A
AD
Assistant director. The person in charge of the shooting schedule, directing the extras, keeping the actors on time, and the right hand man to the director.
ADR
Automatic dialog replacement (looping). This is done on a looping (recording) stage to rerecord dialog after the film is completely shot to replace unusable original sound, change performance, or add new dialog.
ALTS
Alternate takes.
AUDIO LAYBACK
After the movie is mixed on the dub stage, the tracks are applied to the film in an optical track (in film) or to the audio tracks on the video master (CTM).
B
BACK NINE
The last nine episodes of a TV show ordered for pickup by the network.
BACK 12
The last 12 episodes of a TV show ordered for pickup by the network.
BACKPLATE
A still photograph used as the background for live action.
BG
Background. Either the ambient sound on location, or the actors who are extras on a film set.
BROADCAST STANDARDS
See Standards and Practices.
BUMPERS
A short piece of video shown on television shows during commercial breaks that identifies the show and tells the audience that the show will return shortly.
BURN-IN
The process of adding live or still visuals to a blank screen (i.e., TV set, computer) after completion of the film.
C
CALIBRATE
To determine, check, or rectify the graduation of different equipment ensuring they are all lined up and give the same readings.
A sheet of paper issued to the cast and crew of a film production, created by an assistant director, informing them where and when they should report for a particular day of shooting. Call sheets also include other useful information, such as contact information (i.e., phone numbers of crew members and other contacts), the schedule for the day, which scenes and script pages are being shot, and the address of the shoot location. Additionally, call sheets may contain information about cast transportation arrangements, parking instructions, and safety notes.
CHASE CASSETTE
An ouput (copy) of the completed show that will be used by the online editor as a viewing reference.
CHEAT SHEET
A list of necessary information.
CHECKING BLACKS
Before digitizing footage, the levels of brightness are checked. One looks at the color bars, a standardized set of graduated vertical colors that are recorded to a precise standard onto a videotape.
CLEANING THE TRACKS
The process of preparing tracks for onlining and mixing by removing jump cuts, add edits, extraneous sounds, and separating dialog, sound effects and music onto dedicated tracks.
CLONE
A digital tape, such as D1 or D2, that is copied to another digital tape. There is no loss of picture quality because the process is digital and the copy is identical to the original.
CONTINUITY
A list of the scenes in the film, with scene numbers and short scene descriptions.
COVER SHEETS
A cover page with relevant information that explains what a document is about or explains briefly about the accompanying film material.
D
DAT
Digital audio tape. A small cassette tape onto which two tracks of audio can be recorded. Because of the digital nature of the recording, tapes can be copied countless times without loss of quality.
DEFAULT SETTINGS
Inherent settings to which a computer will return.
DIGITAL INTERMEDIATE (DI)
After the negative is conformed and cut to match the picture edits, a digital copy called the DI is made. This allows the process of color correction, titling, and VFX to be done in the digital world before the final print is struck.
DROP FRAME TIME CODE
A time code in which certain numbers are periodically skipped (two frame numbers at every minute except the 10th) to make the numbers exactly match real (clock) time. The actual picture frames are not dropped; only numbers are skipped. Drop frame time code adds 3 seconds and 18 frames each hour over nondrop frame time code.
A copy of a shot or a sequence.
E
EDITOR’S PREFERENCES
Settings that can be programmed into the computer and keyboard that reflect the personal choices of the editor. They reflect the way he would like to edit with regard to making shortcuts or other commands to ease his working process.
EVENT
In digital editing, a visual or sound change in your timeline or edl.
F
FLEX FILE
A computer file that contains all the relevant data concerning the dailies that is needed to import material into the computer.
FORMAT SHEET
The paperwork that the network provides with commercial blacks and ID’s filled in, and blanks for the assistant editor to complete with regard to the amount of time for each act, the recap, and the total running time.
FX
An abbreviation for effects, such as sound effects.
G
GROUP CLIPS
This form of syncing dailies, also known as multicam, is used when a scene is shot with several cameras following the same action. All the coverage is synced up and laid in on the time line on different tracks at matching timecodes. In this way, all the different camera shots can be played together in sync, which makes it possible to view all of the action from all angles simultaneously.
J
JUMP CUT
A cut where the out and in footage are both from the same take, but there are frames missing in-between.
L
LAYBACK
See audio layback.
LICENSE
The rights for use for any given materials, such as music, product placement, lyrics, etc.
A scene that has been removed from an edited show. They are kept intact as lifts.
LINED SCRIPT
The shooting script of the film onto which the script supervisor has noted all of the setups that were shot and what lines of dialog were included in each setup. The term is also used to denote the combination of the lined script and their facing page which contains take numbers, the length of the action, circled select takes, a description of each setup, camera roll number, sound roll number, lens number, and notes given on set for each take.
LOCKED
The point in the editing of a film when the picture editing is completed.
M
MASTER
The original footage that is shot either on film, tape, or digital media. It can also be the original edited master from which all copies are made.
MATCHBACK
A process for visual and audio replacement whereby higher resolution and better sound quality replaces the media with which the editor works.
MIXDOWN
Several audio tracks can be combined and mixed down to one track, retaining the original settings on each track.
MUSIC AND SOUND EFFECTS SPOTTING
When the film is cut, the composer and music editor will come and view the show with the editor, director, and producer and decide where music should be added. Similarly, the sound effects supervisor and his crew will view the film with the editor, director, and producer, and discuss the sound design. ADR is discussed and spotted.
MUSIC CODES
A timecode (in digital) or code number (on film) that is applied to the dailies in addition to the already existing timecode and key code. This music code enables the editor to find sync easily during a music sequence.
MX
Music.
N
NEEDLE DROP
A tune or piece of music that can be purchased and licensed for use in a film and most often has lyrics.
NONDROP FRAME TIMECODE
Timecode in which each frame is given a continuous and successive timecode number. As a result, the code does not exactly represent real time. The mismatch amounts to an 18-frame overrun every 10 minutes.
ONLINE
The process of editing the original master tapes into the final viewing tape at a high enough resolution to be broadcast quality. The final tape is called the final edited master.
OUTPUT
The process of transferring the film from an editing machine to a videotape or DVD for viewing.
P
PICKUP SHOT
When a shot has been made on the set and the director wishes to redo part of the take, the redo is called a pickup shot because only a portion of the take is redone. It is often designated with a PU after the take number on the slate. A pickup could also be shot at a later date. These are often done by the second unit.
PILOT AND 12
The network green light order for the pilot plus 12 more episodes.
PLAYBACK
A musical recording played back to the actors to which they lip sync on the set to maintain the same musical performance or dancing sync from take to take. Film playback is previously edited or stock footage that will play on a monitor or computer screen during the shoot.
PLAYBACK DAYS
The day on which the production will shoot scenes that contain visual or audio playback.
POPPING THE TRACKS
The process of marking up the frame in which the slate claps on a roll of dailies track. When this is done, you can sync them up with an already marked set of picture takes where you see the slate clap. Also called marking the tracks.
POSTLAP
In an L-shaped cut (when the audio is not cut at the same place as the film), this is when the audio continues after the picture edit.
PRELAP
In an L-shaped cut, this is when the incoming audio precedes the picture edit.
Q
QUICKTIME
A program written by Apple that allows Macs and PCs to compress, edit, and play back movies (with picture and sound). Some of the nonlinear editing systems are designed to use or create QuickTime (QT) movies.
R
RECORD SIDE
The interface on the Avid editing system that allows you to record and save your cuts. It is called the Canvas in Final Cut Pro.
The amount of detail in a digital picture image. When there is more compression, there is less resolution.
RUNOUTS
The 30 or more seconds of excess leader or fill that is put at the ends of a show.
S
SHOOTING SCHEDULES
Prepared by the production office, this schedule tells what scenes are going to be shot on which days, which actors will be required, the location, and any other relevant information that needs to be shared concerning that day’s shoot.
SLIDE THE MUSIC
The ability on the time line to move the music forward or backward to find exactly where you would like to place it.
SOURCE SIDE
The interface on the Avid editing system that allows you to view your dailies and mark your selected clips for editing. It is called the Viewer in Final Cut Pro.
SPOT
A term used to view the final cut of a show and to determine where music or sound effects need to be added or where it should begin and end.
STANDARDS AND PRACTICES
The name of a department at a television network that is responsible for monitoring the language, violence, or sexual content of the program that airs. Also referred to as Broadcast Standards and Practices (or BS&P). This department is also responsible for the technical quality that is required for broadcast.
STOCK SHOTS
Also called stock footage. Often a production is not able to shoot certain shots, so it obtains the shots from other sources, such as stock libraries. The libraries sell hard-to-obtain shots, such as a volcano erupting. Stock footage can also be a collection of shots that have been sourced from a production and used repeatedly on a show over a period of seasons. These stock shots are used to establish a location, among other things.
STRIKE
Making a print of the film, such as to strike a print.
STRIPE
Applying sound to tape or film is called to stripe a tape.
SUBCLIP
A portion of a selected shot that can be removed as a separate clip and stored and edited.
SUBTITLE
Writing that appears at the bottom of the screen. It is often used to translate films into a different language, translate inaudible dialog, or identify location (country, city, building) or year.
TECH SUPPORT
A service usually provided by equipment suppliers who help with any technical problems you experience with their hardware.
TECHS
The people who are available to answer questions and help with technical problems.
TELECINE
A process that takes a film image and converts it into a video or digital image. It normally uses the 3:2 pulldown process.
TEMP SCORE
Music used during the editing process that is temporary and will be replaced by a composer’s score and licensed needle drops.
TIME LINE
The display of the edited film and sound on an electronic editing machine.
TIMECODE
Electronic code numbers, also called SMPTE code, used on videotape and digital editing workstations for identification. It is also used to sync tapes to one another or to another machine. It comes in two forms: drop frame and nondrop frame.
TIMINGS
Measurements of a sequence or sequences in a cut show.
TITLES
Words that are shown on a screen with or without a picture behind them. There are Main titles, Opening Credit titles, and End Credit titles that give credit to the crew. See subtitle.
TRADES
Any paper or journal that deals with film business news, such as the The Hollywood Reporter and Variety.
TRIM MODE
A setting on the editing system that allows you to fix edits and adjust your shots by trimming the head or tail or by adding or subtracting frames. Also referred to as splice mode.
TRT
Total running time. The length of your film from the first frame of picture to the final fade out.
U
USER SETTINGS
Personal preferences that can be saved on your machine.
V
VAM
Video assembled master. It is the tape or DVD of the online, and is also referred to as the assembly master or edited master.
Visual effects.
VOICE-OVER
A recording of a voice of an actor who does not appear on the screen.
W
WILD LINE
A line of dialog that is recorded without picture to replace a line with sound issues. It could also be a line of dialog that is recorded without picture to be used as added information in a scene.