet 218
getting the scissors in 247
Girlfriends 32
give yourself somewhere to go 164
Glatter, L.L. 302
grace period 224
The Graduate 125
Grant, S. 11
green room 64
greens 191
grip 48
H
hair designers see makeup/hair designers
hair in the gate 221
half-speed 205
handheld 125
hanging a lamp on it 16
hard drive 237
Hart of Dixie 28
Hays, E. 83
head 242
Hensz, J. 72
hero 110
high and wide 114
high-definition (HD) 124
high-hat 129
Hirst, M. 22
hits 263
Holahan, P. 301
holding area 64
Hollywood in/out 226
Homicide 241
honeywagons 63
I
iconic image 25
imagery 24
in the moment 166
inciting action 8
Innercity Filmmakers 21
insert car 207
integrated insert 112
internet 263
into the works 171
J
Jankowski, P. 10
job requirements 272
jump cut 240
K
Kazan, E. 158
Keene, E. 304
kill the funny 168
King Kong 212
Kipling, R. 284
Knightley, K. 159
Kramer, S. 249
L
LaDuke, D. 42
land 205
Landis, D. 24
last looks 220
lateral dolly 129
layback 261
Lembeck, M. 136
Lester, A. 32
license fee 90
lifted 246
line, crossing the 130–134, 136–137, 241
location 53–54, 183, 191; availability 74; scouting 61–69
location manager 61–62, 65, 68–69, 191
locked-down 210
logline 9
Lohr, M.R. 17
loop groups 248
looped 259
lovemaking 203
M
McAvoy, J. 159
Mackenzie, W. 292
McKiernan, T. 206
make a cross 104
make a deal 38
makeup/hair designers 48, 56, 189
marks 79
Marshall, G. 287
Martinez-Nelson, L. 43
martini shot 228
Mason, J. 120
massage the cut 242
master shot 111
match 111
meal penalty 224
meat of the day 77
memory card 237
mislead/turn 169
moleskin 203
montage 107
MOS 226
motivated 104
Movie Speak 171
moving on 227
Mull, M. 292
music 213–214, 247–248, 260–262
Mythbusters 204
N
NCIS New Orleans 11
need see intention
networking 312
new information 14
Nichols, M. 125
nonlinear editing methods (NLEs) 237
notes 89
Nurse Jackie 11
Nutter, D. 163
NYPD Blue 241
O
O track 258
O’Bannon, D. 17
objective shots 123
offer only 35
on the day 204
on the nose 16
one-liner 78
one-offs 54
oner 139
operative word 168
organic 104
over the cut 242
over-the-shoulder (OS) 111–112
overlap 110
P
The Pacific 95
pack a suitcase 169
paint 191
The Patty Duke Show 211
Paymer, D. 299
payoff 169
Pearlman, K. 250
performance 228
permit 64
personality 229
pickup 225
picture car 207
picture up 220
pilot 32
Pino, D. 11
pitch 92
pivot 137
plate 210
playing the end at the beginning 164
plot see story
point of view, characters 157–161
point of view (POV) 107
Powell, H. 41
pre-viz 204
precall 75
prelapping 243
preread 35
principal 205
print 140
print it 221
print and move on 93
Private Practice 34
private rehearsal 218
procedural 9
process trailer 207
producer session 35
producer/director 91
production design 45–46, 49–53, 56–60, 94–95; actors 55–56; concept meeting 46–49; set 53–55
production designer 46, 48–49, 52–55
production draft 89
production office 192
production report 81
production value 89
profile 112
properties 191
proscenium 225
psychic nakedness 202
pull out 107
pull the plug 139
pulling up 243
punch 243
punched 169
push in 107
Q
quote 33
R
Ramuno, P. 293
reaction 169
read through 218
recur 32
Reign 292
Reitman, J. 284
Respect for Acting 160
rhythm 240
rig 204
rising action 8
Robinson, J.A. 91
Robinson, P.A. 284
rock into coverage 242
Rodriguez, D. 309
roll the carts 75
rolling 220
room tone 248
Rooney, B. 316; being a director 271, 277, 280–282, 287, 291–292; prep 12, 25, 27–28, 39–40, 51, 94–95, 120, 140–148; shoot 160, 217
running time 246
runs 169
S
salary 276
scenes 12–14, 28; see also blocking; shot listing
Screen Actors Guild (SAG) 33
script 73, 88–89, 104–105; character 21–29; story 8–17
script coordinator 89
script day 78
script supervisor 182; notes 237
second assistant director (2nd AD) 81
second meal 224
second team 79
Sedita, S. 29
self-taped auditions 35
serial 11
set 53–55; running 217–218; see also location
set background 81
set decoration 191
set pieces 79
setups 76
shared card 33
shoot out 202
shooter 111
shooting: at location 67–68; first assistant director 71–73, 79–83; schedule 73–79
shot listing 102–103, 106, 111–115, 119–123, 130–131, 136–138, 140–142, 149
showrunner 14, 18, 88–89, 91–92, 96, 256
sides 218
Signs and Symbols 51
single 112
single card credit 33
The Slap Maxwell Show 292
Smallville 32
snap-zoom 129
The Social Network 241
sound department 188
soundstage 261
special effects (SPFX) 48, 189, 204, 248
special needs chart 78
speeding 220
split looks 137
stack the frame 112
stage directions 22
staging area 64
stakebeds 75
start and stop 261
starting point 104
steadicam 124
still rolling… reset 223
stop-and-go rehearsal 220
story 8–17, 25, 272–273; commercials 106; editing 244–245
story point 107
straight cut in 243
strike 54
studio teacher 202
stunt department 188
stunts 48, 204–207, 209–210, 214–215
style 49
subjective POV 116
subjective shots 123
sweeten 261
swing set 62
swingle 112
syndication 263
T
tag 112
tail 242
take a pass 89
takes 139
Tarses, J. 292
Teamster 62
thinking in character 169
throw away 169
throws a cue 169
tighten 247
tilt 129
title card 24
Tolan, P. 312
top of show 33
Touched by an Angel 94
Tracy, S. 175
trailers 63
transitions 103
transportation 48
transportation coordinator 56, 192
trim 242
turn around 119
turnaround 75
turning around 226
TVQ 33
two-t 112
U
underscore 260
unit production manager (UPM) 80
University of Southern California 21
upstage 104
V
Verica, T. 300
video assembled master (VAM) 256–257
video village 64
viewfinder 182
vision board 24
visual aids 47
visual effects (VFX) 48, 120, 189, 210–213, 215–216, 257
W
waist 112
Wake Me When It’s Funny 287
walk the sets 91
Wall, A. 241
wall in, wall out 226
walla 248
walk ’n’ talk 139
what if your character has this secret? 166
what is the new information? 166
who has the power/is winning? 166
wide lens 109
wide shot 107
wild sounds 260
wild walls 226
Winter, J. 53
women 277
wrap 228
writers 92–93, 255–256; see also script
writer’s draft 89
writer’s room 88
Z