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Film & Stunt Terminology
The following terms do not cover the whole of film production, but they may be of use to actors, stuntmen, and coordinators who are unfamiliar with procedure and terminology on set.




Air Ramp: a pneumatic catapult device used to toss a body through the air. Activation is either by touch or trigger.

Airbag: A large bag filled with air used for high falls - typically anywhere from 30-150 feet.

Breakaway: A prop that is constructed in such a manner that it will shatter or collapse easily upon impact (e.g., a disintegrating bottle, a collapsible chair or window, etc.).

Bump: Additional money paid to a performer for doing a specific stunt (usually arranged by the coordinator).

Cowboy Up: Doing something that you know might hurt.

Crash pad: Normally measuring 4'x 8'x 8", this referrs to any foam-type pad used in a landing.

Egg On Face: not acting during the scene or waiting for action to happen.

High Fall: Typically any fall over 40 feet.
Low Fall: Any fall below 40 feet, but typically no higher than 20 feet.
Faceoff: A fall forwards through the air which twists sideways at the last moment, landing on the back.
Fireman / Suicide: A fall executed by facing forward, bringing your legs in front and landing on your back.
Back off: a fall backwards through the air landing on the back.
Header: A Fall executed facing forward and pitching over (3/4 flip) onto your back.
Branny: Forward flip with a half twist

Flying Harness: See Wire Work.

Gag: short for stunt, special effect, or special setup

Gatorback: a hard shell back protector.

Hot: referring to air ramps, pyro, or special effects that might be accidentally triggered.

Knap: Sound effect to simulate hitting another person - usually used onstage for live performances.

Pads: also referred to as knees / elbows, this is personal protection which can be either a soft pad or hard shell.

Porta-Pit: Typically measuring 4' x 8' x 3' deep, this foam pad can usually safely cushion a fall up to 25 feet.

Ratchet: A rope or wire used to pull a stuntman in reaction to a gunshot or hit.

Safety / Spotters: Having people nearby to protect the stuntman from injury.

Suicide: From the ground, this is a forward ¾ flip onto your back.

Tumbling pad: Usually a folding mat about an inch thick.

Wire Work: The system of using wire to "fly" actors and stuntmen. Type of stunt varies with flying harness, spreader bar, and number of wires wich can be used to twist or redirect the action.



Assistant Director: Ensures the production schedule is on track and keeps everything moving.

Associate Producer: This is normally the person who acts as the liason between a production company and the various personnel involved in the post production process. Also a title given to anyone who has made contributions to the film.

Best Boy: The assistant chief lighting technician (Gaffer) or the assistant to the key grip.

Bit Part: A minor acting role in which an actor may only speak a few lines.

Boom Operator: Person who manipulates the boom.

Camera Operator: In charge of running the camera.

Camera Assistant: In charge of loading, unloading camera, and assisting the camera operator.

Casting Director: Hired by the Ad agency or producer of project to cast talent.

Costume Designer: See Wardrobe.

Craft Services: Referring to the food table or food services.

Director: In charge of all aspects of production, cast and crew.

Dolly Grip: A camera crew member who pushes or operates the dolly during a shoot.

Double: A stuntman who matches a leading actor.

DP - Director of Photography: Responsible for camera, lighting, and all other aspects of photography.

Extras / Atmosphere / Background: Extras who are staged and photographed to portray normal human traffic needed to add detail in various script situations.

First Team: Refers to principal performers in the scene. Differentiates them from extras or stand ins who were in for lighting.

Focus Puller: Person resposible for maintaining focus of the camera.

Gaffer: The chief lighting technician for a production who is in charge of the electrical department.

Key Grip: The chief grip who works directly with the gaffer in creating shadow effects for set lighting and who supervises camera cranes, dollies and other platforms or supporting structures according to the requirements of the director of photography.

Location Manager: The person who sometimes acts as a scout for the purpose of locating a site for the shooting of particular scenes in a film. After approval by the director, the manager contracts for its use and arranges the details of occupancy, such as obtaining permits, protective services, parking arrangements, etc.

PA - Production Assistant or Gofer (Gopher): An employee who handles noncreative and nontechnical tasks - all the dirty work.

Principal / Lead: Actor who appears in foreground, speaks dialog or reacts to product or message.

Producer: A production house or agency person responsible for organizing the production. The production house producer is usually called a "line producer". The Agency Producer oversees the preparation, shoot and editing of the job.

Production Manager: The person in charge of coordinating and supervising business affairs involved in the production of a film. The production manager's responsibilities include, but are not limited to, supervising all financial, administrative and technical details of the production of a film.

Prop Master: The person in the crew whose responsibility is to obtain, maintain and place props on a set throughout the shooting of a film.

Riggers: Members of the crew responsible for setting in place or building the scaffolds to support sets, lights, equipment and workers.

Scenics: A person or persons hired to paint sets, backdrops and apply wall paper as needed.

Sound Man (Sound Mixer): The person responsible for combining all the sound tracks into the final composite track. The sound mixer is generally the head person in the sound department.

Script Supervisor: Also called continuity. This person is responsible for tracking the script and making detailed notes on what happens during each scene.

Second Unit: A photographic team that shoots scenes which do not involve the principal cast, such as stunts, car chases, or establishing shots.

Second Unit Director: typically directs all of the action sequences

Still Photographer: A person who takes still photographs during the production of a film. The photographs are usually used to publicize the film or the actors.

Stand-in: A person who doubles an actor for the purpose of scene blocking and lighting.

Stunt / Fight Coordinator: A person responsible for choreographing and / or coordinating action sequences.

Stuntman: A person who performs stunts or any action considered too dangerous for the actors.

Swordmaster: A specialty term for sword choreographer and trainer.

Talent: The actors are referred to as the "talent"

Wardrobe/Costume Designer: The person who designs the costumes and clothing worn by the characters in the film.


These are terms you may come across while in the process of shooting a scene

Action: typically called by the director, but may also be called by the stunt coordinator for action sequences.

Animatic: An animation or video technique used to chart the way an actual scene will look prior to the actual filming of a scene in a film. This process is especially helpful for prejudging special effects where the final product cannot be seen until after much work and expense.

Back to one / going again: start from the beginning of action

Blocking: Plotting actor, camera and microphone placement and movement in a production or scene.

Camera Blocking: The process of notating the changing position of the camera, lens size, and focus during a particular scene.

Camera right / left: right or left of the camera's point of view

Cheat: Direction by director or camera man to angle your body or face a certain direction. Example: Please cheat camera left.

Continuity: Making sure that props, lighting, costumes, action, effects, and all other aspects of the scene remain cosistent from one shot to the next. Typically handled by the script supervisor.

Coverage: An indeterminate number of more detailed shots which are intended to be intercut with a master shot or scene.

Crossing: a courtesy announcing to the cameraman that you are crossing in front of the lens

Crossing the Line: Also called the 180 degree rule. This states that during filming, the camera does not cross the plane of action (confusing left to right or right to left).

Cut: Director calls out in a shot when he wants all actors, film etc., to cease.

Cue Cards: Dialogue written on large cardboard sheets for talent to read.

Downstage: The movement of actor or object closer to camera.

End Marker: A slate at the end of a take

Flashing: announcing to everyone that you are taking a flash picture (letting electricians know that a light didn't burn out).

Gag - short for stunt, special effect, or special setup

Gate / Checking the gate: checking for hair or dust in the gate of a film camera.

Hitting your mark: Placing either your self or a product in a designated area. Marked with tape.

Honeywagon: A portable toilet trailer for use by cast and crew members on location shoots.

Hot Set: Set is to remain untouched while it is not being filmed.

In the Can: Successful take of the shot.

Insert: A part of the film which may be shot at any time and is generally inserted during the editing phase of the film.

Marker: The process of bringing the slate in front of lens to mark the take.

Marks: Also called "comfort corners," usually shaped like the letter "T" or set down by tape, these are marks which actors are supposed to hit during a scene.

Matching Action: The process of aligning or overlapping the shots of a film sequence in order to achieve a smooth transition from the action in one shot to the action of the succeeding shot.

Prop: Moveable property which is used in the production of a film (e.g., handguns, motor vehicles, lamps, books, paintings and clothing). Props also include cars, taxis, carriages, trucks, etc., when photographed as part of a scene.

Ready to roll: In sequence when getting ready to roll film: roll sound, sound speed, roll camera(s), marker / slate in, background action / action

Roll sound: Instructing the sound engineer to begin recording sound.

Roll camera: Instruction the camera operator to begin rolling camera.

Scene: A segment of a script. Activity within a single time period or locale.

Screenplay (Script): The storyline, dialogue, scenes and directions written for a motion picture film.

Sight Line: An imaginary line that is drawn between a subject and the object that he/she is looking at.

Slate: The identifier placed in front of the camera at beginning of a take.

Sound Speed: Called by sound engineer when tape is rolling up to speed.

Special Effects: Any special visual effects that are extraordinary and cannot be obtained with the camera in the normal shooting of a film. Such effects include adding smoke, fire, air and water in all their various forms, the use of models or miniatures, explosions, etc. Some special effects are created during the shooting of the film or added in the post production process.

Stage: Part of a studio or an outdoor area where sets are erected and the filming of the production takes place.

Story Board: A series of drawings or photographs arranged in sequence showing the key scenes in a film. A visual depiction of the entire film. Used in animation work and also to aid in planning camera movements for live action film.

Upstage: move up and away from camera or end of the stage.

Wrap: refers to securing equipment at the end of the day or when work is completed at a particular set or location.


Knowing where framing is can save unseen stunts, gags, wardrobe, etc

Choker: From the neck up. A close up

Close up / Tight: Very close on the subject. Usually a head shot.

Cowboy: From the knees up of the subject - refers to the day when cowboy films couldn't afford boots for everyone

Cutaway: A single shot inserted into a sequence of shots that momentarily interrupts the flow of action, usually introducing a pertinent detail.

Dolly Shot: Any shot made from a moving dolly. These may also be called tracking or traveling shots.

Dutch Angle / Canted Frame: Often described as 'Dutching'. This is a device or process whereby the camera is angled so that the horizontal frame line is not parallel to the horizon.

Establishing Shot: Usually a long shot at the beginning of a scene which is intended to inform the audience about a changed locale or time for the scene which follows.

Master shot: Typically a wide shot that comprises the full performances of a scene.

Medium Closeup: The frame holds subject from waist up

Medium Shot: from around the thighs up of the subject.

Over the shoulder: shooting over the shoulder of a subject

Pick-up Shot: Reshooting a portion of a scene, the rest of which was acceptably filmed in a previous take.

POV: Point of view

Reaction Shot: A shot of a player listening while another player's voice continues on the sound track.

Single: A shot with only one subject in the frame.

Tight: Also called Closeup.

Two Shot: Two subjects in frame

Two T's: Framing is from the subject's chest up.

Wide Shot: also called a master shot.



A-Cam, B-Cam, etc - On multiple camera setups, A-cam is typically the primary camera with secondary cameras shooting simultaneously from different setups or lenses.

Angle of View: This is the size of the field covered by a lens, measured in degrees. However, because of the aperture masks in film, the angle of view for a given lens is generally described in terms of the height and width of a lens. (Cinematography).

Aspect Ratio / Format: The ratio of height to width of the image on camera. These lines are typically marked out in the camera lens or masked out in front of the lens. The typical aspect ratios are: 1:33 (TV), 1:85 (Film / Academy), 2.35 (Film / Anamorpic - squeezed)

Baby Legs: A short tripod.

Barndoors: Folding doors which are mounted on to the front of a light unit in order to control illumination and camera flare.

Burn-in Time Code: A videotape in which a "window" displaying the time code count on the tape is superimposed over part of lhe picture.

Camera Angle: The viewpoint chosen from which to photograph a subject.

Camera Car: A specially equipped vehicle (usually a car or truck) used to carry cameras and operators for the filming of a moving vehicle or person.

Camera Wedges: Small wooden wedges, usually 4 inches long by 1/2 wide at the thickest end. (Camera)

Crane Shot: Camera is mounted on arm or elevated platform for shots at different heights

Depth of Field: The amount of space within lens view which will maintain acceptable focus at given settings (i.e. camera speed, film speed, lens aperture).

Film Speed / Frame Rate: this is typically 24fps (frames per second) for film and 30fps for video.

Flare: A reflection of a light source on the leans of the camera - typically controlled by barndoors or cutters.

Flop-over: A post effect in which the picture is shown reversed from left to right.

Focus Pull: The refocusing of a lens during a shot to keep a moving subject in focus or to change the person or object of attention.

Hi-hat / Hat: low camera stand

Jib Arm: A mechanical arm which is supported on a dolly, tripod, or other device, which is counterweighted to hold a camera for an increased range of motion.

Overcrank: speeding up the film for the effect of slow motion. With special equipment, cameras can be overcranked to 120 fps.

Pan: A horizontal movement of a camera on a fixed axis.

Roll: A twisting movement of a camera on a fixed axis

Set Up: Each discrete position of the camera, excluding those in which a dolly or crane is used to move the camera during filming.

Steadycam: a piece of equipment attached to the camera operator which allows the operator to walk around with a smooth camera motion.

Sticks: camera tripod

Tilt: A Vertical movement of a camera on a fixed axis

TV Safe: The area of a filmed image which will normally appear on a home television set after a film has been transferred in a telecine and then transmitted.

Undercrank: Slowing down the film speed in order to give the effect of faster action. In action films, this can typically be 24fps slowed to 22fps.

Video Assist / Tap: The process of simultaneously recording filmed picture onto video tape by means of the same lens system in order to immediately evaluate a take as soon as it is completed.


Grips can be your best friend on set - able to help out or make repairs on stunt equipment if needed. A little knowledge of their lingo goes a long way.

Apple Box / Apple: A box build of a strong wood or plywood which is capable of supporting weight. These may be of various sizes, the smallest of which is also known as a 'pancake' because it is nearly flat.

Accent Light: A light unit that emphasizes one subject. This might be a key light, a kicker, or a backlight.

Ambient Light: General, nondirectional, room light.

Baby: Usually a reference to a 1K light unit. It is also used to describe any light unit which is smaller than a standard size unit of comparable intensity (i.e. baby 1K, baby 2K, baby 5K, etc.). For grips, it refers to anything with a 5/8 inch stud (i.e. baby plate).

Backlight: A light which is generally mounted behind a subject to light the subject's hair and shoulders without illuminating a subject's front.

Bag: See Sandbag.

Bazooka: Similar to a 2K stand, but without support legs. It has a junior hole at one end and a junior stud at the other, and it usually has a sliding riser.

Beaver Board: A 2K pigeon on an apple box.

Beef: The output of a light.

Beefy Baby: A heavy duty 2K stand without wheels.

Black Wrap: Black Aluminum foil which is used for wrapping lights, to control light spill, and for making small flags.

Blonde: An open face 2K lighting unit, also known as a 'mighty'.

Bobbinet: Black mesh cloth which is used for grip scrims. It also is available in rolls for darkening windows.

Bottom Chop: A flag or cutter which is used to keep light off of the floor or the lower part of a scene.

Broad: A rectangular open-faced light which is used for general fill or for cyc illumination.

Brute: A brute arc light, usually 225 amps DC powered.

Butterfly (Butterfly Kit): Assorted nets, silks, solids, and grifflons which are used for light control; usually 5' x 5', or 6' x 6' frame size. Commonly a 12' x 12' or 20' x 20' is called a butterfly kit, however, it they should be called an overhead kit.

C-47: Ordinary wooden clothespins which are used to secure gels to barndoors. They are also known as a #1 wood clamp.

C Stand (Century stand): A general purpose grip stand.

Candela: A unit of light intensity, a standard candle.

Celo: A type of cookie which is made from wire mesh coated with plastic.

Combo Box: A six pocket stage box that can be converted from three-phase four-wire to single phase three-wire operation.

Combo Stand: A heavy duty 2K stand without wheels. It is called a combo because it can be used for both reflectors and lights.

Cookie/Cucoloris: A perforated material which is used to break up light or create a shadow pattern. Also known as a cucoloris.

Crane (Cherry Picker)
A moveable vehicle with a long projected arm or boom on which a camera is mounted and is capable of carrying the camera operator and the director. The crane is generally used to elevate a camera where elevated shots are required during the filming of a movie or commercial.

Cup Blocks: Wooden blocks with a dish or indentation in the center which are used to keep the wheels of light stands from moving.

Deuce: A 2K fresnel lighting unit.

Dimmer: A device for varying power to the lights

Dolly: A mobile platform with wheels that holds the camera and the camera operator and, when necessary, the assistant camera operator.

Dolly track - something you will inevitably trip on. This is track laid down for a camera moves.

Duvetyne: A heavy black cloth, treated with fire proofing material, which is used for blacking out windows, making teasers, hiding cables & stunt pads, and hundreds of other uses.

Feather: Moving a 'flag' closer to or further away from a light source that it is in front of will feather (soften/harden) the shadow on the surface upon which the light falls.

Filter: A transparent material having the ability to absorb certain wavelengths of light and transmit others.

Fingers: Small flags used to control light.

Flat: elements which are generally used to create walls.

Flood: The widest beam spread on a lensed light.

Foamcore: Polystyrene which is sandwiched between paper. It is used to relectors, soft boxes, and other items because it is stable and easily cut.

Fresnel: A stepped convex lens. It is most commonly used to descripe tungsten-incandescent lamps.

Gobo: A grip head or "C" stand head used as a clamping device for holding other equipment.

Grip Tape: This is Duct tape style tape, also known as gaffer's tape or cloth tape

Grip Truck: A small non-motorized truck used by grips to carry equipment or props on a set.

Highboy: A heavy-duty rolling stand, usually with a combo head, that has a junior receiver and a large grip head. Also called Overhead Stands.

HMI: An enclosed, AC mercury arc lamp.

Hollywood Box: A stage plug-type box without fuses.

Inkie: A small (250 watt) fresnel type light.

Japanese Lantern: A paper-covered wire frame globe into which a socket and bulb may be placed.

Junior: A 2K fresnel light unit. It may also mean any 1 1/8 inch spud or mounting pin or any 1 1/8 inch female receiver.

Key Light: The main light on a subject.

Kick: An object with a shine or reflection on it from another object.

Lexan: A plastic sheeting material, available in varying widths, that is optically clear and used to protect camera personnel from explosions or the results of other action.

Lowboy: A heavy duty rolling stand, usually with a combo head, but without the height of a 'highboy'.

Lowkey: A high contrast lighting style with lost of shadows and large areas of darkness.

Maxi-Brute: A 9 light unit with (9) 1000 watt PAR 64 lights.

Meat Axe: An grip arm-like accessory which is designed to clamp onto the hand rail of a studio overhead catwalk, or other suitable surface, and has a gobo head at the end of the arm.

Mickey: An open faced 1K lighting unit. Also known as a 'Redhead'.

Nets: A bobbinet on a frame used to cut lighting intensity by either a half stop or full stop.

Pancake: See Applebox.

Rim: A hard backlight, is generally on the same level as the subject, that casts more light than the key light.

Riser: A prebuilt platform used to raise the set, camera, or lights.

Sandbag: A burlap or plastic bag filled with sand and used to anchor or hold equipment and scenery in place.

Scrim: A metal 'window screen' that can be placed in front of a lighting unit to decrease the lighting intensity by a predetermined amount.

Senior: A 5K fresnel lighting unit.

Senior Stand: A braced junior stand sufficiently rugged for large lights such as a 5K, 10K, or 'Big Eye'.

Set Dressing: Items of decoration which are not designated in the script or by the director as part of specific action.

Shiny Boards: A grip reflector used for reaiming sunlight to provide a key or fill light.

Siamese: A splitter that divides a power line into two parts.

Sider/Ear: To put a flag or cutter up on the side of a lighting unit to block light.

Silk: A lighting diffusion or reflective material, formerly real silk.

Spill: Light that is escaping from the sides of a lighting unit, or any light that is falling where it is not wanted.

Special Purpose Vehicle: Generator truck, location vehicle, or an "all-in-one" vehicle that is used to transport location equipment and is specially modified to include generators, storage space, etc..

Spot: On a lensed light, the smallest beam spread.

Stage Box: A distribution box with six pockets for stage plug connectors.

Stinger: A single extension cord. Most often referred to a single 'hot' extension that is left lying around for occassional use.

Striking: The breakdown process of a camera position, location, or set. Also refers to turning on a light.

Take Down: Reducing the light on an object by means of nets, scrims, dimmers or wasting light.

Tenner: A standard studio 10K lighting unit, as opposed to a baby 10 or a Big Eye, which are also 10K lighting units.

Tie In: A power feed obtained by temporarily clipping on to the main service of a location. This methodology is illegal in many areas.

Trombone: A tubular, extending device which is generally used for suspending lights from set walls.

Turtle: A flat, on the floor mount, for large lights with a junior receiver.

Variac: A simmer that reduces the voltage. It stands for VARIable AC.

Wedges: Wood wedges cut from 2x4 lumber which is used for leveling and stablizing.

Whip: A section of feeder cable siamesed off the main line to a secondary location.

Xenon: A high intensity light, with a polished parabolic reflector.



ADR (dubbing or looping): Automatic Dialog Replacement. A process of re-recording dialog in the studio in synchronization with the picture.

Ambient noise: The total sound in a given are which is peculiar to that space (room tone).

Boom: A telescoping arm for a camera or microphone which might be available in a variety of sizes from the very small handheld types to the very large, which might be transported as an integral part of a motor vehicle.

Feed Lines: Lines of dialogue which are read outside camera range for the benefit of an 'on camera' or 'on microphone' actor or voice over artist.

Foley: Creating sound effects by watching picture and mimicking the action, often with props that do not exactly match the action.

Lavalier Mic: A small microphone that can be easily hidden on a piece of clothing so as not to be seen by the camera.

Looping: See ADR.

MOS: Silent filming. Traditionally explained as Motion Omit Sound. Also believed to be derived from the expression "mit out sound" by German speaking filmmakers.

Room Tone: The "noise" of a room, set or location where dialog is recorded during Production. Used by film and dialog editors as a "bed" to form a continuous tone through a particular scene. This is often confused with ambience, which might be sound effects and/or reverberation added when the dialog is mixed.

Shotgun Mic: A highly directional microphone, usually with a long, tubular body; used by the production sound mixer on location or on the set for film and television productions.

Walla: Background ambience or noises added to create the illusion of sound taking place outside of the main action in a picture.

Wild Line: A line of dialoge, recorded either on set or at a looping stage, without any picture running.

Wild Track: Audio elements that are not recorded synchronously with the picture.


AFTRA (American Federation of Television and Radio Artists

Box Rental: A fee or allowance paid to a crewmember for providing his/her own equipment or other specialized apparatus for use in a production.

Buyout: The whole shoot, all days included, on flat rate

Call Sheet: A form which refers to all of the scenes to be filmed and all of the personnel and equipment required for shooting on a particular day.

Cover Set: A location which is kept in reserve to serve as an alternate shooting site in case the chosen shooting site is unusable. It is most commonly used in the context of shooting planned for an out of doors location.

Dailies: The first positive prints made by the laboratory from the negative photographed on the previous day. It also now refers to video which is transferred from that original negative.

Day Out of Days: A form designating the workdays for various cast or crewmembers of a given production.

Day-Player: Talent that is hired by the day.

Deal Memo: A form which lists the pertinent details of salary, guaranteed conditions, and other essentials of a work agreement negotiated between a member of the cast or crew and a production company.

DGA: Director's Guild of America. A union which represents directors, assistant directors, production managers, and various video personnel.

Flat: Usually an agreement to perform work or provide a service for a fixed fee or wage which will not be affected by overtime restrictions of unexpected costs.

Holding Fee: Payment to performers made per SAG and AFTRA talent contracts retaining rights to use a TV commercial for an additional 13 weeks.

Local hire: hired locally, no payment for travel expenses.

Location: a set away from a studio.

On-Call: An actor or crew member who may not be used for a particular shoot but must be available. Occasionally these people are paid a fee to remain available.

Outtakes: Scenes shot but not used in the final film. ("Outs.")

Pay or Play: A contract provision which commits the production company to compensate a cast or crew member for a project whether or not that project ever goes into production.

Per Diem: A daily allowance to cover expenses incurred by a member of a company while shooting on location. Such expenses may include the cost of meals and hotel rooms.

Principal Photography: The main photography of a film and the time period during which it takes place.

Residual: payment for network broadcasts. Based on a descending schedule.

Rushes: This refers to daily prints of a film used for evaluation purposes.

SAG: Screen Actors Guild. Union (AFL) representing actors in film and commercials. Rates for SAG actors (until 6/30/04) $678 daily, $2525 weekly

Scale: Union rate of pay that is determined by contract.

Spot: Colloquial term for TV commercial. Also refers to use of commercial in local markets (as opposed to network use).

Telecine: A machine that transfers film to a video signal. This also generically refers to the process of film-to-tape transfers.

Trailer: A short publicity film which advertises a film or forthcoming presentations.

Turn Around: Amount of time between wrap of a shoot and time you must be back on set.

Walk on: non speaking role. Walks on to set no dialogue.



VO: Voice Over, off camera actors voice.
VOC: Voice on camera. The actor's voice and face are used on camera
OC: On camera, what we see.
MOS: Mit out sound
CU: Close up
ECU: Extreme close- up
MS: Medium shot
LS: Long shot
WA: Wide angle shot
Super: Superimpose, when an image is place on another (insert)
Diss: Dissolve, when one scene blends into the next
CUT: one scene abruptly changes to another
WIPE: Line moves across a screen, another scene replaces it. (Push)
INT: Interior
EXT: Exterior
ALT: Alternate, usually in reference to alternate dialogue or scene
LOGO: Slogan or product name
SFX: Special effects
PAN: Camera moves across the screen
ANGLE ON: The person, place or thing is favored in a shot
CUT AWAY: To another spot
POV: From a person's point of view, how something is seen by him




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