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).

Camera Angels

Ive been researching different types of camera angels lately because i want to start experimenting with something different and I've come across some amazing sights on camera angels and what they mean to the shot, anyway i found this cool blog that had all these great little illustrations on them and wanted to share them here. These camera angels are not all new but I've learnt about some i had no idea existed.  The cinematographer's art often seems as much black magic as technique, taking a few actors milling around a set and turning it into something cinematic, evocative and occasionally iconic. Amidst all the voodoo and mystery, however, there is concrete science behind those money shots so we've identified thirty of the most important to help you distinguish your dolly zooms from your Dutch tilts. THE SHOT Aerial Shot An exterior shot filmed from — hey! — the air. Often used to establish a (usually exotic) location. All films in the '70s open with one — FACT. THE EXAMPLE The opening of The Sound Of Music (1965). Altogether now, “The hills are alive..." THE SHOT Arc Shot A shot in which the subject is circled by the camera. Beloved by Brian De Palma, Michael Bay. THE EXAMPLE The shot in De Palma's Carrie (1976) where Carrie White (Sissy Spacek) and Tommy Ross (William Katt) are dancing at the prom. The swirling camera move represents her giddy euphoria, see? THE SHOT Bridging Shot A shot that denotes a shift in time or place, like a line moving across an animated map. That line has more air miles than Richard Branson. THE EXAMPLE The journey from the US to Nepal in Raiders Of The Lost Ark (1981). THE SHOT Close Up A shot that keeps only the face full in the frame. Perhaps the most important building block in cinematic storytelling. THE EXAMPLE Falconetti's face in The Passion Of Joan Of Arc (1928). THE SHOT Medium Shot The shot that utilizes the most common framing in movies, shows less than a long shot, more than a close-up. Obviously. THE EXAMPLE Any John Ford film (i.e. The Searchers), the master of the mid shot. THE SHOT Long Shot A shot that depicts an entire character or object from head to foot. Not as long as an establishing shot. Aka a wide shot. THE EXAMPLE Omar Sharif approaching the camera on camel in David Lean's Lawrence Of Arabia (1962). THE SHOT Cowboy Shot A shot framed from mid thigh up, so called because of its recurrent use in Westerns. When it comes, you know Clint Eastwood is about to shoot your ass. THE EXAMPLE The three-way standoff in The Good, The Bad And The Ugly (1966). THE SHOT Deep Focus A shot that keeps the foreground, middle ground and background ALL in sharp focus. Beloved by Orson Welles (and cinematographer Gregg Toland). Production designers hate them. Means they have to put detail in the whole set. THE EXAMPLE Thatcher (George Couloris) and Kane's mother (Agnes Moorehead) discussing Charles (Buddy Swan)'s fate while the young boy plays in the background in Citizen Kane (1941). THE SHOT Dolly Zoom A shot that sees the camera track forward toward a subject while simultaneously zooming out creating a woozy, vertiginous effect. Initiated in Hitchcock's Vertigo (1959), it also appears in such scarefests as Michael Jackson's Thriller video (1983), Shaun Of The Dead (2004), The Evil Dead (1981) and The Goofy Movie (1995). It is the cinematic equivalent of the phrase "Uh-oh". THE EXAMPLE Police Chief Brody (Roy Scheider) sees the Kintner kid (Jeffrey Voorhees) get it in Jaws (1975). Not the first but the best. THE SHOT Dutch Tilt A shot where the camera is tilted on its side to create a kooky angle. Often used to suggest disorientation. Beloved by German Expressionism, Tim Burton, Sam Raimi and the designers of the villains hideouts in '60s TV Batman. THE EXAMPLE The beginning of the laboratory scene in Bride Of Frankenstein (1935).