#1: The first actor listed on the callsheet, generally the highest-paid and highest-billed
50/50: (Fifty-fifty); shot in which the two characters face each other
A
A side: In editing, the part of a shot right before the cut
“A” story: The basic plot of the show
Abby Singer (the Abby): The second-to-last shot of the day
above the line: The producer, writer, director, and actors who are above the dividing line in a budget
act: The formal division of the parts of a play, teleplay, or screenplay; in TV, the segment between commercials
act-in: The beginning of the next segment after a commercial
act-out: The end of the segment before it goes to commercial
action: The command that indicates to the actor when to begin
actor’s director: A director who doesn’t merely move the camera but also fine-tunes the performances because he understands the actor’s process
add to: Adding more time/footage before a cut
adjustment: The change requested in an actor’s performance by the director
ADR: Automated or automatic dialogue replacement
AFI: American Film Institute; a national arts organization that trains filmmakers and preserves America’s film heritage, and has a library that is open and free to the public
aged: Made to look older or not brand-new
air: Pause between two characters talking
Alliance of Motion Picture and Television Producers (AMPTP): The producers’ group that negotiates on behalf of the networks, production companies, and studios
alts: Alternate choices
American Federation of Television and Radio Artists (AFTRA): One of the actors’ trade unions, now merged with the Screen Actors Guild
angle: Another name for a shot
antagonist: The rival, bad guy, or enemy; often played by a guest star
apple box: A multi-purpose wooden box used on-set by the grips
archetype: A way of labeling a character that uses clichés of well-known types of people
art director: Person who assists the production designer primarily with creating the blueprints and administering the department
art vs. commerce: The daily internal dilemma of every director (you always want more, in every possible way, to tell your story, yet more of anything will undoubtedly mean it costs more, too)
axis: Directional plane; one way of shooting efficiently is having all the action of the scene on one axis, which allows the director to shoot in two directions instead of four
B
“B” or “C” stories: The subplots of the show, which can echo, replicate, or complement the “A” story
B side: In editing, the part of a shot right after a cut
back to one: An instruction given during shooting that means everyone should return to their starting positions
backlight: Light coming from behind the actors rather than in front of them; especially relevant when working with sunlit scenes
backstory: A character’s history
band-aid fixes: Small suggestions given to help the script; often given by director very close to the first day of shooting
base camp: Where the trucks park for a shoot; the location hub
bell: A sound that signals the need for quiet before a shot begins
below the line: Everyone on the production except for the producer, writer, director, and actors, whose costs are maintained by the UPM
billing: On screen credit; a negotiable issue
binge watch: Watching multiple episodes of the same series often because they have been made available for downloading on the same day
bins: Folders or directories of related shots on the editor’s computer
block shoot: A method of shooting that condenses lighting setups by shooting all coverage of multiple scenes in one direction before turning around; often used when shooting courtroom scenes
blocking: The first task of the director; how, where, and when the actors will move
blowing it up: Zooming in on an image in editing
blue/green screen: A blue backdrop or cyclorama against which an actor in filmed with the plan to replace everything that is blue (green in also used)
boarding: Chronicling what specifics are needed for each eighth of a page of a script; it used to be done by hand using cardboard strips mounted on a folding board
bones: The basic requirements for a location
bonus round: A take that the director may call for after he feels he has achieved the scene; for the actors, it feels like there is less pressure and more room to play
boom: (camera) To raise up or down
boom: (sound) An arm, often in segments to which a microphone can attach
break frame: Enter the shot
breakaway: A prop rigged to break exactly as designed
breaking stories: Figuring out the plot lines for upcoming episodes of the series
bumps: Makes the director feel as if something doesn’t ring true
C
call sheet: Page that lists the start time for the beginning of the day, the scenes to be shot, and the personnel and equipment required; prepared by the 2nd AD and distributed to staff, cast, and crew at the end of the day
call time: Beginning of the day, usually 7:00 a.m.
camera: The device for recording pictures; used to be film cameras but are now often digital
camera angle: Direction in which the camera is pointed
camera left: The left from the camera’s point of view
camera right: The right from the camera’s point of view
card: Jargon for flash media on a digital camera; a method of recording pictures
casting concept: An idea of how a show should be cast
casting director: The person who checks actor availability, auditions the actor, sets subsequent audition sessions, negotiates deals, and books all roles
CGI: Computer-generated imagery; uses three-dimensional computer graphics to create images such as a crowd in an arena
cheat: To manipulate elements of the set away from its reality in order to achieve the shot
check the gate: Cue from the director that the shot is concluded, checking for a sliver of film, hair, or dust that would show up on the picture
check the marks: A rehearsal in which the actors walk to each mark in turn to check focus but do not say their dialogue
choker shot: A close-up shot in which the bottom of frame is the neck
chyron: Printed words on the screen during a shot
circled takes: Completed shots that are the directors’ choices; printed or downloaded for use by editor
clean: No one else in frame except one actor
cleared: Bought for broadcast use
cliffhanger: Ending moment at the end of each act that will compel the audience to come back after the commercial to see how that moment turned out
climax: The big moment to which a story builds
close-up (CU): A tight shot of a character, it has no one else in the frame; also called a “single”
closed-captioning: Displaying text on a television or video screen so that people with hearing disabilities have equal access to public information
closed rehearsal: Rehearsal at which no crewmembers are present apart from the director, script supervisor, DP, and first AD
color corrected: Having had the color of the scene or scenes changed or created
colorist: Computer artist with a great eye for matching color or creating color
company move: When all the trucks, as well as cast and crew, have to move and re-park close to the next location
complementary shots: Shots that match each other because the actors’ faces are the same size when you cut back and forth
complete: The status of a bin when all the footage for a scene is shot
complications: The obstacles that arise and keep the attention of the audience
composited: Two images that are put together, such as marrying together a blue-screen image with a plate or background image
concept meeting: Meeting for all the department heads to discuss the script and receive information from the director about the approach
condor: Construction crane used for lights
conflict: When two characters are at cross-purposes; the stronger the conflict, the stronger the story
continuity: The consistency and logic of the show, overseen by the script supervisor
costar: A small role that appears in only one episode; less pay and lower billing than a guest star
costume designer: Works with the production designer to create a wardrobe look for each character that is consistent with the overall look of the production
counter: A type of lateral dolly move in which the camera moves the opposite direction from a walking actor
courtesy screen: A screen or drape placed strategically to give actors privacy while they are performing intimate scenes or scenes where they are scantily clad
coverage: The number of shots it takes to do a good job of telling the story
covering: When an actor hides his true intention
cowboy shot: Bottom frame is where the gun holster would be
crane: Camera is on an arm that allows it to swing up, down, and sideways
crane shot: Shot using a crane; often used at beginning or ending of an act
crew call: Time of day when the work begins, takes into account when the pre-call work in the hair and makeup trailer is finished
crisp: Quality of being in focus
cross camera: When an actor wipes the frame (passes through the camera lens)
cross the lens: Same as “cross camera”
cross the line: A mistake in which shots are on the wrong side of the axis; incorrect screen direction
crossover casting: When a role is a given part for an actor who is doing another show for the same network, often playing the same character; does not require any casting session because actor is offered the part
cross platforming: A distributing company’s practice of creating extra content, especially for the web, in order to drive more viewers to the show
C-stand: a metal pole with holders that the grips use to rig light-controlling elements
CTM: In postproduction, the Color-Timed Master is the final version of the production
cue: Script line that leads an actor into his line or begins a pickup
cues (music): Short pieces of underscoring
cut: A stop; direction given by director to end filming
cut together: When film is edited or assembled
cutting pattern: A sequence of shots that follow a pattern or plan
D
dailies: Printed raw, unedited daily footage
dance floor: Floor of plywood or plastic over the existing floor that is used to create a smooth surface; used when the camera movement is not in a straight line to give more flexibility
daybreaks: When shooting changes from one script day to another
day-out-of-days (DOOD): A chart that tells which day of the schedule each actor will work
dénouement: The resolution that completes a story
department heads: Leaders of each division
dialogue: The scripted words that the actors say
Did you make the event of the scene happen?: A question an actor asks himself to determine if he achieved his intention
digital: When information is coded in numbers as in a binary system
digital double: A digital 3-D replica of an actor’s body and face
directionally: To shoot everything in one direction, using the same group of lights
director of photography (DP): Person who helps with lighting design and organizes the construction of each shot; crew leader of the camera, electric, and grip departments
Director’s Guild of America (DGA): The union that protects the creative and economic rights of members working in feature film, television, documentary, new media and other forms of production
discovery: New information that comes to an actor while playing the character
dolly: The platform or wagon on wheels to which the camera is attached
dolly back: When the camera rolls back from the character
dolly shot: Shot where the camera is mounted on the dolly
dolly track: The track on which the wheels of the dolly roll; looks like a railroad track; it comes in sections and is laid by the grip department
double-check: After shot listing, a process by which a director makes certain that she has all the coverage needed by indicating next to the dialogue/description of the script page which shot she would anticipate using
doubled: Replacing the hero actor with a stunt person, look-alike (camera double), or duplicating a prop or costume piece with multiples
downstage: The part of the stage closest to the audience from the actor’s point of view so named because when stages are raked (angled) this area is lowest
drive-by: An objective and often wide shot that shows a car or boat traveling in its environment
drop a scene: Decide not to shoot a scene that was planned
dry runs: Practice runs that simulate but don’t actually do the big gag
dub: The assembled sound components; same as mix
dubbed: Made, duplicated, or created
dutch: Tilting the camera so the frame is askew
duvetyne: A thick, black fabric that the grips use to block light
E
editor’s assembly: The initial cut the editor shows the director
EDL: Edit decision list; the computerized list of all the cuts
emancipated: A legal determination that allows actors under the age of 18 to work by many of the rules that govern adult actors
establishing shot: A shot that shows the environment from a wide point of view
exit frame: When the characters leave the shot
exposition: The background info that gives basic information about characters
extender: A device that doubles or quadruples the capability of the lens with a corresponding significant reduction of light/exposure
extras: Background artists who populate the scene in addition to the actors
extreme shot: The frame can hold only a part of the face, also known as an extreme close up
eyeline: The angle at which a character’s eyes are looking
F
feed: The setup of a joke
fill: Ambient sound
final air master: The master that is dubbed and sent out for broadcast
final touches: Last bits of fine-tuning by the hair, makeup, and wardrobe assistants to make sure the actors look perfect
find more colors: A direction to give an actor to elicit more highs and lows in the character’s needs
find peaks and valleys: Same as “Find more colors”
first assistant director (1st AD): The conduit between the production and the director; makes sure every department head knows what the director requires ahead of time; generates preproduction schedules and runs the set during production
first cut: Edit where the director cuts out of the opening shot
first draft: Initial version of the script
first team: The principal actors, the second team are their stand-ins
fish-eye lens: A lens that distorts what is in front of it; it is at the wide end of the lens continuum
fixed lens: A lens that gives you only one focal length, also known as a prime
floor plan: A blueprint of the walls, doors, windows, stairs of a set as well as the furniture within it
flyaways: Strands of hair that are sticking up from an actor’s head
foley: Adding to/augmenting sounds, named after Jack Foley, the Universal Studios sound effects pioneer; includes doorbells, car doors, tire squeals, footsteps, and so on
follow van: A vehicle that ferries support personnel during driving scenes
foreground: Area close to camera
foreground wipe: When a principal or background artist crosses in the foreground of the shot; makes shot feel more subjective
foreshadowing: Deliberate clues that must be created earlier in the show to earn or reach the climax of the show; information that warns ahead of time
frame the joke: To limit extraneous movement, such as having an actor remain still, in order to bring audience attention to the punch line
from the top: Beginning at the first word or camera move of a scene
full figure: Framing from head to toe
full mag: As much film as possible in the magazine, which is generally 1,000 feet
G
gaffe: Arrange anything
gag: Stage bit or business
get it on its feet: Having the actors physically move around the set; blocking scene as opposed to just reading it
getting the scissors in: Making an edit, generally where there isn’t much air or space to do it well
gimbal: To manipulate or pivot anything that causes a reflection, i.e. a mirror or window
give yourself somewhere to go: A direction to give an actor who is playing the result of the scene too soon and needs to explore the process the character travels to get there
grace period: The 12 minutes of extra shooting time before a meal is required to facilitate efficient shooting
green room: Waiting room for actors and/or extras
guest star: A large role for an actor who is only contracted for one episode or the amount of episodes it takes to tell his character’s story
H
hair in the gate: A sliver of film, dust, or hair in front of the lens; if this occurs, the shot has to be repeated
half-speed: Rehearsing at a slower speed
handheld: A way of shooting when the camera operator simply holds the camera and moves to create the best shot as the actors move
hanging a lamp on it: Being too obvious about the subtext
hard drive: Place for storing digital information
head: In editing, the first part of a shot
hero: Anything that is the main focus of attention; can be a prop, a set, a shot or an actor’s movement
high and wide shot: Shot that takes in all the action from above, often a crane shot
high-definition (HD): Better quality of digital recording
high-hat: A flat mounting device that can sit on the floor or be attached to a ladder; camera can be attached it for a high or low angle
hits: Each time a person clicks on a website or advertisement on a website
holding area: A room or trailer where background artists wait until they are needed
Hollywood in/out: Substituting or switching elements within a shot while the camera is framed on something else
honeywagons: Bathrooms in a trailer and small dressing rooms
I
iconic image: The singular image that communicates the essence of the story
imagery: Images that can be seen or imagined
IMDB.com: (Internet Movie Data Base) Website that lists all television and film credits
in the moment: A state in which the actor is completely thinking and reacting in character in present time, with no thought other than what is happening right then
inciting action: The incident that kicks off the story and engages the audience
incomplete: In editing when all the shots needed to assemble a scene are not yet filmed; usually when an insert or special effects shot is missing
insert car: A tow truck that pulls the picture car; lights and cameras are mounted on it
inserts: Tight shots on objects
integrated insert: Inclusion of a close-up of an object within another shot
intention: Another word for a character’s need, an important word in an actor’s vocabulary
into the works: Having an actor begin the process of being made over by the hair and makeup artists
J
jump cut: Two shots in a row of the same subject from nearly the same position
kill the funny: Destroy an attempt at humor
L
land: To make contact (stunt); make the audience laugh (comedy)
last looks: Actors to receive final attention from hair, makeup, and wardrobe departments before shooting
lateral dolly shot: Shot in which the camera moves sideways across the plane in front of the actors
layback: In postproduction, when the audio portion of the episode is added to the visual part
license fee: Amount of money given to the production company by the network
lifted: Removed from the project through editing
line producer: Person who assists the executive producer in getting the most out of the budget; in charge of crew; oversees day-to-day operations
line reading: Saying the exact line in the script for an actor with the intonation and rhythm desired in order that the actor will duplicate the delivery
lip-sync: Mouth the words, done when actors are singing to prerecorded tracks of their own voice
location: A preexisting place chosen for shooting
location manager: Department head whose job it is to find potential locations and, once they are chosen, to negotiate the deal and oversee the interaction between the shooting crew and the site
locked-down: Physically fixed camera, makes it impossible to move the frame
logline: A sentence that summarizes the plot
looks: Refers to the direction, right or left, in which the actor is looking
loop groups: Actors who create specific background voices for scenes
looped: Dialogue replacement or augmentation process
M
make a cross: When an actor as the character moves from one place to another in a scene
make a deal: Agree on dates and/or money; usually pertains to hiring or renting equipment
make the day: Complete the scheduled work on time and on budget
makeup and hair designers: Crew members responsible for hair and makeup; the behind-the-scene psychologists, as they help the actors face the day with confidence
marks: Locations the actors have to stand on in each shot, usually marked in tape
martini shot: The last shot of the day
massage the cut: In editing, finding the absolute best place for the cut
master: A shot that holds all the actors in the frame, it is usually shot first and creates a template for the scene
match: To repeat, usually referring to the actors repeating their movements and actions from the master shot
meal penalty: A payment given to union members for exceeding the negotiated amount of time allowed between meals
meat of the day: Biggest and hardest scene
mini-master: A smaller grouping of actors within the same scene, from the same camera position as the master
mislead/turn: Joke that deliberately sets up one expectation then delivers another
mix: The assembled sound components; same as dub
moleskin: Flesh-colored cloth adhesive used to cover an actor’s private areas
montage: A storytelling device of putting non-dialogue shots together, usually accompanied by music scoring
MOS: “mit-out-sound,” a silent shot because the sound is not recorded
motion-capture: Tracking and recording movement for a digital model
motivated: Driven by organic character impulse
moving on: Instruction the director calls that a scene is completed
N
new information: Details of the plot that are revealed and must lead logically into the next scene
NLE: Nonlinear editing or editor; software used by the editor to assemble the film or teleplay or the editor himself
notes: The comments given to the showrunner by the network executive or studio
O
O track: Original track
objective: How one describes the shot when it is observing as a non-participant
obstacle: Circumstance that gets in the way of the protagonist fulfilling his intention
offer only: In casting, when an actor is offered a role rather than auditioning for the role
on the day: When the shot is actually accomplished
on the nose: Dialogue that too obviously refers to the subtext of the scene
on-set dresser: The crew person who moves furniture and props to help achieve the shot
one-liner: A short version of the shooting schedule, it lists for each day: the scene numbers, page count, scene description, actors needed, and what script day it is in the continuity of the story
one more for fun: An extra take once the director knows that she has a good take; generally free of performance pressure for actor
one-offs: Episodes that stand alone without further installments
oner: Shooting all the coverage for a scene in one shot
operative word: The word in a sentence that should be stressed
organic: Correct because it feels natural
over the cut: When a sound continues from one shot into the next
over-the-shoulders (OS): A camera shot in which the camera looks over the shoulder of one actor toward the other actor
overlap: To do it again; repeating a movement or dialogue; used to make an edit appear seamless
P
pace: The rate at which an actor speaks or a scene’s moments progress
pack a suitcase: To have details of the character in mind
pan: A move of the camera from side to side
pattern budget: The cost of a typical episode
payoff: The punch line of a joke; the turn of the joke in a mislead/turn
permit: A license that allows shooting in a public location
pickup: Starting the scene somewhere in the middle to achieve the element the director believes is missing
picture car: A vehicle that will be seen on camera
picture up: What the director says when ready to shoot
pilot: The first episode of a series
pipe (laying the pipe): An area where the writer has had to share a lot of information
pitch: A potential solution, fix, or suggestion; helpful to have ready if you have a criticism
pivot: The person or thing upon which the scene turns; the new information
plate: Background image that is photographed to be composited with another image that has more foreground information
playing the end at the beginning: A trap that actors fall into when they know more than their character does and play the scene as if they already have the information
point of view (for actor): Way of being within the world created by the script; the character has an opinion about his emotional starting point for the scene
point of view (POV): When the camera sees what a character sees
poor man’s process: A method of shooting a car-driving scene without driving the car
practical: The real thing, referring to a location that is not a built set, or a prop that actually works (a lamp that turns on)
pre-call: The time at which a crew or cast member reports for the day which is prior to the general crew call
prelapping: Hearing the dialogue of the next character that speaks before the image of that character appears
preread: Preliminary audition
pre-viz (pre-visualization): A means by which the stunt coordinator or special effects supervisor film a rehearsal of a planned gag in order to show an early version to the director to get notes and/or approval
principal: An actor in a major role
print: To forward a completed shot to the editor
print and move on: Move on to the next scene instead of going for another take
print it: Instruction from the director that the take is useable
private rehearsal: Rehearsal with actors away from most of the crew
procedural: A show with a tried-and-true formula that is the spine of every story, usually in the law or police genre
process trailer: A tow truck with a rear-appended platform upon which the picture car is mounted; equipment may be staged around the car on the platform
producer/director: A staff person who stays on one show for the full season and fulfills both functions, usually directing the first and last episodes
producer session: The audition where producers are present; usually the second or third round of casting
production design: Everything in the frame that is nonhuman; the “look” of a production that is cohesive and artful
production designer: Person who supervises several art departments; a pivotal link between the ideas in the director’s head and the realization of them on the finished product; uses architectural and artist skills
production draft: Version of the script the writers feel comfortable sharing with the entire production team; it is the one (with subsequent revisions) that will be shot
production report: An accounting of what took place during the day by the 2nd AD, distributed to accounting, production, studio, and network
production value: Quality of the production, often higher with more money; the value seen on the screen
profile: A shot showing a side view, usually a face in close-up
prop master: Person who provides the things that actors physically touch or use in a scene
proscenium: The archway in theatre that defines the front of the stage, the action usually plays upstage of it; in film, it refers to a shot which is staged away from the camera on a wide lens
protagonist: The hero, the main character of the story who moves the plot forward
pull out: The shot becomes wider as the camera moves away from the actor
pull the plug: To end production suddenly, often due to poor shot planning; a decision made by the producers based on the budget
pulling up: When the editor is lessening the space between the characters’ dialogue from the distance it was during shooting
punch (visual): A straight cut in, from a wider shot to a tighter one, of the same subject in the same angle without first going to, or editing in, a reverse shot
punched: Stressed lightly
push in: The shot becomes tighter as the camera goes toward the actor
Q
quote: The amount of money that an actor was last paid
R
raise the stakes: A direction to give an actor to have him play his intention or use his obstacle more strongly
rake: (raker, raking)—A side-angle shot
reaction: The nonverbal or verbal response that an actor has when listening
read through: Having the actors just read the lines, without any movement or commitment to an intention
recur: Appear again, referring to a character that appears in multiple episodes, usually for a specific story arc
reverse: A shot looking in the opposite direction from the previous shot
rhythm: Timing an edit to feel a beat
rig: To prepare or assemble for use
rising action: The part of the story that builds to a climax as complications arise once the audience is engaged
rock into coverage: What an actor does to begin a shot by stepping into his mark rather than already being on his mark
roll the carts: Moving the handcarts that store equipment and can be wheeled short distances
rolling: Signal from the first assistant camera operator that the camera is on
room tone: The ambient sounds that exist in a room when nobody is speaking
running the tape: Measuring the distance between and actor and the lens to ensure the shot is in focus; done by first AC
running time: How long the project or episode is for broadcast
runs: Rhythmic jokes that have three elements.
S
scout: A trip organized to see potential locations
Screen Actors Guild (SAG): One of the actors’ trade unions, now joined with AFTRA
screen direction: Whether a character is looking right to left or left to right, whether object entering frame is moving right to left or left to right
script coordinator: Person who types and issues the version of the script for all departments
script day: The day it is in the world of the script, kept track of for continuity purposes
script supervisor’s notes: The blueprint for finding and retrieving the information about all the footage shot and especially about the footage that the director printed
second meal: When the crew is fed after shooting has exceeded 13 hours
second team: The stand-ins who stand on the actors’ marks while the set is being lit
self-taped auditions: Auditions submitted by actors to casting directors that have been self-generated
serial: A story that plays out over many episodes
series regular: The actors that appear in each episode
set: A room, building, or area designed and created specifically for a shoot
set background: Placing the daily hires of extras that populate the frame to create the human environment of the film, usually supervised by the 2nd AD
set decorator: Person who turns a set from bare walls to a finished room, doing the job of an elite scavenger hunter who finds or selects just the right pieces
set piece: A scene that requires additional manpower or equipment, and is therefore outside the pattern
setups: Individual shots
SFX: Sound effects; added in postproduction
shared card credit: A name on the screen with others
shoot out: To finish coverage on one actor (usually a minor) first
shooter: A director who specializes in using the camera in a visually dynamic way
shooting schedule: A list of the order of shooting; job of the 1st AD after the first concept meeting; it tells everyone involved in the production what is to be shot each day and what elements are necessary
shot list: How the director plans to break down the scene into individual shots
showrunner: The person who is the boss of the show; usually the creator of the show and supervisor of the writing staff
sides: Script pages for the day
single card credit: A name on the screen alone, often given to the top-of-show guest star, placement negotiated depending on their TVQ
single shot: A tight shot of a character, it has no one else in the frame; also called a close-up
slate: The board that is slapped shut to identify and signal the beginning of the take; the slapping sound enables picture to be synced with the separately recorded sound; to identify the scene on the slate either at the beginning or end of the scene
snap-zoom: When the zoom is done quickly for effect
soundstage: A hangar-like building used for shooting motion pictures that hopefully eliminates sound from outside
special needs chart: Section of the shooting schedule which shows what special equipment or personnel need to be ordered for each day that the company does not normally carry
speeding: Signal from the boom operator that the sound recorder has reached the appropriate speed
SPFX: Special effects; done during production to create unusual events like explosions
split looks: When an actor says his dialogue to actors who are on both sides of the camera
stack the frame: Filling the frame with elements in foreground, mid-ground and background
stage directions: The instructions the writer has left in the script that nearly always lead to the truth about the characters, may include references to the set, props, etc.; what the writer “saw” in her head as she wrote
staging area: Place where equipment can be kept while waiting to be used
stakebeds: Smaller trucks that can move small pieces between multiple locations
stand-in: An actor who watches blocking and replaces first team for lighting purposes
standing set: An already existing, previously constructed, and used set; sets that remain standing for use in each episode
start and stop: Point when the music begins and ends
starting point: Where the characters begin in each scene
Steadicam: A handheld device for moving the camera, the operator wears a harness and the camera is attached to a floating head
still rolling … reset: Cue from the director that the actors have finished the scene for the first time and that the director wants to do the scene again without cutting
sting: A short music cue, usually at the end of an act
stop-and-go rehearsal: Rehearsal where you stop whenever an issue needs addressing
story point: A plot point
storyboard: Visual depiction of how each shot should look
straight cut in: Direct cut closer
strike: To tear down or remove, generally refers to taking down the sets
studio teacher: A teacher (often also a social worker) who instructs child actors as required by law and is responsible for the child’s well-being while at work
stunt casting: Hiring a huge celebrity for a small part on a TV series in hopes the guest appearance will jump-start the fortunes of the show and sometimes the celebrity
subjective: How one describes the shot when it is depicting the feelings of the character
subtext: Meaning under a line of dialogue; the story under the story, what is really going on in a scene and is not revealed in plot or dialogue
sweeten: To clean up and enhance sound
swing set: A set that is designed specifically for the needs of an individual script
swingle: When the camera pans from one character in close-up to the next
synced: When the film element and separately recorded sound element are put together
syndication: A method of selling programming to secondary distributors
tag: To pan or tilt the camera to see an integrated insert within one shot
tail: The end of a shot
take: Version of the shot
take a pass: Look over the script, done by the showrunner, who sharpens it up
Teamster: Union driver
technical scout: A trip back to the chosen locations in which other crew members participate to discuss how to make the location ready for the shoot
temp tracks: Temporary placeholding music
theme: The underlying idea of the script, and every scene should help illuminate the concept
thinking in character: An actor remains in character throughout a scene, listening and responding as the character, not as the actor
throw a cue: To deliver a line that directly precedes another actor’s line
throw away: To underplay; technique employed by actors in both comedy and drama
tighten: To make the pacing sharper
tilt: A movement of the camera up or down
title card: A screen image with the movie title that hopefully captures the essence of the story
titles: Credits
tone meeting: Meeting with the writer at which he reveals the important elements of story and/or style in episode; opportunity for director to ask questions or make suggestions
top of show: Where the biggest guest stars are listed, as opposed to the end credits; also refers to the basic union salary cap
tracking shot: Shot that moves with the actor
trailers: Portable dressing rooms and offices on location
transitions: How the frame looks from the end of one scene to the beginning of the next
transportation coordinator: Responsible for picture cars (those that appear as part of production design) and transporting the company and its equipment during the process of production
trim: To edit a small section out
turn around: Have the camera look in the opposite direction
turnaround: The amount of time off between completing work on one day and beginning work on the next day (union actors are given at least 12 hours off)
turning around: Cue called by director that the AD repeats on the radio for the shot to be filmed in the opposite direction
TVQ: TV quotient, or how well known an actor is
two-shot: Two people are in the frame
two-t shot: Two tits are at the bottom of the frame
U
under 5s: Roles with five lines or fewer
underscore: Music played along with a scene to lend emotional impact
unit production manager (UPM): The person in charge of the day-to-day operations of the crew, with direct supervision of those below the line
upstage: The part of the stage furthest from the audience from the actor’s point of view; so named because when stages are raked (angled) this area is highest
V
VAM: Video assembled master; the original footage from an episode used for postproduction
vanities: A term for the group of technicians who work in the wardrobe, hair, and makeup departments.
VFX: Visual effects; added in postproduction to augment or change the image shot in production
video village: Where the monitors are, directors chairs are grouped there to enable people to view the shot directly from a camera feed
viewfinder: A small handheld lens that the cinematographer looks through to compose the shot; it sees what the camera will see
vision board: A board full of pictures and words that illustrate concepts and provide a reference point for discussion
visual aids: Visual examples of exactly what one is talking about
W
waist shot: Waist is at the bottom of the frame
walk ‘n’ talk: Scene in which the actors walk while talking
walk the sets: To look at the sets with an eye toward camera blocking
wall in, wall out: Moving the set walls in and out to give more room to the camera
walla: Murmur of the background crowd
walla group: Same as loop group
What do you find out?: A question to ask an actor to remind him that the character makes a discovery in the scene
What if your character has this secret …?: A question to ask an actor to help him find some colors in the scene by suggesting information that only the character would be privy to
What’s the new information?: A question to ask an actor to remind him that his character makes a discovery in the scene
Who has the power?: A question to ask an actor to help him play his intention more strongly by examining whether he or his scene partner is in charge; makes an actor react more in the moment
Who is winning?: A question to ask an actor to help him be aware if he is getting what he wants; makes an actor react more in the moment
wide lens: A lens that allows the camera to capture a large amount of action; can hold a wide peripheral frame
wild: Moveable pieces of the set
wild sounds: Additional sounds recorded that are extraneous to the picture
wrap: Finish the day
writers’ draft: The first version of the script, usually distributed only among the writing staff and withheld from production
writer’s room: The room where the showrunner organizes the writers who create the scripts
Z
zoom: When the lens moves in or out without the camera moving
zoom lens: A lens that allows multiple focal lengths