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The word to describe the negative cutter’s matching of the original to the workprint.
The method used by the lab to copy film. A contact print is made on a machine called (sensibly enough) a Contact Printer, in which the original film and unexposed print stock are sandwiched together, emulsion against emulsion, and are run at a constant speed past a light which shines through the original, exposing the print stock with the same image. All workprints, answer prints and release prints are contact prints. The only other type of printing is Optical Printing, which is usually done to add an effect or to blow up or make a reduction print.
The seamlessness of detail from one shot to another within a scene. Continuity refers particularly to the physical elements, rather than to the choices in coverage that can result in a lack of seamlessness. Elements of continuity include any actions of the actor, the placement of props, the lighting, the costumes, and so on.
A fancier way of saying Gobo or Cookie.
A flat board, like a flag, but full of irregular holes used for creating a pattern of shadows when put in front of a light.
A plastic hub used to hold film without a reel. There are 2 inch cores (small cores) and 3 inch cores (large cores). 2 inch cores can also be called camera cores.
Same as a Timed Print.
Further changes in the timing of a print are known as corrections.
Coverage is used to describe the architecture of breaking down a script into the shots that will allow the scene to be cut together. Although coverage addresses the bare-bones question of getting shots that will cut together smoothly, it is important not to be too distracted from bigger aesthetic question of getting the right shots for the scene to work.
What to label your film can when turning it in at the lab when the roll ran out during a very important shot and you want to make sure you get every last frame possible.
Sometimes called “cross mod” for short. This is a test the Mixing House will do in conjunction with the lab you plan to use to make sure the optical track is exposed and developed for optimal sound quality.
A technique used much more by still photographers. Cross processing is the use of color reversal film stock to be developed as a negative. A positive print struck from that negative will have strange and rich colors, intense contrast and on overall yellowish hue.
Specifically, a way of recording Sync Sound where the camera runs at correct speed with a quartz crystal-governed motor, and tape recorder records its pilottone using a built-in quartz crystal pilottone generator. The crystal is much like the kind used in a quartz watch. Unlike cable sync, the camera and tape recorder are not attached.
A road map, of sorts, for the mixer to find the sounds on your tracks during the mix. It is laid out as a grid with each track forming a column and time moving ahead in rows measured in 35mm footage (even if your film is 16mm you must convert the footage to 35mm).
1.: What the director says to end the filming of a shot. 2.: The cutting apart of 2 shots at the frameline, or the point where the shots have been cut apart. 3.: In the different stages, or at the completion of editing the edited film itself can be referred to as “the cut” or “the edit.”
