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An expensive and sophisticated splicing machine used for splicing Polyester Base stock.
To run the camera slower, producing fast motion. The term has survived from the time when you would crank a camera.
Filming a scene with less light than the emulsion of the film needs for a correct exposure. The image will be too dark. If compensated for in printing, the image will appear grainy, and very muddy.
An editing machine with arms in back to hold the take up and supply reels. The film moves up and around to a screen on the front. Foot petals control motors for sound speed and variable speed viewing.
Vari Speed – A motor or the control for a motor that will run a camera or an editing machine at speed faster or slower than sound speed.
Vault Box – A white, flat, square cardboard box designed to hold 1,000 feet of 35mm or two 1,000 foot rolls of 16mm.
Wet Gate – A contact printing method, made on a specially equipped printing machine, where the film is in a liquid that temporarily fills in any scratches on the base, preventing them from refracting light and showing up in the print. Commonly, answer prints are printed with a wet gate. Labs often charge a little extra for wet gate printing.
Wide Lens – A lens with a focal length smaller than 25mm in 16mm, or 50mm in 35mm, which, like looking into the wrong end of a pair of binoculars, provides an extended view of a large area.
Wild – Not sync. A wild motor is one that runs close to 24 frames per second, but not close enough for sync sound. Also applies in a few other cases, such as, if you are filming a rear screen projection scene and the projector and camera are not Interlocked they can be said to be running wild.
Wild Sound – Non-sync sound, recorded without the camera running, usually recorded to supplement the sync takes.
Workprint – A positive copy of the original negative that is cut during the editing process. At the end of editing the original negative is then cut by the negative cutter to match the workprint shot for shot, and an answer print struck from the cut negative. A workprint can also be made from reversal original.
A Wrap or “It’s a Wrap!” – What to say when you are done shooting, either for the day, at that particular set, or on the entire film. Usually if it’s not the final shoot you would say you are just going to “wrap for the day.”
Xenon – A very bright, daylight balanced projection lamp, or a projector with a xenon lamp. A xenon lamp is not interchangeable with a tungsten lamp or arch lamp, but requires a different lamp housing on the projector. Because xenon lamps are daylight balanced it is sometimes advisable with color film to have the lab make a print that is balanced for xenon. This is sometimes called a 5,400K print, the color temperature of daylight.
What Fred Flinstone says when he’s happy. This was put in here to see if you were paying attention.
A method of negative cutting specifically for blow up, where every shot is given Frame Handles so that the registration pin of the printer is never engaging with a splice, which can cause the image to wobble at the cut. It is most commonly used when you are blowing up from 16mm to 35mm. Zero cut should be done only if really necessary, because the lab can only print the film as an optical, which is far more expensive than a contact print. Zero cutting is a little more complicated than standard A&B rolls, so the negative cutter also charges more for it.