Here's some "A"

Above-the-Line Expenses - The major expenses committed to before production begins, including story/rights/continuity (writing); salaries for producers, director, and cast; travel and living; and production fees (if the project is bought from an earlier company). Everything else falls under below-the-line expenses.

Action - "Action" is called during filming to indicate the start of the current take. See also cut, speed, lock it down.

Actor - AKA: Actress
A person who plays the role of a character. Historically, the term "Actor" refered exclusively to males, but in modern times the term is used for both genders.

Additional Camera AKA: B Camera
An extra camera operator, often needed for complicated action sequences or stunts.

Alan Smithee
The sole pseudonym that the Directors Guild of America allowed directors to use when they wish to remove their name from a film. The name has reportedly been retired by the Directors Guild of America, after 1997's An Alan Smithee Film: Burn Hollywood Burn revealed the alias to the general public. It appears that project-specific pseudonyms are now used instead, selected on a case-by-case basis when the DGA agrees that a film has been taken away from a director and cut and/or altered to such an extreme extent that it completely deviates from that director's original vision.

American Cinema Editors AKA: ACE
Honorary society of film editors founded in 1950 by Jack Ogilvie, Warren Low and others.

AFTRA
An association with jurisdiction over some works that can be recorded by picture or by sound. See also the Screen Actors Guild.

American Society of Cinematographers AKA: ASC
An organization founded in 1919 and dedicated to advancing the art of cinematography through artistry and technological progress, to exchange ideas and to cement a closer relationship among cinematographers. Membership is international and by invitation based on an individual's body of narrative filmwork. Use of the abbreviation ASC, e.g. for on-screen credits, indicates membership in the society. The society publishes "American Cinematographer" magazine.

Anamorphic AKA: Cinemascope
An optical system which has different magnifications in the vertical and horizontal dimensions of the picture. See also aspect ratio, contrast with spherical. Cinemascope is a tradename of an anamorphic technique.

Answer print
The first graded print of a film that combines sound and picture, which is created for the client to view and approve before printing the rest of the copies of the film.

Aperture AKA: F/Number, F-Stop, Effect Aperture, Relative Aperture
A measure of the width of the opening allowing light to enter a camera. The apparent diameter of a lens viewed from the position of the object against a diffusely illuminated background is called the "effect aperture". The ratio of focal length of a lens to its "effective aperture" for an object located at infinity is called the "relative aperture", or "f/number". Larger apertures allow more light to enter a camera, hence darker scenes can be recorded. Conversely, smaller apertures allow less light to enter, but have the advantage of creating a large depth of field. See also shutter speed.

Armorer
A person who is responsible for weapons on the set of a movie or television show. Duties include providing the correct weapons to suit the era and style of the film, advising the director on use of weapons, choosing the correct blanks, creating a safe set for the use of said weapons, teaching actors about handling and using weapons, making sure use of all weapons is properly licensed, and ensuring the safety of everyone on the set while weapons are in use.

Art Department
The section of a production's crew concerned with visual artistry. Working under the supervision of the production designer and/or art director, the art department is responsible for arranging the overall "look" of the film (i.e. modern/high-tech, rustic, futuristic, etc.) as desired by the director. Individual positions within in this department include: production designer, production buyer, special effects supervisor, draftsman, art director, assistant art director, set decorator, set dresser, property master, leadman, swing gang, and property assistant.

Art Director
The person who oversees the artists and craftspeople who build the sets. See also production designer, set designer, set director, leadman, and swing gang.

Aspect Ratio AKA: Aspect, Academy Ratio
A measure of the relative sizes of the horizontal and vertical components of an image. "Academy Ratio" is 1.33:1.

Assistant Art Director
An assistant to the art director.

Assistant Camera AKA: Assistant Camera Operator, First Assistant Cameraman, 1st Assistant Cameraman, 1st Assistant Camera, Assistant Cameraman, Camera Assistant
A member of the camera crew who assists the camera operator. This person is responsible for the maintenance and care of the camera, as well as preparing dope sheets. In smaller camera crews, they may also perform the duties of clapper-loader and/or a focus puller. See also additional camera.

Assistant Director AKA: AD, First Assistant Director, 1st Assistant Director, 2nd Assistant Director
An assistant director's duties include tracking the progress of filming versus the production schedule, and preparing call sheets.
A First Assistant Director is responsible for the preparation of the shooting schedule and script breakdown used to plan the shooting of a film or television show. The AD works directly with the Director to manage of the minute to minute operations on the set during the process of filming, as well as co-ordinating the necessary communication of details of future operations as the filming progresses. Other duties include tracking the progress of filming versus the production schedule, observing all rules related to union crafts, labor contracts and location agreements, maintaining safety on the working set, and working with the Unit Manager to keep operational costs within the budgeted plan.

A Second Assistant Director is responsible for information distribution and reporting, cast notification and preparations during the shooting process, recording of all data relative to the working hours of the crew and cast, management of the background cast (atmosphere or "extras"), preparation of call sheets, production reports,and other documentation. When needed, the Second Assistant Director can assume the duties of the First Assistant Director on a temporary basis.

Assistant Film Editor AKA: Assistant Picture Editor, Assistant Sound Editor, Assistant Editor, First Assistant Editor, Second Assistant Editor, Apprentice Editor
Editing room crewmember responsible for providing any and all required logistical assistance to the editor(s). Duties vary, depending on whether the assistant is working with a picture or sound editor and whether the show is being edited on film or on a non-linear editing system. On a film-edited show, assistant picture editors will, during production: liase with the film lab and sound transfer facility regarding the processing of dailies; leader, sync and edgecode the dailies rolls; coordinate and take notes during dailies screenings; organize and maintain camera reports, sound reports, script notes, and lined script pages from the set, as well as lab reports and sound transfer reports; log all dailies footage; and reorganize footage for editing, if necessary. Ongoing, and during post-production, they will: reconstitute trims; locate and pull trims requested by the editor; check sync, clean, measure, re-splice, and add change-over marks to cut reels; coordinate screenings of cut work; take notes during screenings. Once the sound department begins work, the assistants produce change sheets detailing each day's changes to the workprint and production track and send them, along with any necessary duplicate trims, to the sound department. Assistants may be permitted by the editor to do some creative work, such as commenting on the editor's work; cutting temporary ("temp") sound effects and music into the track; and sometimes even editing scenes. After picture lock, the assistant: oversees the creation of optical effects such as fades, dissolves, etc. and cuts them into the workprint; continues to work with the sound department as necessary; and in some cases oversees the final stages of post-production, all the way through sound mix, negative conforming, and the production of final prints. The assistant editor chain of command consists of the First Assistant Editor(s), who bears the most responsibility for the smooth performance of the assistant team; the Second Assistant Editor(s); and the Apprentice Editor(s).

Associate Producer
An individual who performs a limited number of producing functions delegated to her/him by a producer, under the direct supervision and control of that producer. The term may also refer to a person who would qualify as an executive producer of a project, but for the fact that (s)he acts on behalf of a production company which is subordinate to another one on that project.

Automated Dialogue Replacement AKA: Automatic Dialogue Replacement, ADR, Dialogue Looping, Dialog Looping, Looping
The re-recording of dialogue by actors in a sound studio during post-production, usually performed to playback of edited picture in order to match lip movements on screen. ADR is frequently used to replace production track of poor quality (e.g., due to high levels of background noise) or to change the delivery or inflection of a line. ADR can also be used to insert new lines of dialogue which are conceived during editing, although such lines can only be placed against picture in which the face of the actor speaking is not visible.

AVID
Manufacturer of a popular non-linear editing system. Often used to refer to the system itself, as "AVID editor".

YIKES!
Like wow Scoobs. I'd hate to see the whole damn list.

Isn't there a book out there or something for the poor lad? He's going to go blind trying to read all of this off a computer screen.

That's it! You people have stood in my way long enough! I'm going to clown college!

I had posted this a while back:
http://www.filmsite.org/filmterms1.html

'In the life that man creates for himself, he too, creates his demise... and his legacy.'

All right, lets step back for just a moment here...

A) WHO IN GODS NAME IS GOING TO READ ALL OF THAT?!???!??!

B) Why do we at all feel we have too?

Its not as if you cannot survive without a vocab test on these film words. Alot of them can be picked up simply by watching the special features in a movie. And some of them are more then slightly irrelavant.
Why even bother learning the vocab?

thanks instigator , i am trying to read it all . i agree with swordofdoom . can anyone of u suggest me an ebook detailed about 180rule , 30 rule etc ? you are all too good....thanks again for giving such instant responce?:)?

Check out this book, its very comprehensive.

http/www.amazon.com/Film-making-Introduction-Craft-Director/dp/0571211259/sr=8-1/qid=1170190197/ref=pd_bbs_1/102-0668759-1746558?ie=UTF8&s=books

One of the best I've read. It covers damn near everything.

That's it! You people have stood in my way long enough! I'm going to clown college!

swordofdoom ! the book u suggested me is not a free ebook. i dont have a credit card to buy this book , is not there any free material to learn from? thanks for ur attention

quote:

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Originally posted by rule180
i agree with swordofdoom .

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You don't have to read it if you don't want to. But you DID ask.... I'm guessing you don't want the "B".

quote:

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can anyone of u suggest me an ebook detailed about 180rule , 30 rule etc ? you are all too good....thanks again for giving such instant responce?:)?

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The 180? rule is a basic film editing guideline that states that two characters (or other elements) in the same scene should always have the same left/right relationship to each other. The rule gets its name from the 180? arc that extends from a point on the other side of Alice from Bob, to a point on the other side of Bob from Alice, within which Alice and Bob will always have the same left/right orientation.

The 180? rule is also often called "The Line", or the "Line of Action". An imaginary line can be drawn through two characters, and the camera should stay on one side of this line. Breaking this rule is most commonly referred to as "crossing the line." It can also be referred to as "breaking the line of action", or "breaking the 180? line". In TV circles this is often referred to as "Crossing the axis" - in effect you would be able to see the camera.

In the example of a dialogue, if Alice is on the left and Bob is on the right, then Alice should be facing right at all times, even when Bob is off the edge of the frame, and Bob should always be facing left. Shifting to the other side of the characters on a cut, so that Bob is now on the left side and Alice is on the right, will disorient the viewer, and break the flow of the scene.

In the example of an action scene, such as a car chase, if a vehicle leaves the right side of the frame in one shot, it should enter from the left side of the frame in the next shot. Leaving from the right and entering from the right will create a similar sense of disorientation as in the dialogue example.

The 30? rule is a basic film editing guideline that states the camera must make at least 30? movements around the axis of movement while still respecting the 180? rule. These 30? of movement avoid the creation of a jump cut, or cutting at the same angle, making the subject appear to "jump" in the frame. Moving the camera at least 30? between shots seems to soften the effect of changing distance such as changing from a medium shot to a close-up.

Good luck on finding an ebook buddy. Those things are few and far between and often suck.

And Instigator has a valid point, though I thank you for agreeing.

How about a "B" list anyways. That was the longest post I have ever seen. Like damn.

That's it! You people have stood in my way long enough! I'm going to clown college!