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| environmental light or general non-directional light that naturally illuminates an actor or scene |
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| wood box used to elevate objects or actors so they are in a desirable position. sizes are full, half, quarter, and pancake |
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| a moveable wall covered with acoustic material and used to reduce sound reverb during filming |
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| white poster board or Styrofoam sheets used to redirect light from lamps |
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| an opaque flag with a design cut into it which allows light to pass through somewhat mottled and shadowed |
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| a metal 3 legged moveable stand designed to hold objects |
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| name given to numerous materials used in front of a light to soften it: wire mesh, silk, gauze, etc |
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| yell this when turning on lights |
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| rectangular piece of black opaque fabric held in a frame designed to shade and block light |
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| adhesive tape that leaves no adhesive behing and can be used on cables, light, etc. can be used for camera and actor marks |
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| generator, main source for the lighting on the location |
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| a large opaque black fabric usually held in a frame that can block of hide a light source, or can be cut into shapes to cast a certain type of shadows. |
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| two discs on a pin connector that attach to a C-stand with the ability to clamp around objects |
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| a form of stinger with multiple edisons |
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| canvas bags that secure C-stands, lights, etc |
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| the Y or U shaped bracket attached to a light allowing it to be afixe to a stand, arm,etc |
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| set first when lighting, it is the main source of light in the scene and it determines the exposure setting. the higher it is placed, the lest severe the shadows will be |
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| oftentimes a soft, diffused light used to counteract the harsh shadows created by the key light. typically placed by the camera it doesnt cause shadows or affect exposure |
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| a soft diffused light behing the actor or object used to separate the actor or object from the background, this light should not affect exposure |
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| a soft diffused light behing the actor or object used on the background behind an actor or object from the background, this light should not affect exposure |
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| a small, discretional light, usually near the camera, that lights an actor's eyes but wont affect the camera exposure |
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| chief electric technician. the head electrician working under the supervision of the DP. Gaffer is responsible for supplying the light as well as the power source |
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| assistant chief lighting technician. the main assistant to the gaffer |
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| works closely with the gaffer and the DP to facilitate each shot |
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| assistant key grip. second in command of the entire grip department |
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| pushes the dolly that supports the camera during tracking shots |
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| responsible for a variety of tasks which include transporting and setting up equipment or scenery, laying dolly tracks, rigging elements and otherwise helping the camera and electrical depaerments |
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| provides snacks for the crew while filming and tends to do odd jobs around the set |
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| paperwork filled out by the 2nd, sometimes first, AC that details all important information about the camera for each shot. for video, information collected includes use of Zebra, white balance, shutter speed, aperture, etc |
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| when the director is satisfied with a series of takes, the gate of the camera is checked for hair, dirt, etc, before moving on to the next series of shots. for video, the lens should be checked for smudges, nicks, etc |
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| Condor. A camera crane used for high angle shots |
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| Slate. hinged board that is shot between takes. written on it is vital information used by all departments, especially post-production. the "clap" is used to sync sounds with picture when sound/picture are seperate. clapper should never be avoided |
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| small utility bag containing important tools that is usually hung under a tripod's head |
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| a wheeled mobile platform that is designed to hold the camera, the camera operator, and the 1st AC. it allows the camera to silently glide across the floor for a moving shot |
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| shouted by 2nd AC when he clap the slate a the beginning of a new take to sync sound with image |
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| called when the first clap is off or too quiet |
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| the name given to a tripod with wooden or aluminum legs |
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| marks the shot at the end of a take if it was not marked at the beginning. clapper is held upside down for this |
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| the cinematographer. responsible for the overall style of the work including lighting, shot composition, camera movement, and any decisions involving the look of the work |
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| in charge of the actual operation of the camera. work under the direct supervision of the DP and makes sure that the shot is set correctly |
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| responsible for the overall maintenance of the camera, as well as changing lenses and pilling focus during shots |
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| marks the slate and claps it before each take. also takes focus marks and is in charge of loading new magazines and keeping notes about the shooting. |
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| takes still pictures during production of actual scenes from the work, staged shots, and behind the scenes pictures. shots are often used for continuity, publicity, advertising, and archives |
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| individual who owns the rights to the screenplay or is hired to oversee the production |
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| helps to turn the screenplay into a visual script. assembles the creative team to bring the story to screen |
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| translates the written screenplay visually by guiding the actors and crew. "captain of the ship" |
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| meticulously oversees continuity and details script and dialogue changes during filming |
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| deals with the day to day production of the film and responsible for making sure the work is completed and on time and on budget |
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| oversees the hiring of the crew, the rental of equipment and its return at the end of the production. also helps to determine the budget of the film and that the production adheres to it. |
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| responsible for all of the activity on a set. it is their job to ensure that everything stays on schedule and budget. TASK MASTER, SCHEDULE PERSON. KEEPS EVERYTHING MOVING FORWARD |
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| in charge of all of the actors on set. makes the call sheet and makes sure revisions get to the appropriate person. Controls atmosphere and background |
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| makes sure the cast is where it is supposed to be. schedules pick-ups and drop-offs and tracks the crew's in and out times |
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| creates all tasks instructed by the ADs. reffered to as Gopher |
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| works specifcally with the front office. this is a good way to work up the vhain. |
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| goes to hair and make-up team to get last looks at actors |
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| extras who just kinda walk around |
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| extras who contribute something to the film |
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| can negotiate how much they get paid. EP, P, D, A-list actors, AD |
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| second to last shot of the day |
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| a single two-sided document that contains all the necessary information about the shooting day |
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| the script supervisor keeps track of particular "takes" the director likes by circling the take number on the camera report. helps with post production |
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| copious notes taken in order to ensure that the shots blend together in post. what actos wearing, props, etc. often done by scrip supervisor |
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| the various other camera angles the director might use to help the stylize the scene when edited |
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| an alternative shooting location when the current location is unusable |
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| the time when the crew must be ready to work |
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| unedited footage from the prior days shown to the director to ensure that it is usable |
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| a set that is totally prepared to be shot that has everything in its exact location. |
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| a second, smaller crew that shoots footage not requiring the main actors. second unit has seperate D, AD, etc |
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| used on a closed, studio stage by the 1st AD. the first AD yells this to alert the crew that the scene is about to commence and the stage is closed |
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| "we are going for lockup" |
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| most often used on location, but can be used on a studio stage. this is yelled by the 1st AD to alert the crew that all areas need to be secured and silent for the scene about to commence |
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| the bell and red light that signifies that filming is in progress and access to the stage/set is restricted |
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| vehicles designed for the individual needs of each department |
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| name for a room in a trailer. trailer with 2 rooms is 2-banger |
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| the main area where the production department vehicles are located on set or on location |
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| an area for actors to relax |
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| long production trailer containing the bathrooms |
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| a exterior or interior area used for filming. |
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| a vehicle specifically used fo filming off limits to those not cleared to use it |
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| really cool trailer that accomodates needs of A-list actors |
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| 6 hours after end of first meal |
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| chooses and negotiates contracts with the actors in the film |
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| person who resembles actor in height and build while lights and shit are being set |
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| person with the same physical characteristics of a certain actor to be used for scenes that dont require seeing actor's face |
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| an actor is not needed for that day |
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| read first 10, 20 in the middle, and last 10 |
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Leo for Joe.
i need to speak to joe |
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Someone says Joe for Leo
I respond, Go for Leo |
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| whats your location. Joe, whats your 20? |
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bringing items to set
flying in 2 tweenies and a snood |
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| does anyone have eyes on Joe? |
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| Does anyone know where Joe is |
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| Someone is walking to set |
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| go to channel 2 on walkie talkie |
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| I am taking a smoke break |
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pee
poop
Person is an idiot |
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