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an endearing term, used by electricians, for an extension cord. Not a very commonly used term on the whole.
A grease pencil mark on the workprint indicating either a fade or a dissolve, called so because when projected it resembles a streamer trailing across the screen.
35mm mag stock that contains a stripe of magnetic tape rather than the complete coating found on Fullcoat. Stripe mag will also have a balance stripe to prevent warping.
A format using single perf 16mm film on which a wider image is exposed than is the case with regular 16mm, using the area that would normally have the soundtrack. Super 16mm was conceived specifically for blow up to 35mm, and is typically rather inconvenient for anything else.
Just a fancy way for Zeiss to describe a fast prime lens, typically with a T-stop of 1.3.
The same as Double Exposure, but often used expressly to describe a double exposure done through optical printing, as in superimposed titles, etc.
The degree to which sound and picture are lined up, in-sync being lined up exactly, and out-of-sync not so exactly. It can be applied to any specific sound and picture relationship, not just voices and not just sync-sound, but any type of specific effect too.
1.: The point at which the clapsticks come together at the beginning of a shot, and the accompanying sound on the sound track. 2.: An “X” mark on a single frame at the beginning of a reel of picture that lined up with a second sync mark on a roll of sound (May also be used anywhere where needed). Sync marks are also used at the beginning of A&B rolls.
Sync sound is sound recorded while shooting picture. Usually it involves footage of people speaking, and is thus sometimes called lip sync. It must be recorded with either crystal or cable sync to line up and not drift out of sync.
A very helpful tool of the editing room, a synchronzier is a device with a center axle and several sprocketed wheels attached to it. The wheels are called gangs. Film may be clamped into the gang, so that it can be measured with a footage counter on the front of the synchronizer. One revolution of the synchronizer equals one foot of film. Several elements, such as film and sound, A&B rolls, can be run in tandem can easily cut to the same length. It is used by the negative cutter for the assembly of A&B rolls, as well as for logging, measuring footage, syncing, and checking sync in the editing room.
The actual lining up of sound and picture before editing a sync sound film. This also involves cutting the excess sound between takes, and adding filler, so that the picture and sound are now in sync for beginning to end.
Similar to an F-Stop, some lenses, particularly zoom lenses, will have f-stops on one side of the aperture ring and t-stops on the other. To differentiate the two, the t-stops will be red and the f-stops white. T-stops are used in place of f-stops for setting exposure. Lenses with a lot of glass elements will often lose a little bit of light. The t-stops are calibrated to the actual amount of light that is hitting the film, rather than arrived at mathematically, as is the case with f-stops. However, the f-stops are still relevant, because while the t-stop should be used to set the exposure, the resulting f-stop will indicate how much Depth of Field you have.
A gauge on a camera measuring the film speed when the camera is running.
The end of a shot or a roll is called the tail.
Sometimes it is necessary to mark a shot at the end rather than at the beginning. When this is done it is called a tail slate. It is customary to call “Tail Slate!” just before clapping the slate, so that the person syncing the film does not get confused. To easily distinguish a tail slate, the slate is held upside down when marking the shot.
