Glossary Of Film Making Terms - E



E.C.N. – E.C.N. stands for Eastman Color Negative. It is simply your developed negative.

Edit – 1.: The cutting and arranging of shots. 2.: In the different stages, or at the completion of editing the edited film itself can be referred to as “the cut” or “the edit.”

Editing Bench – A workbench with rewinds attached, and sometimes a built-in light table in the center.

Editing Bin – see Trim Bin.

Editorial Sync – 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.

Edge Fog – Exposure along the edge of the film from raw light, in most cases from a lightleak, due to the camera door not being taped. Edge Fog can sometimes be visible in the frame or sometimes outside of the frame effecting the clarity of the latent edge numbers.

Edge Numbers or Latent Edge Numbers – 1.: The edge numbers are small numbers running along the edge of the film, in between the perf in 16mm, and just to the far side of them in 35mm. The are photographed onto the film in its manufacture, and are there to aid the negative cutter in lining up shots in the process of conforming the negative. They are sometimes called latent edge numbers to distinguish them from inked-on code numbers. 2.: Code Numbers are sometimes called edge numbers.

E.D.L. – E.D.L. stands for Edit Decision List. It is used by the negative cutter when you have cut digitally, in order to conform the original without the usual workprint.

E.I. – Abbreviation for Exposure Index.

Emulsion – 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.

Emulsion Batch – 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.)

Emulsion Leader – Unlike plastic leader, emulsion leader can be cement spliced.

Emulsion Type – 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.

E.S. – Abbreviation for Editorial Sync.

Eye Line – 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.

Estar Base – a brand name for Polyester Base.

Exciter Lamp – 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.

Exposure Index – 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.

Extension Tubes – 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.

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