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see Trim Bin.
A set of sync marks on picture and sound that line up at the same frame, as opposed to Printer’s Sync, where the picture and sound are displaced. Sometimes it is usedful to label a sync mark E.S. to know that it is an Editorial Sync mark.
The thin layer of silver attached to the base which, when exposed and developed, creates the film image through the areas of silver, which block light, and the clear areas which allow light to pass through.
The emulsion batch is the series of numbers on the film can the come after the Emulsion Type. When the film is made, each batch is given a number so that you can shoot a single sequence with one particular batch. Just as a suit where the pants and jacket were cut from different bolts of fabric might be a little off, a sequence shot with different emulsion batches might also be a little off. From one sequence to the next, of course, this doesn’t matter. (And the batches themselves have become more consistent in recent years, so mixing them is less of a sin nowadays.)
Unlike plastic leader, emulsion leader can be cement spliced.
A film’s emulsion type refers to the composition of its emulsion, whether it was manufactured to be fast, slow, grainy, fine-grained, colorful, pastel, black and white or color, daylight balanced, tungsten balanced, etc. The emulsion type is represented by a number. For Kodak it is a series of four numbers, such as 7248. The “72” always stands for 16mm camera stock, and the same emulsion type is found in 35mm as 5248, “52” being the designation of 35mm. Fuji uses a system where the film’s emulsion type is a little more telling, such as 250D, which is daylight balanced film with an Exposure Index of 250. When picking out a stock to use the film speed, and in the case of color film, whether the film is daylight or tungsten, are the primary reasons for choosing a certain emulsion type. Allowances might also be made to achieve a certain look, as in using Kodak Vision, or Fuji film. Several different emulsion types are usually used on a project, fast for night scenes, slow for daylight scenes, etc. However, unless you are trying something novel, it is a good idea to shoot a single unbroken sequence with one emulsion type.
a brand name for Polyester Base.
A special lamp in the projector used for the playback of Optical Sound. The projector reads the track by passing it between the exciter lamp a light-sensitive photo-electric cell.
This is the sensitivity to light of a particular type of film. It is the specific number used to measure Film Speed. Your film will list an E.I. number on the box or the film can as the film speed. It is the same as A.S.A. and I.S.O. on your light meter.
These are a handy way to turn any long lens into a macro lens for ultra-close shooting. They are hollow metal tubes that are mounted between the camera and the lens. Typically they come in a set of different lengths which can be combined. It is a good idea to open up the lens a little when using an extension tube, as a little light is lost. It should be noted that they do not work when used with wide lenses.
Eye line is the direction an actor should look off-screen to match a reverse angle or a P.O.V. shot. It is best to give the actor an actual thing or spot to look at rather than a blank spot on an empty wall or an empty space in mid air.
The scale used to measure the size of the opening of the iris on a lens. Opening the iris wider lets in more light, and closing it down, smaller, lets in less light. F-stops can be a little confusing, because the larger the number, the smaller the opening of the iris, and conversely the smaller the number, the larger the opening. The typical f-stop scale is 1.4 – 2 – 2.8 – 4 – 5.6 – 8 – 11 – 16 – 22. When the reading is between stops, this should be accounted for it setting the lens, however, it is much more clear, even if it sounds grammatically incorrect to the mathematically inclined, to say “One third above 5.6” rather than “5.8” because it is very hard to judge the distance in decimals between numbers like 5.6 and 8, whereas 1/3rd above 5.6 is perfectly clear.
A transition from a shot to black where the image gradually becomes darker is a Fade Out; or from black where the image gradually becomes brighter is a Fade In. Fades are done at the lab in the printing phase, but prepared by the negative cutter, who cuts in an overlap of black into the A&B rolls. Labs will only do fades in fixed amounts, such as 24 frames, 48 frames, etc.
Filler is scrap film, most often used to keep a sound track running the same length as the picture, even though there is just silence. When used this way in can also be called sound fill. Filler is usually a print with the emulsion scraped off the center all the way along, perhaps to prevent bootlegging, but also useful in that a mark can be seen on both sides through this wide scratch.
A liquid that is actually not a glue, but a chemical that melts and fuses two pieces of film together.
