Scene Replication 2 - Falling Down

FALLING DOWN - LOGBOOK 2

GROUP

Grace, Siya, Luke, Dirk

STORY (from 18minuets - 22minuets)

The scene replication i abased on the film about a man who looses his mind on his way to see his wife and child and destroys everything in his path to get to them. The scene we replicate is from the part in the film where Bill, our lead, meets two gangsters who pull a knife on him for being in their territory. Bill our lead ends up beating up the gangsters in a flat rage after they tell him to get over his briefcase. 

PROCESS 

We decided in advance who was doing what and allocating a job to a person, Dirk wanted to Direct and be the Cinimatiograoher, i said i would Produce because of what i experienced last time shooting with Dirk, i wanted to be in charge of the planning because last time we left Dirk to plan we were let down. Siya said he would do the sound and Luke the lighting and second shooting.

31-1 June. Saturday/Sunday

I watch the movie to get a better understanding of the character and the scene, start making lists of what we need and what we need to record. Also i go through all the paper work to get a better understanding of what we need to do and what is required of me. 

I get in touch with Dirk and ask him to sort out the 3 actors we will need because he knows lots of drama students in Cape Town. I also ask if he knows a place we can shoot the scene in Cape Town that overlooks the city. He says yes to both. 

2 June. Monday 

I organise a group meeting to discuss when we want to shoot. We decide to shoot on Friday, weather dependent and depending if our actors can make it. Also we sign Bryce’s forms agreeing to do our best and our part within our job titles. 

3 June. Tuesday 

I watch the scene a few times and wright up a list of what we need to record. I list the sounds we need to record, i list the props we will need, I list the shots we will need and i draw i up a story board (i asked Dirk to do this 23 June. Friday but its Tuesday and he still hasn't done it. Due to past experience I know there is a large possibility he wont do any of it so i do it so that we are prepared). Also i draw up the script( just the dialog for our actors) and then i screen shot each take and count them all up. I print everything i just drew up 4 times so we each have a copy and i print 3 extra scrips for each of our actors. 

4 June. Wednesday

I give everyone a copy of what i just printed and make sure everyone is briefed on what they are doing and have a copy of exactly what they need(for example, Siya is working our sound so i make sure he has a copy of the sound recording list).

I talk to Dirk and find out that our actors are not available for Friday and the weekend. so we need to shoot the next week.

I book out sound equipment to the next Monday and Tuesday( i book out sound equipment on my name for Monday and on Dirks name for Tuesday because we only need one day to shoot but it is weather dependent so we need to be safe) 

7-8 June Saturday and Sunday

I keep an eye on the weather and keep on touch with my group. Sunday i let the group know we cant shoot on Monday and will need to shoot on Tuesday. I try get hold of Dirk to make sure he can lock down our actors but i cant get hold of him. 

9 June. Monday 

Monday Morning i try get hold of Dirk from 9am and consistently try get hold of him for the rest of the day, by the time class starts dirks phone is still off. 3pm i sit down with my group we discuss where we are going to shoot because we cant get hold of Dirk and he hasn't given us an address we chat about actors and Luke finds a location and we decide to ask our friends to act because we haven't heard from Dirk and we dont know if he has even organised actors. 

5pm i contact Dirks brother who Dirk organised to play our lead for us but because Dirk hadn't spoken to his brother since the week before his brother said he could not make the shoot. So i contact the group and ask them to ask their friends to help us and act.

6pm i lock down 3 actors for the shoot, i lock down our location and the final props needed as well as check the gear and chat to the group about pitching together for lunch for the next day. 7pm Dirk contacts me tells me his brother cant play the lead(which i already know and have organised another actor). By 10pm i have locked down the final props needed printed releases forms, started on the paper work and done another gear check and prop check. Ive also sent our actors scripts and organised times for me to be able to fetch them. 

11pm finish up final paper work and print out extra scripts, prop lists, sound recording lists and an extra shot list.

2am i put batteries on charge, format cards and do a gear and prop check.

10 June. Tuesday 

7.00am wake up gear check, prop check, paper check. 

8.00am at checkers buying a cheap lunch and drinks for the team and the actors + a coke can, a news paper(tow props we need). i contact our actors and find out if they are ready.

9.45am in Stellenbosch at actor number one, check wardrobe hand out hard copy of script.

10.15am back in Somerset West, at the second actors house, check wardrobe and hand out hard copy of script 

10.20am leave Somerset West and head to Cape Town. 

11.00am get to SAE, pick up gear, wait for lead actor get everyone into SAE, let our actors watch scene again to refresh memories, give out actor release forms and brief everyone. Siya arrives late and misses brief meeting. 

11.45am leave SAE, with gear, food, actors and crew.

12.00am Get to location, unpack gear, dress actors, 

12.15am actors go over scrips, dirk sets up camera, Luke and Siya start recording ambient sound a little way off.

12.45am Shoot starts

1.45pm Break for lunch, sound batteries all go flat(during lunch break Siya needs to drop his girlfriend off at hospital and picks up, so i give him money to buy more batteries which he picks up on his way back to set)

2.15pm Shoot continues

4.15pm We wrap up. Give the sound gear to Dirk to drop off at SAE the next morning because he signed it out. Dirk says he will edit footage that night. i ask if we can meet at SAE the next day at 10.30 so we can work on the edit together, everyone agrees.

I drop our main actor and Luke off at SAE

4. 25pm Leave SAE and head back to Somerset West with remaining two actors.

5.50pm Drop first actor off in Stellenbosch

6.00pm Drop second actor off in Strand(its further than Somerset West)

6.15pm Get home

8.30amam Leave somerset west for collage.

9.30 Get to SAE, meet with Bryce(chat to him about production templets, and group dynamic.)

10.38am Luke watsapp’s the group and lets us know he is sick and can’t make class.

10.45am Dirk and Siya get to SAE, dirk drops off gear. we decide to drive to Dirks house to edit together.

11.00am Edits starts

1.15pm Lunch break

1.40pm Back to editing

3.15pm Finish editing and dump footage 

3.30 Leave Dirks footage. 

Reflect

One of the biggest problems i faced during this group assignment was when i had to organise three actors and two of our main props the night before we were meant to shoot. A week and a half before we were due to shoot i asked Dirk to book actors so our actors had time to set a day aside. He did find actors but they were not available to act over the weekend we wanted to shoot so i asked Dirk to book them for the Monday and Tuesday after the weekend however on Sunday night the and Monday the day before we were meant to shoot Dirk was not available, and i found out that our actors had not been informed the night before we were due to shoot. So i spent that night trying to organise three actors and two of our main props all of which i asked Dirk to do and which he agreed to do. 

I had also asked dirk for a shot list long in advance and that wasn't done.

I really had trouble with Dirk when i came down to responsibility. He did apologise for not being available and said that it was because of personal reasons, however i believe your personal life should not inter fear with business or reflect on it. I also dont like the fact that i was not able to contact him and that he didn't let me know there was a problem with the actors. Every time i asked Dirk to do something, if he had  trouble getting it done he would not come back to me with the problem but instead would just leave it unfinished. I always had to approach him about the things i had asked him to do and i would always have to ask if there was a problem with it. That shouldn't be the case. Dirk should have come back to me if and when he ran into problems so we could get the job done. I feel like i carried the team all the way. 

Also our sound guys on the day Luke and Siya didn't work with Dirk and make notes for the sound and the takes on the sound. So all our sound is unmarked and all our video footage is unmarked making it extremely hard to find the right sound with the right video clip. 

Over all my team worked fairly well on the day, we got what we needed and we did it together, however i still feel very overwhelmed and would have liked my team to take responsibly and do the work that was required of their rolls instead of making me do everything. 

Film Set Lingo

In my previous post when reading it on Evan Luzi's blog he inverted links to a few helpful tips and things to know when working on set. One such link was about film set lingo which i found quite interesting because we haven't spoken about set ling in class before and what i found was really cool and i think quite important. 

There were a few things i needed to research further because i felt like i was reading Latin but after that i feel like I've equipped myself for the set a little more.

General Production Slang

Abby Singer – Second-to-last shot of the day. Named for a crew member who would always alert his crew of the second-to-last shot of a setup, scene, or the day.

Apple or Apple Box – a solid wooden box that comes in standardized sizes (from largest to smallest): full, half, quarter, pancake

Back In – phrase meaning lunch and/or any break is over and work has begun again

C47 – a clothespin

Crafty – craft services area and/or person

Day Player – a crew member hired for only one day or a handful of days worth of work

Furnie Blanket – a furniture blanket or sound blanket

Gary Coleman – a small C-stand

Hot Points – yelled when carrying something with the potential to hit somebody like dolly track or a C-stand. Usually said when going through a narrow hallway, doorway or around a corner

Juicer – an electrician

Last Looks – phrase to call in hair/make-up to give a final touch-up to actors before a scene is filmed

Last Man – phrase that refers to the last person to get their food at lunch; usually used becauselunch should not officially start until the last man has gone through

Magic Hour – the time right before sunrise/after sunset in which the sky is somewhat dark but still illuminated. Often lasts only 20 minutes despite its name

Martini – the last shot of the day

Pancake – a size of apple box; see “apple”

Picture’s Up – phrase to alert all on set that cameras are almost set to start rolling

Scripty – the script supervisor

Sides – a half-sized script that contains only the scenes being shot that day

Sparks – an electrician; see “juicer”

Stinger – an extension cord

Talent – actor(s) or actress(es)

Video Village – the area in which viewing monitors are placed for the director and other production personnel. Referred to by this name because of the propensity to fill with people, chairs, and overall “too many cooks in the kitchen”

Speak the Language

Like any job, there is short-hand and slang thrown about on sets, but the difference in this profession is how prevalent it truly is. The idea behind it is speed and efficiency.

Knowing the write term or slang for something can be the difference between someone who’s respected on set and someone who is snickered at during lunch.

Film Set Etiquette

So Bryce was talking about film set etiquette the other day in class but didn't really get into it or talk too much about it, so i decided to do a little research into it and what it was in order to further my understanding about sets and also to aid in my knowledge in how to behave when working on sets.

After a bit of research i found this really cool blog that gave me the A-Z in do's and dont's on film etiquette.  This blog has really helped me so much with what is right and wrong and its even given me tips on how to be a better worker. Most of the tips are really obvious but its sometimes the really obvious this that need to be pointed out because they are over looked, for example not standing around when you have finished your work because there is always more to be done, that everyone knows to do but sometimes unless pointed out can be totally overlooked. So even though these tips are simple they have really helped me and opened my eyes to be a better worker.

by EVAN LUZIMISCELLANEOUS TIPS

If these and other questions have been racing through your mind, you’re not alone.

And you no longer have to worry because right now I’m ready to give you an A to Z lesson on best practices for film set etiquette. By the time you’re done with this, you should have no problem walking around on set like one of the pros.

Always

Always follow up. Always double check. Always try your hardest. Always ask questions. Always be respectful.

Brevity

When busy, be brief. Say only what’s needed.

Copy That

Overheard on the walkies: “Can you grab the ND9 from the cart when you get a chance?“… “OK.” … “OK what?!”

Saying “copy” while on a walkie talkie is the best way to confirm you’ve received and understand a message. Even better is to repeat part of the command (i.e. “Copy, ND9 on its way”).

Driving

When driving other crew and/or equipment, be gentle and aware of all laws, but get there as quickly as you legally can.

Electricity

Assuming outlets are free to use is how batteries get unplugged and breakers get tripped. Before you plug anything into an outlet, ask an electrician if it’s OK.

Food

While waiting in line for your lunch break, let your superiors go in front of you. When making stops at the craft services table, offer to bring stuff back for other crew.

Gear

Unless it’s your department’s gear or they’ve tasked you to help, don’t touch it. Seriously — if it’s not yours, don’t touch it.

Hot Points!

Yell this whenever carrying something long and pointy around corners or through doorways (i.e. dolly track, camera sticks, C-stands)

Introductions

On your first day of a shoot, take the time to introduce yourself to anyone and everyone — including talent, if the situation permits. It makes working with them a lot more friendly and fun.

Jokes

Pranks, in moderation, have their place on set and so do jokes, but be careful about who you tell them to. Have some tact — avoid overtly offensive jokes.

Keep Yourself Busy

Standing around will make you look useless, confused, lost, and also lazy. There’s always something to be done. If you don’t believe me, start with this list of 27 things to do to keep you busy on set.

Lingo

Stingers, C-47′s, sticks, babies, high-hats, Gary Coleman, video village, apple box, sharps, and horseback. Unsure what any of that means? It helps to learn film production slang to be able to communicate effectively.

Mistakes

Unintentional mess-ups are not just a normal part of film production, but of everyday life. If mistakes never happened, line producers would celebrate saving the 10% contingency funds they build into every budget. When you mess up, apologize and find a solution. It’s never worth dwelling on.

Ninja-like

The less noticeable you are while doing your job, the better. Most crew positions mean being invisible — if you’ve done you’re job right, it’s hard to notice you did anything at all.

Opinions

Unless you’re asked, you don’t have one. And even when you are asked, always reply first with, “Well, what do you think?”

Phones

Smartphones are an important piece of the toolkit for many on set, but they also still have that annoying problem all cell phones have — noise. Turning off your phone is best, but silence it at least — even vibrate makes noise.

Quiet on set!

When shooting sound, be super silent during takes. Even between setups, minimize how much noise you make so as not to annoy anybody.

Radios

Once your done pretending that you’re a GI Commando, learn how to use a walkie talkie appropriately and use it sparingly.

Safety

Films, movies, and videos are never more important than your life. If you ever feel unsafe, alert somebody immediately and don’t be afraid to stand firm on the issue.

Talent

If you know who they are without ever meeting them, don’t talk to them unless you have to or they approach you. Otherwise, talk to them as you would any other crew member being acutely aware whether or not they are busy.

Understanding

From The Production Assistant’s Pocket Handbook:

A seasoned First Camera Assistant nicknamed “J-gor” once told me what the universal response to any human utterance was. He had heard it from a famous Dolly Grip, and felt it necessary to pass it on to me seeing as it was my first job as a P.A.

The response is, “I Understand”. By varying the speed and tone “I Understand” works as a response in situations ranging from, “what a sunny day” or “here’s a million dollars”, to “my feet hurt” and “get a C-stand”. Test it out for yourself. I haven’t found any other two words that cover as many situations.

Do you understand now?

Video Village

The monitor where the director, producer, and script supervisor stand can get very crowded very quick. The harsh truth is that, besides your curiosity to watch the take, you probably don’t need to be there — so don’t be.

Water Bottles

At some point, you’ll be asked/tasked/demanded to go grab bottles of water for crew. Make sure if they are wet you use a paper towel or cloth to dry them. Bonus points if you hand each crew member their bottle of water with their initials already in Sharpie on the cap.

XXL (Extra Extra Large)

Moderation is best left at home on film sets. You simply don’t have the time to play Goldilocks and test whether you need more or less or if it’s just right. When in doubt, always grab double of what you think you need — it never hurts to have extras.

Yellow

Bright shirts may bring out the color in your eye, but vivid clothing also can affect the lighting of a scene. Avoid wearing certain colors like white, yellow, and light grays that can unintentionally bounce light into a scene.

Zero

Despite all your fears to the contrary, you step on set with just as fresh a start as anyone else. When Day 1 rolls around, introductions are made, ground rules laid out, and experience irrelevant. At this point, it’s all about this one job.

Remember: “You’re only as good as your last job.” 

So what does this have to do with set etiquette?

Well, zero is also the same number of times you should assume things when you’re on set. Don’t assume everyone knows how you do things and don’t assume you know how to do everything. Never assume you don’t need to double check and never assume expectations will be met.

If you do that, you’ll fit into the flow of filmmaking fine.

If you don’t, zero will also be the number of times you find yourself working again.

Did I leave anything out? Let me know in the comments what etiquette you think gets overlooked too often on set!

LOGBOOK

LOGBOOK

GROUP:

Dirk, Faith & Grace

STORY:

We decided to go with what we thought a simple storyline of a girl who misreads sign on her way to work in order to tell a story of a girl who thinks badly of herself. She thinks of herself as a failure and many other things until one day a man walks into her work place and shows her a little bit of love. After she had been shown a bit of kindness and love she starts to see things in a different light and stops misreading sings as she previously did, in a negative way but in a positive way, this show she is thinking better of herself and all she needed is love.

PROCESS:

We didn't go into this project very prepared, we sat down and discussed what we would need for props but didn't organise specifically who would do what. Dirk offered to shoot for us so we went with that and i offered to second shoot but he didn't want me to(which i regret not doing because on every production team and every shoot there are at least two cameras, i believe we could have had more shots to play with if i had been camera number two). 

Other than who was shooting we didn't plan who would do what. We looked for  actors for about a week until Dirks brother and sister said they would act for us. 

I got all the official forms printed for the shoot and designed and printed most of the props(except for two that Dirk said he would design) Fait said she would fill out the paper work for our team, which she did a great job with. 

Next we had to shoot, but our schedules kept clashing so eventually we got to shoot on the 22 April, shoot time was 7.30. Dirk was going to use his girlfriends car to fetch his sister at 6am. 

22 April. Tuesday

Call Time 7.30am

Location: Street

Days Mission: Walking Shots

5ma i wake up, get dressed and ready. Leave the house at 5.20 get to cape town at 6am try to contact dirk but no response, wait in my car outside his house until 6.30. He said he had overslept. I get into the car with him and we go to Claremont, fetch his sister and head back to his place, we hit traffic on the way back. So we become late. Get back to dirks place, he has to fetch his camera and other things. I realize i dont have the script. So we go into the first shoot late and unprepared. 

Arrive and meed Faith at 8.15. Shoot what we can(mainly walking shots). Realize we don't have a change of clothes for our main actress so she takes my coat and scarf. Faith had to go to her internship so she left at 8.30 but by then we had finished most of our work we. We carried on for about another fifteen minuets and by 8.45 we are finished our first days shoot. We then decided to get permission and look for library’s to shoot at because originally we wanted our actress to work at a library. so we visited a few in Cape Town but they all wanted us to pay for a pass and we didn't have any budget. 

We left for Dirks house around 9.30. i dropped everyone off and headed to Navigator Films to get the posters(some of our props) printed. By the endif today Dirk said he was going to do the editing for the team. 

25 April . Friday

Call Time 8am

Location: Street, Bus Stop, Bus

Days Mission: End off walking shots & shoot on a bus

5am i wake up, get dressed and ready, Leave the house at 5.30 get to Cape Town and Dirs house at 6.10. Call Dirk he gets into my car and we go get his sister in Claremont get back to Dirks house at 6.45. Wait at dirks house. at 7.30 we realise its too dark to shoot at 8am so Dirk texts Faith and lets her know to wait at her apartment until 8.30. At 8.30 we get into my car and head to the bus stop. We arrive around 8.40am

We put up our posters and begin to shoot. We begin to acquire an audience which Faith and i get a bit scared of and for the gear but Dirk tells us not to worry. So we keep shooting and out for the blue! A random homeless man walks up into our scene, grabs our new and expensive Cape Times replacer, off the street lamp and stuffs it into the bin below! Our audience go ballistic! they start to scream and shout at this man, we start shouting and the man just walks off. So our audience grab our poster and nicely help put it back. We carry on shooting but also realise we need to get on a bus soon because otherwise we are going to run out of busses. We finish up and head to the station. Dirk gets some distance shots and then we get onto the bus. Get the shots we need there and back. We got onto a very nice new bus that lookd like a tourist bus and on our way back we worried we would have to shoot on a normal but but we were in luck because one of the last busses going back into Cape Town was exactly like the one we had just shot on. By 9.10am we were finished and headed to class just in time for lectures. 

21 April. Sunday

Call Time: 3pm

Location: Dirks sisters house

Days Mission: Shot shots at home, waking up and coming home

I leave my house at 2pm get to Cape Town at 2.30, fetch Dirk, fetch Faith, head to the house. get there at 3pm. 

Get inside and Dirks brother Luke tells us that the parrot has flown away. Dirk spends about half an hour looking for it. 

Then disk and i put the coffee stickers onto the coffee mug. While his sister gets ready.

We start shooting after 3.30. Get some of the sleeping shots and then Dirk realises that the bird is in the tree over the road so tells Faith and i to carry on. So we get the last few shots of our actress in bed and then she leaves to look for the bird and Faith and i get some of the shots we need without our actress in bed. By now there isn't anyone in the house except for Faith and I we wait around for about 1 minuets. We are loosing light its about 4.30/5pm now, we are getting wrried we wont get everything done. Faith decides to call Dirk and his sister. 

They come back after Faith calls them and we start shooting the coffee scene. But we can all see his sister doesn't want to act and Dirk gets angry with her and so does Luke, they tell her to stop being unprofessional, that this is our last time to shoot and that I have came all the way from Somerset West to shoot today. Dirk then apologises and his sister starts to act again for us. We get great shots but shoot for longer than we expect. 

We leave around 7pm. I drop faith off and only get home around 8.30pm

5 May. Monday

Call Time: 8am

Location: Library 

Days Mission: Shots of our sad actress becoming happy

Faith had worked on getting us in to the library for two weeks. Sunday night i call dirk to find out if he had designed and printed the book cover we needed for the main scene(this is our main prop and Dirk wanted to use a specific book for the ending so i asked him if he would then design and print out the cover for the book he wanted to use, i asks him to do it on the 22 April he said he would.)

Sunday night Dirk tells me he hasn't designed or printed the book cover out and that there is no point in shooting the next day. That we should move it on the the next day.

I cant believe what I'm hearing because he said two weeks before this that he would get it done! And Faith has worked so hard to get a place at this library. Im angry because the work isn't done, Dirk had two weeks to design and print something simple, we are hitting deadline and i had to call him to find out the work hadn't been done, if i hadn't called we would have all shown up at 8 at the library and had nothing to shoot! 9am i watsapp faith to find out how the meeting with the director of the library went. She said we have permission to shoot the next day. So i informed dirk of the time and that we had permission.

So we move it on to the next day, Faith gets us in at 8.30 the next morning. 

6 May. Tuesday

Call Time: 8.30am

Location: Library 

Days Mission: Shots of our sad actress becoming happy

At 11pm on Monday night i watsapp both Faith and Dirk and let them know i have a really bad case of food poisoning(i was almost hospitalised). I tell Dirk he must use his girlfriends car or his brother must fetch his sister because his brother has a car or he must use a cab and we will all put in together for it.

At 9am on Tuesday i watsapp both Faith and Dirk to find out how the shoot was going but only hear back from Faith. She watsapps me in the afternoon and tells me that Dirk didn't want his sister to drive in a cab because it was going to be too expensive for the team to pay R200 between the three of us. 

Faith and i loose all hope for this project to be finished.

7 May. Wednesday 

Dirk says he doesn't know where to shoot now, so i think of alternative endings for our movie and think of places to shoot without having to change the ending. I tell him to look for a book shop or grocery store. 

He tells us he is going to go to a book store in his street. 

Wednesday night he watsapps us saying the book shop was closed and he doesn't know what to do. 

By now all my free days are finished, i have dead lines with work, i have wedding shoots to edit and engagement shoots to edit i have no more free days to shoot. I cant make it to Cape Town until i have class,i might even have to not go to class because of how hectic my deadlines are so there is no way i can be part of the shoot if he decides to shoot Thuresday! i Call Faith and explain and she tells me she also has work. 

I watsapp Dirk and let him know that we couldn't make it the next day, tat we were both so so busy and that every time we had scheduled a shoot we were there(except for when i was sick) So he would have to do this one by himself.

8 May Thursday

At 10am i watsapp Dirk and ask how the shoot is going. He says that its done and he is editing.

REFLECT

The biggest problem i had  was that Dirk never delivered on his part during preparation time, he was never ready, the two props that were most important to the movie that he insisted on making himself were never ready on time, that he insisted on taking all the big roles in the production of this movie, he was always late and in so doing made me late. Faith and i did every thing we were meant to do in advance and on time but when it came to Dirk he didn't deliver on time. However, with that said, Dirk my not be able to plan ahead and deliver on time but he is good at shooting and editing and accomplished the two large rolls he wanted to do. And on set we knew we could trust he will come out with a good product and he is a good story teller(however i told him a number of times to use a tripod to shoot certain scenes but he didn't want to and now our movie does have a lot of camera shake).

As a team we failed in not preparing well, we never assigned specific jobs to certain people and in so doing we were unprepared every time we came onto set.

Next time we have a group assignment i will know to assign everyone a specific job and make sure they follow thorough. 

Next time i will be more prepared and know so much more. If i can take anything away from this is that i now know my fellow team mates strengths and weaknesses and mine. And i know how to plan better and how to organise. I also know to insist on a second camera, and make sure we shoot with a steady cam and tripod so our shots are smooth.

Film Terms Glossary

So I've been researching all about film technique lately and totally by accident came across this really cool film glossary with definitions for film. Its been really insightful and quite helpful. There are some really obvious definitions but there are also things I've never heard of, for example exhibitor, epiphany, dunning and more.

Ive inserted the text from the sight because there is quite a lot i haven't learned from class and think for future students it would be helpful and insightful to learn some of these things. 

Film Terms Glossary
Cinematic Terms	Definition and Explanation	Example (if applicable)
Dogme 95	a collective of film directors founded in Denmark in 1995 led by Lars von Trier, with a distinctive democratizing philosophy and set of rules (termed "the vow of chastity") that rejected special effects and contrived lighting/staging and camera work, and espoused returning to more "truthful" and honest, "non-Hollywood" forms of cinema; the ten rules included shooting on location, use of hand-held cameras, natural lighting only, no props, use of digital-video (DV), lack of credits for the director, etc.	Examples: Thomas Vinterberg's Festen (The Celebration) (1998), von Trier's Idioterne (The Idiots) (1998), writer/director Harmony Korine's Julien Donkey-Boy (1999), Søren Kragh-Jacobsen's Mifune (1999), Jean-Marc Barr's Lovers (1999, Fr.), Richard Martini'sCamera (2000), Kristian Levring's The King is Alive (2000), Lone Scherfig's Italian for Beginners (2001, Denmark).
Dolby stereo	a stereo-sound process for motion pictures created by Dolby Laboratories, Inc., used to improve sound quality; 35mm prints have two optical sound tracks (Dolby can decode and playback on four channels), while 70mm prints have six magnetic tracks for multi-channel playback; by the 1990s, Dolby Stereo was superceded by advanced digitally-recorded sound	Examples: The first Dolby encoded stereo-optical soundtrack on a feature film was Ken Russell's Lisztomania (1975). Other Dolby stereo soundtracks existed for Star Wars (1977),Apocalypse Now (1979), Close Encounters of the Third Kind (1977), and Superman (1978).
dolly (shot)	refers to a moving shot in which the perspective of the subject and background is changed; the shot is taken from a camera that is mounted on a hydraulically-powered wheeled camera platform (sometimes referred to as a truck or dolly), pushed on rails (special tracks) and moved smoothly and noiselessly during filming while the camera is running; a pull-back shot(or dolly out) is the moving back ('tracking back') of the camera from a scene to reveal a character or object that was previously out of the frame, dolly in is when the camera moves closer ('tracking in') towards the subject, and dollying along with (or 'tracking within') refers to the camera moving beside the subject; also known as tracking shot, trucking shot, follow shot, or traveling shot; contrast with zoomshots.	Examples: the first eight minutes of Robert Altman's The Player (1992)was filmed with a sustained dolly shot, similar to the famous opening sequence (shown here) of Welles'Touch of Evil (1958); or the opening shot in Boogie Nights (1997) that tracked into the 70s disco, or the shot from the dressing room to the ring in Raging Bull (1980)
doppelganger	a German word literally meaning: "doublewalker," a reference to the fact that a shadow-self, duplicate, counterpart or double (spiritual, ghostly, or real) accompanies every individual	Examples: in cinematic use, the contrast between the 'good' and 'evil' side of a person, as in Hitchcock'sStrangers on a Train (1951) between Robert Walker and Farley Granger (shown in criss-crossing shots of their shoes), or the 'evil' Uncle Charlie (Joseph Cotten) and his 'twin' counterpart - the 'good' young Charlie (Teresa Wright) inShadow of a Doubt (1943); also evidenced in Brian De Palma's Sisters (1973), Kieslowski's film The Double Life of Véronique (1991), David Cronenberg's Dead Ringers (1988), and Fight Club (1999)
double	refers to the person who temporarily takes the leading player's place for a dangerous or difficult stunt, or to photographically stand in for the actor (when the latter is not available or when the actor wants a body double for a nude scene, etc.)
double exposure	to expose a single frame twice so that elements of both images are visible in the finished product; produces an effect similar to superimposition and is often used to produce 'ghostly' effects
double take	a comedic convention that refers to the way in which an actor first looks at an object (subject, event, scene, etc.), then looks away, and then snaps his head back to the situation for a second look - with surprise, disgust, sexual longing, etc.; a variation is termed a spit-take (the double-take causes the character to spit out whatever he is drinking)	Example: W.C. Field's double-take at a black bank customer in a teller line inThe Bank Dick (1940)
drive-in	an outdoor movie theatre in which the patrons viewed a film from their automobile; films projected were often B-films or low-budget films; reached their peak in terms of popularity and numbers in the 1970s; also called a passion pit, ozoner; contrast with a hard top (or indoor movie theatre).
dub (or dubbing)	the act of putting a new soundtrack on a film or adding a soundtrack (of dialogue, sound effects, or music) after production, to match the action and/or lip movements of already-filmed shots; commonly used when films are shot on location in noisy environments; also refers to adding translated dialogue to a foreign-language film; as opposed todirect sound - which is sound recorded when filming a scene; contrast to looping.
dunning	the process or technique of combining shots filmed in a studio with background footage shot elsewhere
dutch tilt(or canted angle)	a shot made with the camera leaned to one side and filming at a diagonal angle; see also camera angle.	Examples: in Carol Reed’s The Third Man (1949).
dynamic frame	a photographic technique used to mask the projected image size and shape to any ratio that seems appropriate for the scene (e.g., the image narrows as an actor passes through a narrow passageway, and then widens as he emerges)
dystopia	an imaginary, wretched, dehumanized, dismal, fearful, bad, oppressive place or landscape, often initiated by a major world crisis (post-war destruction) coupled with, an oppressive government, crime, abnormal behavior, etc.; the opposite ofutopia (a state of ideal perfection); see also nihilism	Example: the worlds of Metropolis (1927), Fahrenheit 451 (1966), A Clockwork Orange (1971), the comedy Sleeper (1973), Mad Max 2: The Road Warrior (1979), Blade Runner (1982) (pictured) and 1984 (1984)
editing (editor)	the process (performed by a film editor) of selecting, assembling, arranging, collating, trimming, structuring, and splicing-joining together many separate camera takes(includes sound also) of exposed footage (or daily rushes) into a complete, determined sequence or order of shots (or film) - that follows the script; digital editing refers to changing film frames by digitizing them and modifying them electronically; relational editing refers to editing shots to suggest a conceptual link between them; an editor works in acutting room; the choice of shots has a tremendous influence upon the film's final appearance.	See Best Film Editing Sequences.
ellipsis	the shortening of the plot duration of a film achieved by deliberately omitting intervals or sections of the narrative story or action; an ellipsis is marked by an editing transition (a fade,dissolve, wipe, jump cut, or change of scene) to omit a period or gap of time from the film's narrative.
emcee	another term for master of ceremonies
end (or closing) credits	credits appearing at the end of a film; aka end titles
enfant terrible	literally from the French, meaning "terrible baby" - referring to a brilliant, young, passionate but egotistical, brash director; characteristics of an enfant terrible director include being innovative and unorthodox	Example: Orson Welles and Citizen Kane (1941), Steven Spielberg and Jaws (1975), Michael Cimino and The Deer Hunter (1978), Guy Ritchie and Lock, Stock and Two Smoking Barrels (1998), and Florian Henckel von Donnersmarck andThe Lives of Others (2006, Germ.)
ensemble (film)	a film with a large cast without any true leading roles, and usually with multiple plotlines regarding the characters; it also literally means 'the group of actors (and sometimes directors and designers) who are involved in a film'.	Examples: The Philadelphia Story (1940), Rio Bravo (1959),The Last Picture Show (1971), The Godfather (1972) films, St. Elmo's Fire (1985), The Breakfast Club (1985), Steel Magnolias (1989), Glengarry Glen Ross (1992), Reservoir Dogs (1992), and numerous Altman films, such as Nashville (1975) and Short Cuts (1993)
epic	a costly film made on an unusually large scale or scope of dramatic production, that often portrays a spectacle with historic, ancient world, or biblical significance.	Examples: Ben-Hur (1959), Titanic (1997), or Patton (1970), shown here.
epilogue	a short, concluding scene in a film in which characters (sometimes older) reflect on the preceding events	Example: the epilogue of Saving Private Ryan (1998) andSchindler's List (1993) (pictured)
epiphany	a moment of sudden spiritual insight for the protagonist of a film, usually occurs just before or after the climax
episode	a self-contained segment or part of an anthology film orserial; a number of separate and complete episodes make up an episode film	Example: Twilight Zone - The Movie (1983)
episodic	a film that is composed of a series of loosely-related segments, sections, or episodes, with the same character(s)	Examples: Intolerance (1916), Around the World in 80 Days (1956), Short Cuts (1993), Pulp Fiction (1994)
establishing shot	usually a long (wide-angle or full) shot at the beginning of a scene (or a sequence) that is intended to show things from a distance (often an aerial shot), and to inform the audience with an overview in order to help identify and orient the locale or time for the scene and action that follows; this kind of shot is usually followed by a more detailed shot that brings characters, objects, or other figures closer; a re-establishing shot repeats an establishing shot near the end of a sequence.	Example: the beginning of Laurence Olivier's Henry V (1944)includes an establishing shot across a detailed model of 16th century London; also the early wide-angle views of the New Zealand coastline in The Piano (1993)
exec or exex	abbreviations for 'executive' or 'executives'
executive producer	the person who is responsible for a film's financing, or for arranging the film's production elements (stars, screenwriter, etc.)
exhibitor	term meaning 'movie theatre owner'; aka known as exhib(shortened term)
experimental film	refers to a film, usually a low-budget or indie film not oriented toward profit-making, that challenges conventional filmmaking by using camera techniques, imagery, sound, editing, and/or acting in unusual or never-before-seen ways; sometimes akaavante-garde, art films	Examples: Disney's Fantasia (1940), Hitchcock's Rope (1948), Jonathan Demme's Swimming to Cambodia (1987)
exploitation film	a sensational, often trashy B-film aimed at a particular audience and designed to succeed commercially and profitably by appealing to specific psychological traits or needs in that audience without any fuller analysis or exposition; often refers to films with extremely violent or sexual scenes; not necessarily a derogatory term; various types includeblaxploitation, sexploitation, splatter films.	Examples: Beyond the Valley of the Dolls (1970), Cannibal Holocaust (1980, It.), Porky's (1981) shown here, or any of Roger Corman's New World Pictures films, such as Bury Me an Angel (1971).
exposition	the conveyance (usually by dialogue or action) of important background information for the events of a story; or the set upof a film's story, including what's at stake for the characters, the initial problem, and other main problems.
expressionism(and expressionist)	refers to the distortion of reality through lighting, editing, and costumes, to reflect the inner feelings and emotions of the characters and/or the filmmaker; a cinematic style of fantasy film common in post-WWI Germany in the 1920s and 1930s, characterized by dramatic lighting, dark visual images and shadows, grotesque and fantastic shots, distorted sets and angles, heavy makeup, highly stylized acting, and symbolic mime-like action and characters; opposed to realism.	Examples: Robert Wiene's The Cabinet of Dr. Caligari (1920) led to the termcaligarisme (referring to the chaotic, expressionistic cinematic style in the film); also F.W. Murnau's Nosferatu (1922) and Fritz Lang's Metropolis (1927)
extra(s)	a person who appears in a movie in a non-specific, non-speaking, unnoticed, or unrecognized character role, such as part of a crowd or background, e.g., a patron in a restaurant, a soldier on a battlefield; usually without any screen credit; also termed atmosphere people; contrast with walk-on and non-speaking role, bit players, or principals; also see cast of thousands	Examples: The Ten Commandments (1956) in the Exodus scene, Ben-Hur (1959) chariot scene,Spartacus (1960). Recent films use CGI to create fictional crowds of extras, such as inGladiator (2000), or soldiers and a fleet of ships in Troy (2004)(pictured).
eyeline match	a cut between two shots that creates the illusion of the character (in the first shot) looking at an object (in the second shot).