A/ B/ C/ D/ E/ F/ G/ H/ I/ J/ K/ L/ M/ N/ O/ P/ Q/ R/ S/ T/ U/ V/ W/ X/ Y/ Z
A & B CUTTING: A method of assembling original material in two separate rolls, allowing optical effects to be made by double printing (A and B Printing).
A OR B WIND: When a roll of 16 mm film, perforated along one edge, is held so that the outside end of the film leaves the roll at the top and toward the right, winding "A" should have the perforations on the edge of the film toward the observer, and winding "B" should have the perfo- rations on the edge away from the observer. In both cases, the emulsion surface should face inward on the roll.
A TAKES: Good takes. Also known as circle takes.
A WIND: When you hold a roll of 16 nim or other single-perf film so that the film leaves the roll from the top and toward the right, the perfora- tions will be along the edge toward the observer.
ABRASION MARKS: Scratches on film caused by dirt, improper handling, grit, emulsion pile-ups, and certain types of film damage (e.g., torn per- forations).
ACADEMY APERTURE: In projection, the aperture cutout, designed as specified by the American Academy of Motion Picture Arts and Sciences that provides for a screen-image aspect ratio of approximately 1.37:1; also called "sound aperture."
ACADEMY LEADER: A non-projected identification and timing count- down film leader designed to specifications of the American Academy of Motion Picture Arts & Sciences, and placed at the head end of a print reel. The countdown cuing information is related to "feet" which, in the silent days, meant projection at 16 frames per second, or 1 foot per sec- ond. See UNIVERSAL LEADER.
ACETATE: A slow-burning base material frequently used for motion picture films. Also, in sheet form, for overlay cels.
ACETATE-BASE FILM: Any film with a support that contains cellulose triacetate; safety film.
ACTINIC LIGHT: Light that can form a photographic latent image or activate a photoelectric cell.
ACTION: The movement of the subject within the camera field of view. The command given by a director.
ADDITIVE LAMPHOUSE: A printer lamphouse consisting of three light sources, one for each color record.
ADDITIVE PRINTER: Prints from color originals or intermediates; uses red, green, and blue lights that are controlled separately to produce the correct composite-color printing light for each shot in the film.
ADDITIVE PRINTING: the use or three separate colored sources -red, green, blue - are combined to form the light source that exposes the film. Modern additive printers separate white light from a tungsten- halogen bulb into its red, green and blue components by using a set of dichroic mirrors.
ADJACENCY EFFECTS: Phenornena that alter the density-exposure rela- tionship, enhancing the apparent sharpness of the image and causing modulation transfer values greater than 100 percent.
ADO (AMPEX DIGITAL OPTICS): Trade name for digital effects system manufactured and sold by Ampex.
ADVANCE: The separation between a point on the sound track of a film and the corresponding picture image.
AERIAL IMAGE OR VIRTUAL IMAGE: An image focused by a projec- tion lens near a field or relay lens. A camera lens is then used to forrn a real image on the film from the aerial image. A cell or another material can be placed at the aerial-image location to combine it with the aerial image on film.
AGC (AUTOMATIC GAIN CONTROL): A circuit that automatically
adjusts audio or video input levels.
AGITATION: Keeping various solutions in
motion while developing film. Agitation is necessary to achieve even
solution action, or uniformity, and temperature consistency.
ANALOG: An electrical signal that is
continuously variable.
ANALYTICAL DENSITY: Measurement of
the amount of yellow, cyan, and magenta dye in an image.
ANAMORPHIC IMAGE: An image that has
been squeezed in one direction, usually horizontally, by an anamorphic
lens.
ANAMORPHIC LENS: A lens that produces
a "squeezed" image on film in the camera. When the film is projected
on a screen, an appropriate lens reverses the effect, and the image
spreads out to lifelike proportions. Designed for wide-screen movie
photography and projection.
ANAMORPHIC RELEASE PRINT: A
print in which the irnages are compressed horizontally.
ANGEL HAIR: Fine hair-like skiving, or
slivers, caused when the film edge rubs against a sharp edge or burr
in the projector. Also produced when excessive film/gate misalignment
is present.
ANGLE: With reference to the subject, the
direction from which a picture is taken. The camera-subject
relationship in terms of the immediate surroundings.
ANIMATION: The making of inanimate objects
to appear mobile. This can be done by exposing one or two frarnes of
movie film and then moving the objects slightly and exposing one or
two more frames, etc. When the movie is projected, the objects will
appear to have moved by themselves.
ANIMATION CAMERA: A motion picture
camera with special capability for animation work, which usually
includes frame and footage counters, the ability to expose a single
frame at a time, reverse-filming capability, and parallax-free
viewing.
ANIMATIC: Limited animation, consisting of
artwork shot and edited to serve as a video tape storyboard. Commonly
used for test commercials.
ANIMATOR: An artist who uses the techniques
of frame-by-frame film making to give his artwork the illusion of
movement. In studio animation, the person responsible for drawing
the moving characters; in independent animation, the animator is
generally responsible for all phases of production.
ANSI: American National Standards Institute.
ANSWER PRINT: The first print (combining
picture and sound, if a sound picture), in release form, offered by
the laboratory to the producer for acceptance. It is usually studied
carefully to determine whether changes are required prior to printing
the balance of the order.
ANTICIPATION: A pause or small
counter-move made by a character in preparation for a major movement;
used by animators to help give the illusion of a body moving with the
proper sense of weight and balance.
ANTIHALATION BACKING (COATING): A
dark layer coated on or in the film to absorb light that would
otherwise be reflected back into the emulsion from the base.
APERTURE: (1) Lens: The orifice, usually an
adjustable iris, which limits the amount of light passing through a
lens. (2) Camera: In motion picture cameras, the mask opening that
defines the area of each frame exposed. (3) Projector: In motion
picture projectors, the mask opening that defines the area of each
frame projected.
APERTURE PLATE: A metal plate
containing the aperture that is inserted into a projector or camera. (NOTE: In some
cameras, the aperture plate cannot be removed.)
ARC LAMP: A lamp whose light source consists
of an open carbon arc or a closed xenon arc. The light is generated
in a gas ball between two electrodes.
ASA: Exposure index or speed rating that denotes
the film sensitivity, defined by the American National Standards
Institution. Actually defined only for black-and-white films, but also
used in the trade for color films.
ASPECT RATIO: Proportion of picture
width to height such as 1.37:1 or 1.85:1, or 2.35:1.
ATMOSPHERE SKETCH: A quick sketch,
generally in color, rnade by the director or layout artist, to
indicate the mood or style of a scene.
AUTO ASSEMBLE: An operation in which a
computer performs editing unaided, working from a previously edit
decision list.
AVERAGE GRADIENT: A measure of
contrast of a photographic image, representing the slope of a portion
of a characteristic curve. The term which refers to a numerical means
for indicating the contrast or the photographic image.
B WIND: When you hold a roll of 16 mm or other
single-perf film so that the film leaves the roll from the top and
toward the right; the perforations will be along the edge away from
the observer.
BACKGROUND: A flat piece of artwork that
serves as the setting for the animated action, and which may vary from
a realistically rendered scene to a sheet of colored paper.
Abbreviated as BG or BKG.
BACKGROUND LIGHT: The light or
lights used to illuminate the background.
BACKING: (1) Anti-halation Backing: A
temporary, dark-colored, gelatin coating which is sometimes applied to
the rear side of a photographic plate or film to reduce halation by
absorbing any light that may pass through the emulsion. (2) Non-Curl
Backing: A transparent, gelatin coating, sometimes applied to the
opposite side of photographic film from the emulsion to prevent
curling by balancing the forces that tend to curl the film as it is
wet and dried during processing (3) Coating: (e.g. anti-abrasion
coating or rem-jet backing) applied to the base side of the film to
irnprove characteristics and performance.
BALANCE STRIPE: A rnagnetic stripe on
the opposite edge of the film from the magnetic track. Although the
purpose of the stripe is to keep the film level on the reel, some
projectors also use it for recording.
BAR SHEET: A printed form, used by
directors and animators in planning the movement of art and camera, on
which all the elements of a film-music, voices, sound effects,
visuals-are charted frame-by-frame in their relationship to time.
BARN DOOR: A frame with adjustable flaps,
attached to the studio light to control unwanted spill light or the
spread of the light beam.
BARNEY: A lightweight padded covering that
generally performs the same function as a blimp. Heated barneys are
sometimes used to facilitate shooting under extremely cold outdoor
conditions.
BASE: The transparent, flexible support,
commonly cellulose acetate, on which photographic emulsions are coated
to make photographic film.
BASE PLUS FOG: Density of the film
support plus the silver or dye pro- duced by the effects of the
developer. Pertains only to an unexposed portion of the film.
BEAT: The musical tempo (of the sound track)
used for timing rnotion picture action.
BELL AND HOWELL
PERFORATION: A film perforation shaped with flat top and bottom
and curved sides.
BICYCLING: See CIRCUITING.
BI-PHASE: Electrical pulses from the
tachometer of a telecine, used to update the film footage encoder for
each new frame of film being transferred.
BIPACK FILMING: The funning of two
films simultaneously through a camera or optical printer, either to
expose both or expose one through the other, using the one nearest to
the lens as a mask. Often used in special-effects work to combine
live action with animated images.
BLACK: The absence of all visible light. Also
the absence of any distinguishable colors.
BLACK-AND-WHITE FILM: A film
which produces a monochromatic picture in shades of gray (usually a
metallic silver irnage).
BLACKBODY RADIATOR: A light source
which has a continuous smooth spectral distribution.
BLACK LIGHT: Ultraviolet light.
BLIMP: A soundproof enclosure that completely
covers the carnera to prevent camera-operating noise from being
recorded on the sound track.
BLINK: Density changes in the projected image;
caused by studio light fluctuation, printer or sensitometric problems,
or radiation fog.
BLOOPING: The technique of applying a
special opaque ink or tape over the sound track at the splice in a
wide triangular or circular pattem to prevent soundtrack clicks and
other annoying sounds caused by splices.
BLOOPING INK: Used to opaque the section
of a positive film splice in a sound track; to reduce the noise
created as the splice passes over the projector sound head.
BLOW UP: -(part of frame)- In transferring an
image by means of an optical printer, it is possible to enlarge a
properly proportioned fraction of the original image to full frame
size in the copy, or to enlarge an original 16 mm image to 35 mm size.
BLOW-UP PRINTING: Optical printing
resulting in a picture image size other than that of the original
film.
BLUE-SCREEN: The filming or videotaping
of actors, props or objects in front of a blue-screen (or
green-screen). In post-production, the blue or green is replaced by
another element, such as background, using digital or optical special
effects techniques.
BOOM: A long, adjustable arm used to position a
microphone during production.
BOTTOM LIGHTING: When the source of
illumination for photographing a scene comes from beneath the artwork,
rather than above it; used for a variety of reasons, such as the
creation of glowing letters or stars, or to photograph several layers
of drawings at once for a pencil test. Also known as Under Lighting.
BOUNCE LIGHT: Light that is reflected
off ceilings and walls to illuminate the subject indirectly.
BREAKDOWN: The separation of a roll of
camera original negative into its individual scenes.
BREAKDOWN TABLE: A film handling unit
that is one component of platter system. It is used to unload (break
down ) the large film roll from the platter onto the individual
shipping reels prior to shipment. The unit is also used in loading
the platter (makeup). See MAKEUP TABLE.
BROAD LIGHT: Soft, floodlight type of
illumination unit; usually not focusable.
BUCKLE: Occurs when the perforated edges of
film are shorter than the center; caused by the loss of solvent or
moisture from the edges of the film during long storage.
BURN-IN: The photographic double exposure of
a title or other subject matter over previously exposed film.
BURRED TOOTH: Physical damage to a tooth
on a projector sprocket. Usually caused by a blow from, or accidental
contact with, a metallic object which causes a sharp protrusion to
form on a tooth edge.
BUTT SPLICE: Film splice in which the
ends come together without overlapping; ends are held together by
splicing tape.
BUZZ TRACK: A sound test film with a
specially made sound track that is used for determining the proper
lateral positioning of the scanning beam slit in relation to film
travel.
CAMERA AXIS: Any imaginary line running
exactly through the optical center of the camera lens.
CAMERA LOG: A record sheet giving details
of the scenes photographed on a roll of original negative.
CAMERA OPERATOR: The person
responsible for translating the instructions on the exposure sheet
into camera moves and photographing the artwork.
CAMERA ORIGINAL: Film exposed in a
camera.
CAMERASCOPE: A wide-screen presentation
process compatible with CinemaScope-type presentations.
CANDELA (cd):
International unit of luminance measurement (1 candela per square
meter = 0.2919 footlamberts).
CATALOG NUMBER: Identifies a
particular product.
CEL: A thin, flexible, transparent sheet of
acetate, which has been punched, onto which the animators' finished
drawings are transferred-either by inking or xerography-and painted.
The clear cel does not show when photographed, so when it is placed
over the background, the characters appear to be within the setting.
CEL ANIMATION: An animation technique
in which the figures to be animated are drawn and painted on cels,
placed over a background, and photographed frame by frame. Cel
animation has been the standard technique for studio animation since
its invention in 1915.
CELL SIDE: The base (Celluloid) surface of
a strip of film.
CELLULOSE TRIACETATE:
Transparent, flexible material used as a base support for photographic
emulsions.
CEMENT SPLICE: Film splice made by
using a liquid solvent cement to weld the overlapping ends together.
CEMENT SPLICER: Device used to make
cement splices. Some cement splicers can also be used to make
overlapping tape splices.
CGI: Computer Generated Imagery.
CHANGE-OVER: In projection, the act of
changing from one projector to another, preferably without
interrupting the continuity of projection; or, the points in the
picture at which such a change is made.
CHARACTER ANIMATION: The art of
making an animated figure move like a unique individual; sometimes
described as acting through draw- ings. The animator must understand
how the character's personality and body structure will be reflected
in its movements.
CHARACTERISTIC CURVE: Shows the
relationship between the exposure of a photographic material and the
image density produced after processing.
CHECK: The step in production in which all
elements of a scene are exam- ined and checked against the exposure
sheet to ensure they are correct before being filmed. In studio
animation, the person responsible for this step is the Checker.
CHECKER-BOARD CUTTING: A method
of assembling alternate scenes of negative in A and B rolls allowing
prints to be made without visible splices.
CHEMICAL SPLICE: See CEMENT SPLICE.
CHIAROSCURO: The arrangement or treatment
of light and dark parts in a pictorial work of art, or in a given
frame of a motion picture.
CHROMAKEY: A method of electronically
matting or inserting an image from one camera into the picture
produced by another. Also called "keying", the system uses a solid
color background behind the subject to be inserted and signal
processing through a special effects generator.
CHROMINANCE: The color portion of a video
signal.
CINCH MARKS: Short scratches on the
surface of a motion picture film, running parallel to its length;
these are caused by dust or other abrasive particles between film
coils, or improper winding of the roll, permitting one coil of film to
slide against another.
CINCHING: Practice of pulling the end of a
roll to tighten it. Not recommended.
CINEMASCOPE: Trade name of a system of
anamorphic wide-screen pre- sentation. The first commercially
successful anamorphic system for the presentation of wide-screen
pictures combined with stereophonic sound. The 35 mm negative camera
image is compressed horizontally by 50 percent using a special
anamorphic camera lens. Upon projection, the 35 mm print image is
expanded horizontally by the same amount using a similar anamorphic
projection lens. Depending on the type of sound used in the print,
the screen image has an aspect ratio of 2:35:1 (optical sound), or
2:55:1 (4-track magnetic sound).
CINEMIRACLE: A wide-screen presentation,
as in Cinerama, that used three separate 35 mm film strips projected
on a large, deeply curved screen. One of the main differences,
however, was the consolidation of the three projectors in a single
booth away from the audience. This was accomplished by the use of
mirrors on the two outer projectors to main- tain picture orientation.
CINEON DIGITAL FILM
SYSTEM: A new Kodak system which transfers images originated on
film to a digital format for electronic compositing, manipulation and
enhancement, and outputs back to film with no loss of image quality.
CINEPANORAMIC: A wide-screen process
compatible with CinemaScope- type presentations.
CINERAMA: Originally, a wide-screen
presentation utilizing three separate 35 mm films, each containing one
third of the total image (6 perforations high), and projected on a
deeply curved and vertically slotted screen from three projectors
located in booths on the main floor of the auditorium. The sense of
involvement was extraordinary, but the ever-present seams between the
separate projected images were quite distracting. Current Cinerama
presentations use 70 mm film containing a single image that is
purposely distorted. During projection, the image distortion is
corrected by the deeply curved screen and the original Cinerama
sensation is recreated.
CINEX STRIP: A short test print in which
each frame has been printed at a different exposure level.
CIRCARAMA: A special presentation system
used at Disneyland. The spectators stand in the rniddle of a circle
viewing a 360-degree panorama on a surround screen 8 feet high and 40
feet in diameter made up of eleven panels. The original negatives are
made on eleven 16 mm cameras arranged in a concentric circle. The
prints are projected by a ring of interlocked 16 mm projectors.
CIRCUITING: The practice of shipping
feature releases directly from one theater to another without
intervening inspection or repair.
CLAPSTICKS: Two boards hinged at one end
that are slapped together to indicate the start of a filming session
(take). Used by editors in conjunction with a slate, which provides
the corresponding visual cue, to synchronize sound and image.
CLAW: Mechanism used in most camera and
projectors to move the film intermittently.
CLAY ANIMATION: An animation technique
involving the use of pliable clay figures that are manipulated before
each exposure.
CLEANUP: The process of retracing the
animators' rough, sketchy drawings and converting them into finished
drawings with smooth outlines that can be transferred to cels. In
studio animation, this is done by the Cleanup Artist. See also
roughs.
CLICK TRACK: A timing device used when
elements of the sound track are added after the animation has been
completed. The beat to which the animation is matched is recorded
onto tape and played through ear- phones for the conductor, sound
effects creator, and/or voice artists, enabling them to match their
sounds to the film.
CLOSE-UP: A detail photographed from such a
distance that only a small portion of the subject fills a frame of
film.
CLUTCH: A mechanical device used to transfer
rotational motion from a power source to a driven source. In
projectors, the device on the take-up spindle that is used to adjust
the tension on the film during take up. When using reels with a
hub-to-rim ratio of more than 1:3, the clutch adjustment can be
critical if film damage is to be avoided.
COATED LENS: A lens covered with a very
thin layer of transparent material that reduces the amount of light
reflected by the surface or the lens. A coated lens usually transmits
more light than an uncoated lens at the same f-stop, because of less
flare.
COLD MIRROR: An interference coated
mirror in a lamphouse which does not reflect the infra-red rays.
COLLIMATED: A beam of light is said to be
collimated when all of its rays have been made parallel.
COLOR ANALYZER: A device for
determining the correct printing light ratios for printing color
negatives.
COLOR BALANCE: The perceptual
appearance of a color image of film as a function of the ration of
exposures of each of these primary color records on the film.
COLOR BURST: A sample of the color
subcarrier that is inserted into the horizontal blanking interval at
the start of each line of video.
COLOR CORRECTION: The altering of
the color balance by modifying the ratio of the printing light values.
COLOR DUPLICATE (DUPE) NEGATIVE: Duplicate
with a negative color image; made from a negative color original.
Typically used for making release prints.
COLOR FILM: Color film carries one or more
emulsions which after processing.
COLOR INTERNEGATIVE:
Negative-image color duplicate made from a positive color original.
Typically used for making release prints.
COLOR NEGATIVE: A negative (opposite)
record of the original scene. Colors are the complementaries of the
colors in the scene; light areas are dark, and dark areas are light.
COLOR POSITIVE: A positive record of
the original scene.
COLOR PRINT FILM: Film designed for
making positive prints from color originals and color duplicates.
COLOR REVERSAL FILM: Film that
after processing has a color positive image. Can be an original
camera film or a film in which other positive films are printed.
COLOR REVERSAL
INTERMEDIATE: Color duplicate negative made by the reversal
process directly from an original color negative.
COLOR SATURATION: A term used to
describe the brilliance or purity of a color. When colors present in
a film image are projected at the proper screen brightness and without
interference from stray light, the colors that appear bright, deep,
rich, and undiluted are said to be saturated.
COLOR SENSITIVITY: Portion of the
spectrum to which a film is sensitive. The ability of the eye or
photographic stock to respond to various wavelengths of light.
COLOR SEPARATION NEGATIVE:
Black-and-white negative made from red, green, or blue light from an
original subject or from positive color film.
COLOR TEMPERATURE: The color
quality expressed in degrees Kelvin (K) - of the light source. The
higher the color temperature, the bluer the light; the lower the
temperature, the redder the light.
COLOR TEST: Footage of a film that has
been timed and which is used as a check to make sure that colors,
characters, and backgrounds do not clash in the finished film. See
timing.
COMBINED NEGATIVE: Negative film
containing the picture and the sound track.
COMPLEMENTARY COLOR: Color that
is minus one of the primary colors. Cyan is minus red-cyan and red
are complementary colors; yellow is minus blue-yellow and blue are
complementary colors; magenta is minus green-magenta and green are
complementary colors. Produces white when mixed in equal parts with
the primary color to which it is complementary.
COMPONENT VIDEO: A system of signal
recording and processing that maintains the original video elements
separately rather than combined (encoded) into a single, composite
signal.
COMPOSITE PRINT:A print of a film
that contains both picture and sound track. Films regularly shown in
theaters are composite prints. Also called Release Print.
COMPOSITE VIDEO: A video signal in
which the luminance and chrominance elements have been combined, as is
NTSC, PAL and SECAM.
COMPOSITING: The process of combining two
or more separate images into a single, new irnage.
COMPOSTION: The distribution, balance, and
general relationship of masses and degrees of light and shade, line,
and color within a picture area.
COMPOUND: The flat, table like part of an
animation stand, on which the artwork rests while it is being
photographed.
COMPUTER ANIMATION: A field of
animation that takes advantage of the computer's ability to direct and
generate a video image based on pre-programmed input.
CONFORM: Match the original film to the final
edited work print.
CONTACT PRINT: Print made by exposing
the receiving material in contact with the original. Images are the
same size as the original images, but have a reversed left-to-right
orientation.
CONTACT PRINTER: Printer in which the
two pieces of film are in contact, usually emulsion-to-emulsion,
during exposure.
CONTINUITY: The smooth flow of action or
events from one shot or sequence to the next.
CONTINUOUS CONTACT
PRINTER: A printing machine where the emul- sion of the negative
film is in direct physical contact with the positive raw stock
emulsion, and the two films are moving continuously across the
printing aperture.
CONTINUOUS MOTION
PROJECTOR: A projector in which the film moves through the
projector gate in nonintermittent motion.
CONTRAST: (1) The general term for
describing the tone separation in a print in relation to a given
difference in the light-and-shade of the negative or subject from
which it was made. Thus, "contrast" is the general term for the
property called "gamma" (Y), which is measured by mak- ing an H & D
Curve for the process under study. (2) The range of tones in a
photographic negative or positive expressed as the ratio of the
extreme opacities or transparencies or as the difference between the
extreme densities. This range is more properly described as "scale"
or "latitude." (3) The ability of a photographic material, developer,
or process as a whole to differentiate among small graduations in the
tones of the subject.
CONTROL STRIP: A short length of film
containing a series of densities to check on laboratory procedures.
COOKIE (kukaloris): A thin panel with regular or irregular shapes cut
out, permitting light directed through it to form a pattern on a
background.
CORE (Film): A plastic cylinder on which film is wound,
shipped and stored.
CORRECTION FILTER: A medium
enabling a color change.
COUNTERCURRENT WASH: Wash water
that is flowing through several interconnected tanks in the opposite
direction to the film travel. The inlet pipe is usually situated near
the bottom of the tank and the over-flow at the waterline near the
film entrance.
COUPLER: A chemical incorporated in the
emulsion of color film stocks which produces a dye image associated
with the developed silver image.
CRANE: The mounting that supports the camera
over the compound.
CREASES: A crease is defined as a distinct
sharp fold-line or crack in a piece of film.
CREDITS: Titles of acknowledgement for the
production.
CRI: Color Reversal Intermediate, a duplicate
color negative prepared by reversal processing.
CROPPING: To change, delete, or otherwise
alter the size of an image being projected or viewed as a print. In
theatrical projection it is usually the result of "home made" aperture
plates, improper screen rnasking, wrong focal length lenses, etc.
CROSS ABRASIONS: Short scratches
across the film width that occur when sections of the roll shift from
side-to-side during shipment.
CROSS MODULATION TEST: A test
designed to rneasure the degree of the unwanted image spread in a
photographic variable-area sound negative and its cancellation by
the positive print.
CURL: A defect of a photographic film consisting
of unflatness in a plane cutting across the width of the film. Curl
may result from improper drying conditions, and the direction and
amount of curl may vary with the humidity of the air to which the film
is exposed.
CURTAINS: Non-uniform densities that run
lengthwise on the projected image; caused by inadequate agitation
during pre-development and development.
CURVE (H&D): The
characteristic curve developed by Hurter and Driffield that depicts
how faithfully a photographic emulsion has reproduced the tonal scale
of the original scene.
CUT: (1) The instantaneous change from one scene
to another. Successive frames contain the last frame of one scene and
the first frame of the following scene. (2) To stop operation of
camera, action, and/or sound recording equipment. (3) To sever or
splice film in the editing process.
CUTTING: The selection and assembly of the
various scenes or sequences of a reel of film.
CYAN: Blue-green; the complement of red or the
minus-red subtractive used in three-color processes.
CYCLE: A series of drawings that are
photographed again and again. The last drawing moves logically into
the first, to create the appearance of continuous, repetitive motion.
Cycles are normally used for movements that are repeated without
variation, such as walks or runs.
D LOG H CURVE: The curve showing the
relation between the logarithm of the exposure and the resultant
density on processed film.
D-1: Component video in the 19mm digital
cassette format.
D-2: Composite video in the 19mm digital cassette
format.
D-3: Composite video in the half-inch digital cassette
format.
D-4: Ommited; an obscenity in Japan.
D-5: Component video in
the half-inch digital cassette format.
D-LOG E: (Density vs the log of exposure) The
graph made by plotting the density of a film sample against the log of
the exposure that made that density. Also known as D-Log H and H and
D curve. D-Log H (H for exposure) is the technically correct terrn.
D-MAX: See Maximum Density.
D-MIN: See Minimum Density.
DAILIES: Picture and sound work prints of a
day's shooting; usually an untimed one-light print, made without
regard to color balance. Produced so that the action can be checked
and the best takes selected; usually shown before the next day's
shooting begins.
DATASHEET: A publication giving technical
details of a specific film product.
DAYLIGHT: Light consisting of a natural
combination of sunlight and skylight (approximately 6500 degrees K).
DECIBEL (dB): Unit of loudness measured on a logarithmic scale. The
human ear can perceive 1 dB changes in loudness in the aural range.
DEFINITION: The clarity or distinctness
with which detail of an image is rendered; fidelity of reproduction of
sound or image.
DELRAMA: A wide-screen process compatible
with CinemaScope-type pre- sentations
DENSITOMETER: Instrument used to measure
the optical density of an area in a processed image by transmittance
or by reflectance.
DENSITOMETRY: Science of measuring the
light-stopping characteristics of film or filters.
DENSITY: Light-stopping characteristics of a
film or a filter. The negative logarithm to the base ten of the
transmittance (or reflectance) of the sample. A sample which
transmits 2 of the incident light has a transmittance of 0.50, or 50
percent and a density of 0.30.
DEPTH OF FIELD: The range of object
distances within which objects are in satisfactory sharp focus in a
photograph.
DEPTH OF FOCUS: The range through
which a photographic film or plate can be moved forward and backward
with respect to the lens while retaining satisfactory sharp focus on
an object at a given distance.
DESIGNER: In studio animation, the person
responsible for the overall look and style of the film.
DEVELOPER: A solution used to turn the
latent image into a visible image on exposed films.
DEVELOPMENT: Process of making a visible
film image from the latent image produced during exposure.
DIAGONAL SCRATCHES: Slanted cross
scratches on the film usually caused by the film riding over the edge
of a roller flange. More common in platter transport systems.
DIALOGUE: The portion of the sound track
that is recorded by the voice artists and spoken by the characters on
the screen.
DIAPHRAGM: An adjustable opening mounted
behind or between the elements or a lens used to control the amount
of light that reaches the film. Openings are usually calibrated in
f-numbers
DICHROIC INTERFERENCE
MIRROR: Mirror with layered coatings designed to control spectral
light qualities; absorbs certain frequencies and transmits others.
DICHROIC: A type of coating that when
applied to glass can produce a so- called "cold" mirror for use in
projector lamphouses that permits greater screen brightness without the
risk of radiant energy (heat) problems. Usually, the rear surface of
the mirror is treated by depositing very thin layers of a special
coating material designed to transmit infrared (IR) radiation
effectively and reflect visible radiation. Alternatively, by
selecting certain other materials for the deposit, IR radiation can be
reflected and visible radiation transmitted, thus providing an
efficient heat filter for arc radiation devices.
DIFFRACTION: The spreading of light as it
passes the edges of opaque objects or through narrow slits. Light
also is diffracted when passing through a lens. The effects of this
distortion on images is greater as the aperture becomes srnaller.
DIFFUSION: The spreading of light rays from
a rough reflecting surface or by transmission of light through a
translucent material.
DIGITAL: A system whereby a continuously
variable (analog) signal is broken down and incoded into discrete
binary bits that represent a mathematical model of the original
signal.
DIGITAL EFFECTS: Special effects,
such as picture compression, rotation, reversal, etc., performed with
a digital effects system.
DIGITAL RECORDING: Sound-recording
process in which sound waves are recorded as digital bits. During
playback, a digital-to-analog conversion occurs that changes the
digital bits back into sound waves. Digital recording produces
high-quality true sound that does not contain any system noise.
DIGITAL VIDEOTAPE: A forrnat which
stores an image on tape as a binary code, allowing it to be moved
through various digital devices with minimal loss of quality. Current
storage formats are D 1, D2, D3.
DIGITAL STORAGE DEVICE: A
device using magnetic or optical disks to store and retrieve digital
images and/ or information.
DIMENSION 150: A special 70 mm system
developed in 1963 that consisted of special optics used in printers
and projectors. The manufactured prints could be shown on deeply
curved screens such as those used in Cinerama.
DIMMER: An electrical device, normally in the
form of variable resistance or load, that reduces electrical energy to
a lamp, usually by reducing voltage.
DIRECTOR: The person who interprets the
written book or script. He/she oversees all aspects of the production.
DISHING: Occurs when a loosely or tightly
wound roll of film slips edgewise to form a concave/convex dish like
form.
DISK STORAGE DEVICE: A device
using magnetic or optical disks to store and retrieve digital images
and/or information.
DISSOLVE: An optical or camera effect in
which one scene gradually fades out at the same time that a second
scene fades in. There is an apparent double exposure during the
center portion of a dissolve sequence where the two scenes overlap.
DISTRIBUTOR: Firm that sells, leases, and
rents films.
DOLBY SYSTEM: Trade name for an audio
noise-reduction system.
DOLLY: (1) A truck built to carry camera and
camera operator to facilitate movement of the camera during the
shooting of scenes. (2) To move the camera toward or away from the
subject while shooting a scene.
DOUBLE (MULTIPLE) EXPOSURE: The photographic
recording of two (or more) images on a single strip of film. The
images may be either superimposed or side by side in any relationship,
sometimes individually vignetted.
DOUBLE-FRAME: Identical views
photographed twice (two frames) instead of once. This technique cuts
in half either the speed of a movement or the number of drawings
required for a complete action. Sometimes called "on twos."
DOUBLE SYSTEM RECORDING:
Synchronous sound recording on a recorder that is separate from the
camera. Recorders are typically magnetic with sync-pulse
capability.
DOUBLE SYSTEM SOUND: Recording of
sound on tape and picture on film; synchronization occurs during
editing.
DROP FRAME: A type of SMPTE time code
designed to match clock time exactly. Two frames of code are dropped
every minute, on the minute, except every tenth minute, to correct for
the fact that color frames occur at a rate of 29.97 per second, rather
than an exact 30 frames per second (see Non-Drop Frame). Designed to
drive editors crazy!
DUBBING: The combination of several sound
components into a single recording.
DUBRAY-HOWELL PERFORATION:
A general purpose rectangular film perforation having the width of a
positive perforation and the height of a negative perforation.
DUPE, DUPE NEGATIVE: A duplicate
negative, made from a master positive by printing and development or
from an original negative by printing followed by reversal
development.
DUSTING: The formation and accumulation of
fine particles in the projector gate area. Can be caused by material
scraped from the film due to misalignment of film in the gate,
excessive tension, lack of proper lubrication, etc. See Angel hair.
DYE: In photography, the result of color
processing in which the silver grains or incorporated color couplers
have been converted into the appropriate dye to forrn part of the
color image.
EBERHARD EFFECT: See Adjacency Effect.
EDGE DAMAGE: Physical damage of the edge
of a film or the perforation.
EDGE GUIDE: A fixed edge or shoulder
against which the film is physically pressed to ensure steadiness in
the lateral direction.
EDGE NUMBERS: (Key Numbers / Footage
Numbers) Sequential numbers printed along the edge of a strip of film
by the manufacturer to designate identification.
EDGEWAX: Waxing method recommended for
lubricating release prints; treatment is with a solution of 50 grams
of paraffin wax per litre of trichloroethane applied only to the edges
of the emulsion side of the film.
EDGEWEAVE: Occurs when one or both of the
edges (along the length of the film) are longer than the center.
EDIT: To arrange the various shots, scenes, and
sequences, or the elements of the sound track, in the order desired to
create the finished film.
EDIT SYNC (LEVEL SYNC) (EVEN SYNC): The
relation between the picture and sound records during editing, when
they are in alignment and not offset as for projection.
EDITING: The process of selecting the shots
and sequences that will be included in the final film, their length,
and the order in which they will appear.
EDITOR: The individual who decides what scenes
and takes are to be used, how, where, in what sequence, and at what
length they will appear.
EDL (EDIT DECISION LIST): List of edits
prepared during off-line editing.
EMBOSSING: A permanent film deformation
caused by repeated projections with very high-intensity lamps. This
distortion has not been observed to have a detrimental effect on
screen image quality.
EMULSION, EMULSION LAYER: (1) Broadly,
any light-sensitive photographic material consisting of a gelatin
emulsion containing silver halides together with the base and any
other layers or ingredients that may be required to produce a film
having desirable mechanical and photographic properties. (2) In
discussions of the anatomy of a photographic film, the emulsion layer
is any coating that contains light sensitive silver halides grains, as
distinguished from the backing, base, substratum, or filter layers
EMULSION NUMBER: A number identifying
a complete coating from a single emulsion batch or mixture.
EMULSION SIDE: The side of a film
coated with emulsion.
EMULSION SPEED: The photosensitivity of
a film, usually expressed as an index number based on the film
manufacturer's recommendations for the use of the film under typical
conditions of exposure and development.
ENCODER: A circuit that combines the primary
red, green and blue signals into a composite video signal.
EQUIVALENT NEUTRAL DENSITY (END): Form of analytical neutral density that describes image color directly.
ESTAR BASE: The trade name applied to the
polyethylene terephthalate film base manufactured by Eastman Kodak
Company.
EXCHANGE: A depository and
inspection/distribution center for theatrical release prints.
Exchanges are located in approximately 35 regional areas within the
United States roughly dependent on theater and population density.
EXISTING LIGHT: Available light,
Strictly speaking, existing light covers all natural lighting from
moonlight to sunshine. For photographic purposes, existing light
represents the light that is already on the scene or project and
includes room lamps, fluorescent lamps, spotlights, neon sighs,
candles, daylight through windows, outdoor scenes at twilight or in
moonlight.
EXPOSURE: Amount of light that acts on a
photographic material; product of illumination intensity (contrlled by
the lens opening) and duration (controlled by the shutter opening and
the frame rate).
EXPOSURE INDEX (El): Number assigned to a film that
expresses its rela- tive sensitivity to light. The El is based on the
film emulsion speed, a standard exposure technique, and specific
processing solutions.
EXPOSURE LATITUDE: Degree to which
film can be underexposed or overexposed and still yield satisfactory
results.
EXPOSURE METER, INCIDENT: A meter calibrated
to read and integrate all the light aimed at and failing on a subject
within a large area. (Scale may be calibrated in footcandles or in
photographic exposure settings.)
EXPOSURE METER, REFLECTANCE: A meter
calibrated to read the amount of light, within a more restricted area,
reflecting from the surface of a subject or an overall scene. (Scale
rnay be calibrated in footcandles or in photographic exposure
settings.)
EXPOSURE SETTING: The lens opening
selected to expose the film.
EXPOSURE SHEET: The frame-by-frame
instructions for the camera operator that accompany the artwork when
it is sent to be photographed.
f-NUMBER: A symbol that expresses the relative
aperture of a lens. For example, a lens having a relative aperture of
1.7 would be marked f/1.7, The smaller the f-number, the more light
the lens transmits.
FADE: Exposure of motion picture film either in
the camera or during subsequent operations, so that, for a fade-in,
starting with no exposure and extending for a predetermined number of
frames, each successive frame receives a systematically greater
exposure then the frame preceding it, until full normal exposure for
the scene has been attained. From this frarne on, successive frames
receive identical exposure for the remainder of the take.
FALL-OFF: The gradual reduction in luminance
from the screen center to the edges and corners.
FAST: (1) Having a high photographic speed. The
term may be applied to a photographic process as a whole, or it may
refer to any element in the process, such as the optical system,
emulsion, developer. (2) Resistant to the action of destructive
agents. For example, a dye image may be fast to light, fast to heat,
or fast to diffusion.
FEATHERED LIGHT: A light moved off
axis so that only the weaker edge of the light pattem strikes the
subject. A natural shading or fall-off results.
FERROTYPING: Mottled emulsion caused by
improper final drying or condensation on a roll of film.
FIELD OF VIEW: The portion of the scene
in front of the camera represented within the limits of the camera
aperture at the focal plane. Area of field thus varies with focal
length of lens and camera-to-subject distance.
FIELD (VIDEO):
One-half of a complete picture (or frame), containing all the odd or
even scanning lines of the picture. In television, one of two complete
sequences of raster lines forming an image.
FILL LIGHT: Light used to fill in shadows.
FILM (motion picture film): A thin, flexible, transparent ribbon with
perforations along one or both edges; it bears either a succession of
images or a sensitive layer capable of producing photographic images.
See Raw stock.
FILM BASE: Flexible, usually transparent,
support on which photographic emulsions are coated.
FILM CAN: Metal container designed to hold
rolls, spools, or reels of motion-picture films.
FILM CEMENT: A special combination of
solvents and solids used to make overlap splices on motion picture
film by its solvent action and subsequent welding of the film at the
junction.
FILM EXCHANGE: See Exchange.
FILM FOOTAGE
ENCODER TIME CODE GENERATOR: An electronic device which takes the
input from a Keykode numbers reader, decodes this information and
correlates the numbers with the SMPTE time code it generates. This
data, along with 3:2 pull-down status of the transfer, footage count
and audio time code (if applicable) are made available for window
burn-ins, VITC-LTC recording and RS-232 output to a computer. (See
Kodak Post-Production Flowchart)
FILM GATE: Components that make up the
pressure and aperture plates in a camera, printer, or projector.
FILM GAUGE: Width of the standard sizes of
motion picture films.
FIILM IDENTIFICATION CODE:
Letter which identifies film type.
FILM NUMBER: An identification code
number given to every film product.
FILM-TO-TAPE TRANSFER: The
process of transferring an image captured on film to videotape.
FILM PATCH: Transparent material used to
repair film damage such as broken perforations, etc.
FILM PERFORATION: Holes punched at
regular intervals for the length of film, intended to be engaged by
pins, pegs, and sprockets as the film is transported through the
camera, projector, or other equipment.
FILM SPEED: See "Emulsion Speed."
FILM WEAVE: The lateral displacement or
irregular and undesirable movement of the film as it passes through
the gate of a camera projector.
FILTER: A piece of glass, gelatin or other
transparent material used over the lens or light source to emphasize,
eliminate or change the color or density of the entire scene or
certain elements in the scene.
FILTER LAYER: In a photographic film, a
thin, uniform, colored layer that is coated above or below the
emulsion to serve as a light filter; it controls the spectral
quality of the light reaching the emulsion.
FINAL CUT: Last editing of a workprint
before conforming is done or before sound workprints are mixed.
FINE GRAIN: Emulsion in which silver
particles are very small.
FIRST PRINT: The first trial composite
(married) print containing both picture and sound for the purpose of
checking picture and sound quality.
FIXING BATH (HYPO): A solution
that removes any non-exposed silver-halide crystals in the film. In
addition, with color films, the silver is removed from the exposed
area, leaving only the image-forming dyes.
FLAKING: The removal (chipping away) of
emulsion particles from the edges of the film that tend to redeposit
in the image area while the film is going through the projector gate.
Flaking is cased by a lack of proper edgewax lubrication.
FLANGE: The rim on a roller used for guiding
the film. Also, a large disc used on a rewind to take up film on a
core. A pair of flanges (discs) that screw together is called a split
reel.
FLASHING: Technique for lowering contrast by
giving a slight uniform exposure to film before processing.
FLAT: An image is said to be "flat" if its
contrast is too low. Flatness is a defect that does not necessarily
affect the entire density scale of a reproduction to the same degree.
Thus, a picture may be "flat" in the highlight areas, or "flat" in the
shadow regions or both.
FLUTING: Effect of swelling on the outside
film edges.
FLUTTER: In sound, rapid period variation of
frequency caused by unsteadiness of the film or tape drive.
FLYSWATTERS: See GOBO.
FOCAL LENGTH: The distance from the
optical center of a lens to the point at which parallel rays of light
passing through it converge (the focal point).
FOCAL PLANE: The area in space on which
parallel rays of light refracted through a lens focus to form sharp
images.
FOCUS: To adjust a lens so that it produces the
sharpest visual image on a screen, on a camera film plane, etc.
FOG: Darkening or discoloring of a negative or
print, or lightening or discoloring of a reversal material. Causes
include accidental exposure to light or X-rays, overdevelopment, using
outdated film, and storing film in a hot, humid place.
FOLEY: Background sounds added during audio
sweetening to heighten realism, e.g., footsteps, bird calls, heavy
breathing, short gasps, etc.
FOLLOW FOCUS: To change the focus
setting of a lens as a scene is being photographed to keep a moving
subject in sharp focus.
FOOTAGE: A method of measuring film length
and therefore, screen time. As 90 feet of 35 mm film equal one minute
of screen time, 35 mm footage is used in many studios as a measure of
an animator's weekly output. Animators also refer to the length of
scenes in feet, rather than in seconds or rninutes-a 30-foot scene,
rather than a 20-second one.
FOOTAGE NUMBERS: Also called edge
numbers. Sequential numbers which are pre-exposed or printed in ink
at regular intervals on the edge of the film outside or in between the
perforations.
FOOTLAMBERT: US luminance measurement
unit (1 footlambert = 3.425 candelas per square meter). See Candela.
FORCE-PROCESS: Develop film for longer
than the normal time to compensate for underexposure.
FOREGROUND: The part of the scene in front
of the camera, represented within the limits of the camera aperture,
occupied by the object(s) nearest to the camera.
FOREHARDENED FILM: Any of the films
designed for high-temperature processing.
FORMAT: The size or aspect ratio of a motion
picture frame.
FPM: Feet Per Minute, expressing the speed of
film moving through a mechanism.
FPS: Frames Per Second, indicating the number or
images exposed per second.
FRAME: The individual picture image on a strip
of motion picture film.
FRAME-BY-FRAME: Filming in which each
frame is exposed separately, as the object being photographed must be
altered before each exposure in order to create the illusion of
movement in the finished film; as opposed to the more usual method of
filming in which the film runs through the camera at a steady,
prescribed rate to record action taking place before it.
FRAME COUNTER: An indicator which shows
the exact number of frames exposed.
FRAME LINE: The separation between
adjacent image frames on motion picture film.
FRAME LINE MARKING: A mark placed
on the edge of the film between every fourth perforation as an aid to
splicing in frame when no image or frame line is visible. On 70 mm
film, a small punched hole placed between every fifth perforation.
FRAME (VIDEO): A complete television picture made up of two fields,
pro- duced at the rate of approximately 29.97 Hz (color), or 30Hz
(black& white).
FRAMESTORE: A digital device designed to
store and display a single televisions frame as a "freeze frame". (See
also Still Store)
FREEZE FRAME: An optical printing effect
in which a single frame image is repeated so as to appear stationary
when projected.
FREQUENCY RESPONSE: Ability of the
photographic sound track to reproduce the full spectral range of
sounds.
FRONT END: General terms for all production
and preparation work up to the Answer Print stage before Release
Printing.
FULL-COAT: Magnetic film that is entirely
covered on one side with the recording medium.
GAIN, SCREEN: The measure of a screen's
ability to reflect the light incident to it. A perfect screen would
reflect back all the light that was incident to it at all angles.
Such a screen would have a gain of 1.0. In practical use, however,
most matte screens that allow wide viewing angles have a gain of about
0.85. Special metallized or directional screens can provide up to
about 15 times more reflected light than a common matte screen, but
their viewing angles are generally very limited, making them
unsuitable for most theatrical applications.
GAMMA: Measurement of the contrast of an image,
representing the slope of the straight-line portion of the
characteristic curve.
GATE: The aperture assembly at which the film is
exposed in a camera, printer or projector.
GATE TENSION: The resistance to film
movement produced by adjustable spring-loaded rails in the projector
gate.
GAUGE: Refers to the format of the film stock,
i.e., super 8, 16 mm, or 35mm.
GELATIN FILTER (GEL): A light filter
consisting of a gelatin sheet in which light-absorbing pigment or dye
is incorporated.
GENEVA MOVEMENT: A mechanical device
that produces intermittent film movement in the projector. The
principle behind the movement involves a rotating cam and pin that
intermittently engages in a four- slotted star wheel, also known as a
Geneva cross or Maltese cross. During the pin/slot engagement, the
star wheel shaft containing the intermittent sprocket rotates
90o, or one frame. At normal
projection speed, this intermittent rotation occurs 24 times per
second.
GENLOCK: A system whereby the internal sync
generator in a device, such as a camera, locks on to and synchronizes
itself with an incoming signal.
GLOVE: A white, lintless, cotton glove used
when handling motion picture raw stock and new release prints in the
laboratory. Should be used in all film handling situations and
changed frequently.
GOBO: Panel of opaque material on a footed stand
with an adjustable arm. Used to confine the area a light illuminates,
or to keep light from shining directly into the camera lens.
GRAININESS: The character of a
photographic image when, under normal viewing conditions, it appears
to be made up of distinguishable particles, or grains. This is due to
the grouping together, or "clumping" of the individual silver grains,
which are by themselves far too small to be perceived under normal
viewing conditions.
GRANULARITY: Nonuniformity in a
photographic image that can be rneasured with a densitometer.
GRAY CARD: A commercially prepared card
that reflects 18 percent of the light hitting it. Visually it appears
neutral, or a middle gray halfway between black and white.
"GREEN" PRINT: A newly processed print on which
the emulsion may still be a little soft. If projected the first time
without proper edgewax lubrication, perforation damage can result.
GROOVED TOOTH: A tooth on the
intermittent sprocket that has a groove worn at the base on the
pull-down side as a result of wear. It normally appears on all the
teeth. The sprocket should be replaced although film darnage does not
always occur immediately.
GROSS FOG: The density of the base of the
film plus the density of the fog in the emulsion. Also known as D-min
and base + fog.
GUIDE RAILS: Vertical rails located on
both sides of the projector trap that restrict lateral movement of the
film as it passes through the projector gate.
GUIDE ROLLER: Any roller with flanges
that is used to guide or restrict the position of motion picture film
as it moves through a camera, projector, or printer.
GUILLOTINE SPLICER: Device used
for butt-splicing film with splicing tape.
H&D CURVE: The graph made by plotting the
density of a film sample against the log of the exposure that made
that density. Named after Messrs. Hurter and Driffield who created
the science of sensitometry.
HALATION: A defect of photographic films and
plates. Light forming an image on the film is scattered by passing
through the emulsion or by reflection at the emulsion or base
surfaces. This scattered light causes a local fog which is especially
noticeable around image of light sources or sharply defined highlight
areas
HALIDE: Compound with a halogen, such as
chlorine, bromine, iodine.
HARD: (1) As applied to a photographic emulsion
or developer, having a high contrast. (2) As applied to the lighting
of a set, specular or harsh, giving sharp dense shadows and glaring
highlight.
HARD LIGHT: Light made up of directional
rays of light that creates strong, hard, well-defined shadows;
sometimes called specular light.
HARRY:The trade name for a highly sophisticated
and versatile digital effects system manufactured by Quantel. Used to
create two- and three- dimensional animated graphic, transpose and
transform objects and change colors. (See also Paintbox)
HAZE FILTER: These filter provide varying
degrees of blue-light and green-light absorption.
HDTV: High Definition Television, a recently
developed video format with a resolution approximately twice that of
standard television.
HEAD END, HEADS: The beginning of a reel where
the film image is upside down when the film is threaded into a
projector for showing.
HEAD- RECORDING: On a tape recorder,
printer or projector an electro- magnet across which the tape or film
is drawn and which magnetizes the coating on the tape base during
recording.
HEAT FILTER: An optical device that
absorbs or reflects the nonvisible heat energy radiating from the arc
lamp source before it reaches the film plane of the projector. See
Dichroic.
HEATER BARNEY: Padded camera cover with
electric heating elements; used for cold-weather filming.
HERTZ (HZ):
Unit of frequency; 1Hz = 1 cycle per second.
HIGH-SPEED CAMERA: A camera
designed to expose film at rates faster than 24 frames per second.
Used to obtain slow-motion effects.
HIGHLIGHTS: Visually the brightest, or
photometrically the most Iuminant, areas of a subject. In the
negative image, the areas of greatest density; in the positive image,
the areas of least density.
HMI LIGHTS: Metal halide lamps are
fundamentally mercury arcs with metal halide additives to adjust the
color balance. Usually rated at approximately 5400 K. For
daylight-balanced films.
HOLD: To freeze or stop the action. To achieve
a hold in animation, the sarne cel or position of an object is
photographed for several frames.
HOT: Referrng to too much light in an area, or to
an excessively bright highlight.
HUE: Sensation of the color itself,. measured by
the dominant wavelength.
HUMIDITY: A term referring to the presence
or absence of moisture in the air. For instance, low humidity
describes conditions in a desert. Conversely, high humidity is
related to tropical rain forest conditions.
HYPO (FIXER): The name
for fixing bath made from ammonium or sodium thiosulfate, other
chemicals and water; often used as a synonym for fixing bath.
IDLE ROLLER: Free turning non-sprocketed
rollers for guiding film through its appropriate path.
ILLUMINANT: Light source used to project
the film image or to expose the film.
IMAGE, LATENT IMAGE: The invisible image
formed in a camera or printer by the action of light on a photographic
emulsion.
IMAGE ORIENTATION: Laboratory
function that assures that the projected image is properly formed on
the screen, and that the sound track is on the appropriate side of the
film.
IMAGE SPREAD: Exposure slightly beyond
the edges of the images forrned by light striking the film.
IMAGE STRUCTURE: Measurement of the
capacity of an emulsion to record detail faithfully.
IMBIBITION PRINT: A color print
produced by the transfer of magenta, cyan, and yellow dyed matrix
films in register on a specially prepared clear film base or paper -
Technicolor process and KODAK Dye Transfer process.
IN-BETWEENS: The drawings that fall
between the extreme points of a movement. In studio animation, these
drawings are done by an assistant animator or in-betweener.
INDEPENDENT: An animator who chooses not
to be part of a studio, but works alone to produce his or her films.
INFRARED: Nonvisible, long wavelength
radiation from a carbon or xenon arc that contributes to the heating
of the film and equipment.
INTEGRAL DENSITY: Measurement of how
incident light is affected by the integral absorption of the color
image rather than by the individual dye.
INTEGRAL DYE MASKING: Using a
different colored coupler to improve color rendition; masking couplers
produce brighter, more saturated col- ors while maintaining neutral.
INTENSITY, LIGHT: A term referring to the
power (strength) of a light source ... the total visible radiation
produced by the light source.
INTERLOCK: A system that electronically
links a projector with a sound recorder; used during post-production
to view the edited film and sound track, to check timing, pacing,
synchronization, etc.
INTERMEDIATE: Film used only for making
duplicates from which other duplicates or prints are made. Does not
include camera films.
INTERMEDIATE SPROCKET: An
intermittently rotated sprocket which positions the film in the
aperture of a projector and moves it after the exposure cycle.
INTERMITTENT: Not continuous but equally
spaced (sometimes random) motion, as the intermittent (24 fps) motion
of film through a projector.
INTERNEGATIVE (DUPE NEGATIVE): Color
negative made from a color negative. For making release prints.
INTERPOSITIVE: A color master positive print.
IN THE CAN: Describes a scene or program
which has been completed. Also, "That's a wrap".
INFRARED: Nonvisible radiation from the long
wavelength portion of the spectrum.
INSERT EDIT: An electronic edit in which
the existing control track is not replaced during the editing
process. The new segment is inserted into program material already
recorded on the video tape.
INTERLACE: The manner in which a television
picture is composed, scanning alternate lines to produce one field,
approximately every 1/60 of a second in NTSC. Two fields comprise one
television frame. Therefore, the NTSC television frame rate of
approximately 30fps.
INTERMITTENT MOVEMENT: The
mechanism or a camera, printer or projector by which each frame is
held stationary when exposed and then advanced to the next.
IPS: Inches Per Second.
ISO: Intemational Standards Organization. The
international version of ANSI.
JAM-SYNC: Process of synchronizing a
secondary time code generator with a preselected master time code,
i.e., synchronizing the smart slate and the audio time code to the
same clock.
K: Degrees Kalvin, the unit of the color
temperature scale.
KEYKODE NUMBER: Kodak's
machine-readable key numbers. Includes 10-digit key number,
manufacture identification code, film code and offset in perforations.
KEYKODE READER: Device attached to a
telecine or part of a bench logger which reads bar code from motion
picture film and provides electronic output to a decoder.
KEY POSE: The characteristic or main pose in
a movement.
KEYSTONING: A geometrical image distortion
resulting when a projected image strikes a plane surface at an angle
other than perpendicular to the axis of throw, or when a plane surface
is photographed at an angle other that perpendicular to the axis of
the lens.
KICKER: See SEPARATION LIGHT.
KINESCOPE: A film of a video tape made by
shooting the picture on a specially designed television monitor.
Also referred to as Kine.
KINETOSCOPE: An early filmstrip device
developed and devised by Thomas Edison and W. K. L. Dickson.
LABORATORY: A facility that specializes in
processing and printing film, sometimes offering additional services
such as editing and film storage.
LABORATORY FILM: Film products, not
intended for original photography, but necessary to complete the
production process.
LATENT IMAGE: Invisible image in
exposed, undeveloped film; results from exposure to light.
LATENT IMAGE EDGE
NUMBERING: Images placed on the edge of film products in
manufacturing that becorne visible after development.
LATITUDE: In a photographic process, the
range of exposure over which substantially correct reproduction is
obtained. When the process is represented by an H & D curve, the
latitude is the projection on the exposure axis of that part of the
curve which approximates a straight line within the tolerance
permitted for the purpose at hand.
LAYBACK: Transferring the finished audio
track back to the master video tape.
LAYOUT: A detailed drawing of a shot in which
background elements, staging of the action, and camera moves are
carefully worked out and plotted; the stage of production in which
these are determined. See also scene planner.
LEADER: Any film or strip of material used for
threading a motion picture machine. Leader may consist of short
lengths of blank film attached to the ends of a print to protect the
print from damage during the threading of a projector, or it may be a
long length of any kind of film which is used to establish the film
path in a processing machine before the use of the machine for
processing film.
LENS: An optical device designed to produce an
image on a screen, on a camera film, and in a variety of optical
instruments. Also used to converge, diverge or otherwise control
light rays in applications not involving images.
LIGHT: The main illumination of the subject.
LIGHT AXIS: An imaginary line running
exactly through the center of intensity of a light.
LIGHT BALANCING FILTER: Makes
minor color balance adjustments to the light reaching the film.
LIGHT FILTER: A light-absorbing
transparent sheet, commonly consisting of colored glass or dyed
gelatin that is placed in an optical system to control the spectral
quality, color, or intensity of the light passing a given plane.
LIGHT INTENSITY: Degree of light, per
unit, falling on subject; usually expressed in footcandles.
LIGHT METER: An electrical exposure meter
for measuring light intensity.
LIGHT METERS: See EXPOSURE METERS.
LIGHT OUTPUT: The maximurn power or
energy delivered by a given light: concentrated by a spotlight, or
spread out by a floodlight.
LIGHT PIPING: Fog caused by light
stnking the edge of film and traveling along the base to expose the
emulsion inside the magazine or roll.
LIGHTING - BROAD LIGHTING:
The key light illuminates fully the side of the face turned toward the
camera.
LIGHTING - SHORT LIGHTING:
The key light illuminates fully the "short" side of the face that is
turned away from the camera.
LIGHTING RATIO: The ratio of the
intensity of key and fill lights to fill light alone.
LIGHT VALVE: Device for controlling
intensity and color quality of light on additive prints.
LIP SYNC: Simultaneous precise recording of
image and sound so that the sound appears to be accurately
superimposed on the image, especially if a person is speaking toward
the camera.
LIQUID GATE: A printing system in which
the original is immersed in a suitable liquid at the moment of
exposure in order to reduce the effect of surface scratches and
abrasions.
LIVE-ACTION: The filming or videotaping
of staged or documentary scenes of people, props and locations.
LONG PITCH: Perforation type used on print
films; slightly greater than perforations on originals films to
prevent slippage during printing.
LONG SHOT (LS): The photographing
of a scene or action from a distance or a wide angle of view so that a
large area of the setting appears on a frame of film, and the scene or
objects appear quite small.
LONGITUDINAL SCRATCHES:
Scratches running along the length of film.
LOOP (continuous film): A
section of film spliced end-to-end for use in printing, testing,
dubbing, etc.
LOOP (projector or camera): The path in which the film
is formed to allow the film to travel intermittently through the gate.
LOW KEY: A scene is reproduced in a low key
if the tone range of the reproduction is largely in the high density
portion of the H & D scale of the process.
LTC (LONGITUDINAL TIME CODE): Time code recorded on one of the audio channels of video tape.
Requires tape movement to read. (See also VITC)
LUBRICATION: To reduce friction, required
on processed print film for optimum transport and projection life.
LUMEN: The measure of luminous flux (the rate
at which light pulses are emitted or received). For instance, one
candela of light covering a square foot of surface. See FOOTLAMBERT.
LUMINANCE: The measured value of
brightness; reflected light measure on motion picture screens as
footlamberts or candelas per square meter.
LUX: Metric measure of illumination approximately
equal to 10 footcandles (1 lux = 10.764 fc).
MACHINE SPEED: The rate at which film
moves through the processor, expressed in feet or meters per minute.
MAGAZINE (projector): Enclosures on a rnotion-picture projector which
holds the reels of film.
MAGAZINE TAKE-UP: (United Kingdom uses the
term spool box): The device which winds up the film after photography
(in a camera), copying (in a printer), and after projection (in
projection).
MAGENTA: Purplish color; complementary to
green or the minus-green subtractive primary used in the three-color
process. Magenta light results when red and blue light overlap.
MAGIC LANTERN: The first projection
device, invented in the 17th Century by Athanasius Kircher, consisting
of a metal box with a hole in one side covered by a lens; an image
painted on a glass slide placed behind the lens is projected by means
of a lamp inside the box.
MAGNETIC DISK: A storage format for
digital information used in computers and other new technologies, and
read by a magnetic disk drive.
MAGNETIC HEAD CLUSTER: The
component in a 35 mm magnetic sound head that contains the four
magnetic heads used to play back the four separate magnetic tracks on
a release print. In 70 mm applications, the cluster holds six
magnetic heads.
MAGNETIC SOUND: Sound derived from an
electronic audio signal recorded on a magnetic oxide stripe or on
full-coated magnetic tape.
MAGNETIC SOUND HEAD: The magnetic
sound reproducer installed above the projector head but below the
supply reel support arm or magazine.
MAGNETIC STRIPING: The application
of magnetic material on motion-picture film intended for the
recording of sound.
MAGNETIC TAPE / MAGNETIC
FILM: Usually 1/4-inch plastic audio tape that has been coated
with particles that can be magnetized. As used on tape recorders. In
film use, it is also used in various formats compatible with super
8, 16mm, 35mm and 70 mm films.
MAGNETIC TRACK: Linear path of
magnetically recorded audio signal on a magnetic film stripe or tape.
The number of "mag tracks" can vary from one to six, depending on the
picture format.
MAGOPTICAL: Sound track with an optical
track and one or more magnetic tracks.
MAGOPTICAL PRINT: Composite release
print that contains both optical and magnetic sound tracks.
MAKEUP TABLE: A film handling unit that
is one component of a platter system. It is used to assemble (makeup)the individual shipping reels into one large film roll on a platter for uninterrupted projection. See Breakdown table.
MALTESE CROSS: See Geneva movement.
MANUFACTURER
IDENTIFICATION CODE: Letter which identifies film manufacture. K
= Eastman Kodak Company.
MASKING: Restricting the size of a projected
image on a screen by the use of black borders around the screen. Also
the restriction in size of any projected image or photographic print
by the use of undercut aperture plates or masks and borders.
MASTER POSITIVE: Timed print made
from a negative original and from which a duplicate negative is made.
MASTER: The final negative-reversal positive
or intermediate film from which subsequent prints are made.
MASTER SHOT: Usually a long shot in which
all action in a scene takes place. Action is repeated for the MS and
CU which may be cut into the scene.
MATCH FRAME EDIT: An edit in which
the source and record tapes pick up exactly where they left off.
Often used to extend a previous edit. Also called a "tacking edit".
MATCHING CHECK SYMBOLS: Two
(35mm) or four (16mm) randomly selected and placed symbols designed as
an extra matching check. To use: after matching key number and
checking picture, verify that same symbols are located in same
position on both the workprint and the negative.
MATTE: An opaque outline which limits the
exposed area of a picture, either as a cut-out object in front of the
camera or as a silhouette on another strip of film.
MAXIMUM DENSITY (D-MAX): Portion of the shoulder of the characteristic curve where further increases in exposure on negative film or decreases in
exposure on reversal film will produce no increase in density.
MECHANICAL SPECIFICATIONS:
The physical characteristics of a process that are designed to produce
optimum results when used with specific film and chemical
combinations. These include temperature, solution immersion times,
replenisher rates, recirculation pump rates, filtration, agitation
levels and other pertinent information.
MEDIUM SHOT: A scene that is photographed
from a medium distance so that the full figure of the subject fills an
entire frame.
METRE-CANDLE: Unit of illuminance. The
light received at a point one metre away from a point light source
having an intensity of one candela (formerly candle).
MGM CAMERA 65:
A motion picture production method developed at the MGM Studios using
a 65 mm negative with an image height of five perforations and a
horizontal compression ratio of 1.33:1. A 65 mm or 70 mm contact print
could be shown on an appropriate 70 mm projector equipped with a
1.33:1 anamorphic lens. Using special reduction printing techniques,
35 mm prints could be made for CinemaScope-type presentations.
MID-FOOT KEY NUMBER: Full key
number plus bar code, including 32- perforation (35mm) offset,
positioned halfway between each footage number. Will help identify
short scenes without a key number. Uses a smaller type size to
distinguish from one-foot key numbers. Use a magnifying glass to read
it easily.
MINIMUM DENSITY (D-MIN): Constant-density area in the tone
of the characteristic curve where less exposure on negative film or
more exposure on reversal film will produce no reduction in density.
Sometimes called base plus fog in black-and-white film.
MIX: To combine the various sound
tracks-dialogue, music, sound effects into a single track.
MIXING: The combining of several sound sources
into one.
MODELING: In computer graphics, the process
of plotting the locations of the points that make up the dimensions of
an object in three dimensional space.
MODULATION TRANSFER CURVE:
Indicates the ability of a film to record fine detail. The curve
results when light transmission is measured with lines that are
successively more closely spaced.
MOTORBOATING: The distracting sound
heard when the film becomes misaligned over the sound drum and causes
the sound scanning beam to "read" the film perforations instead of the
sound track.
MOVIOLA: A trademarked name for a machine
with a small rear-projection screen and the capacity to play back
several sound tracks. Used in editing and for reviewing portions of
the film during production. Also used to synchronize or interlock
picture and sound track in editing. Newer devices called "flat-bed
viewers" are slowly replacing the upright Moviolas.
MULTIPASS: To expose the same piece of film
two or more times during filming, usually to produce semitransparent
effects, such as clouds or shadows.
MULTIPLANE CAMERA: A special
animation stand developed at the Disney studio and first used in The
Old Mill in 1937. The background artwork is divided into foreground,
middle, and distant elements and painted on sheets of glass placed
several inches apart. During trucking or panning moves, the
background elements move in relation to each other, creating an
illusion of realistic depth and perspective.
MULTIPLEXER: Device or circuit used for
mixing television signals to a single video recorder.
MUTOSCOPE: A viewing machine, manufactured
in 1895 by the American Mutoscope Company, which used the "flip book"
principle to create the illusion of movement. It contained a series
of continuous photographs arranged on a horizontal axis. A coin was
dropped into the machine to operate the hand-crank that moved the
pictures rapidly and created the illusion of movement.
NARRATION: The off-screen commentary for a
film; often referred to as "voice-over."
NEGATIVE: The term "negative" is used to
designate any of the following (in either black-and-white or color):
(1) The raw stock specifically designed for negative images. (2) the
negative image. (3) Negative raw stock that has been exposed but has
not been processed. (4) Processed film bearing a negative image.
NEGATIVE FILM: Produces a negative
image (black is white, white is black, and colors appear as
complementaries).
NEGATIVE IMAGE: A photographic image
in which the values of light and shade of the original photographed
subject are represented in inverse order. Note: In a negative image,
light objects of the original subject are represented by high
densities and dark objects are represented by low densities. In a
color negative, colors are represented by their complementary color.
NEGATIVE-POSITIVE PROCESS:
Photographic process in which a positive image is obtained by
development of a latent image made by printing a negative.
NEGATIVE TIMING (Negative Grading): The selection of the appropriate printing lights for the printing process.
NEGATIVE-TYPE
PERFORATIONS: A generic term for the Bell and Howell type
perforation.
NEUTRAL-DENSITY FILTERS: Used
to reduce the intensity of light reading the film without affecting
colors.
NEUTRAL TEST CARD: A commercially
prepared card: One side has a neutral 18-percent reflection that has
the appearance of medium gray.The other side has a neutral reflection
of 90-percent and has the visual appearance of stark white.
NEWTON'S RINGS: Fuzzy, faintly colored lines
in the projected image caused by high or uneven printer gate pressure.
NITRATE FILM: A highly flammable motion
picture film that has not been domestically manufactured since around
1950. It is still present in large quantities in storage vaults and
archives and must be very carefully stored to prevent spontaneous
combustion, explosions, or other forms of destruction (perhaps your
destruction)!
NOISE: Unwanted sound in an audio pickup.
NOISE REDUCTION: Process of reducing
inherent audio system noises by the use of special electronic
circuitry. See DOLBY.
NOMOGRAPH: For calculating the effect of a
filter on color temperature.
NON-DROP FRAME: A type of SMPTE time
code that continuously counts a full 30 frames per second. As a
result, non-drop, frame-time code does not match real time. (See also
Drop Frame)
NONSYNC SOUND: In theatrical
projection, the amplifier channel selector position used when playing
record or tape music during openings, intermissions, and closing.
NOTCHING: Practice of making a "V" cut to
remove damaged perforations rather than removing the damage and making
a splice. Not recommended, as it weakens the film even more.
NTSC (NATIONAL
TELEVISION STANDARDS COMMITTEE): Committee that established the
color transmission system used in the U.S. and some other countries.
Also used to indicate the system itself consisting of 525 lines of
information, scanned at a rate of approximately 30 frames per second.
OFF-LINE EDITING: The process of
creatively assembling the elements of a production, to communicate the
appropriate message or story, and/or calculating the order, timing and
pace with user-friendly equipment such as film, 3/4" videotape or
non-linear computer editing systems.
ONE-TO-ONE PRINTING: Optical
printing of the images which are reproduced to the same size.
ON-LINE EDITING: Final editing or
assemble using the original master tapes to produce a finished program
ready for distribution. Usually preceded by off-line editing. In
some cases, programs go directly to the online editing suite. Usually
associated with high-quality computer editing and digital effects.
OPACITY: Measurement of the amount of light
that does not pass through a film or filter.
OPAQUE: Of sufficient density so that all
incident of light is completely absorbed (the opposite of
transparent).
OPAQUING: Another term for cel painting,
used primarily in the eastern United States; a painter is referred to
as an Opaquer.
OPTICAL EFFECTS: Trick shots prepared
by the use of an optical printer in the laboratory, especially fades
and dissolves.
OPTICAL PRINTER: Used when image size
of the print film is different from the image size of the pre-print
film. Also used when effects such as skip frames, blowups, zooms, and
mattes are included.
OPTICAL SOUND: System in which the
photographic (optical) sound track on a film is scanned by a
horizontal slit beam of light that modulates a photoelectric cell.
The voltages generated by the cell produce audio signals that are
amplified to operate screen speakers.
OPTICAL TRACK: Sound track in which the
sound record takes the form of density variations (variable density
track) or width variations (variable- area track) in a photographic
image.
OPTIMUM PRINT DENSITY: The
desired screen quality.
ORIGINAL: An initial photographic image, or
sound recording-whether photographic or magnetic-as opposed to some
stage of duplication thereof.
ORIGINAL NEGATIVE: The negative
originally exposed in a camera.
ORTHOCHROMATIC (ORTHO) FILM: Film that is
sensitive to only blue and green light.
OUT-TAKE: A take of a scene which is not
used for printing or final assembly in editing.
OVERCOAT: A thin layer of clear or dyed
gelatin sometimes applied on top of the emulsion surface of a film to
act as a filter layer or to protect the emulsion from abrasion during
exposure, processing and projection.
OVEREXPOSURE: A condition in which too
much light reaches the film, producing a dense negative or a
washed-out reversal.
OVERLAP SPLICE: Any film splice in
which one film end overlaps the other film end.
OVERLAY:A technique in cel animation in which
foreground elements of the setting are painted on a cel and placed
over the characters to give an illusion of depth to the scene.
PAD ROLLER: A roller designed to hold the
film against a sprocket.
PAINT SYSTEM ('PAINTBOX'): An electronic
device to create images for television, consisting of a workstation
with an electronic pen, and software tools to 'paint', combine and
manipulate images.
PAINTBOX: Trade name of a computer graphics
system manufactured by Quantel. Often used as a generic term to
describe computer graphics systems. The forerunner of "Harry".
PAL (PHASE ALTERNATION BY LINE): Color television system developed in Germany, and used by many European and other countries. PAL consists
of 625 lines scanned at a rate of 25 frames per second.
PAN: A camera move in which the camera appears to
move horizontally or vertically, usually to follow the action or scan
a scene. In animation, the effect is achieved by moving the artwork
under the camera.
PAN SHOT: Derived from "panoramic." A shot
which encompasses a wider area than can be viewed by the camera at one
time, and which will be scanned by the camera by means of panning.
PANAVISION 35: A 35 mm process using 35 mm negative film and
photographed through a Panavision anamorphic lens with a compression
of 2X. Contact 35 mm prints are compatible with anamorphic systems
such as CinemaScope.
PANCHROMATIC (PAN) FILM: Black-and-white film
which is sensitive to all colors in tones of about the same relative
brightness as the human sees in the original scene. Film sensitive to
all visible wavelengths.
PARALLAX: In camera work, the viewfinder
often is mounted with its optical axis at an appreciable distance from
the optical axis of the camera lens, commonly resulting in inadvertent
positional errors in framing.
PATH OF ACTION: The movement of a
character through a scene; used in layout.
PEAK DENSITY: Wavelength of maximum
absorption.
PENTHOUSE, PENTHOUSE HEAD: The popular
names assigned to the magnetic sound head. See Magnetic sound head.
PERFORATION DAMAGE: On inspection
the perforations through a magnifying glass you will find damage
progressing from cracked, chipped or elongated holes to torn holes.
PERFORATIONS: Regularly spaced and
accurately shaped holes which are punched throughout the length of a
motion picture film. These holes engage the teeth of various
sprockets and pins by which the film is advanced and positioned as it
travels through cameras, processing machines, and projectors.
PERSISTENCE OF VISION: The
ability of the eye to perceive a series of rapid still images as a
single moving image by retaining each impression on the retina for a
fraction of a second, thus overlapping the images. This phenomena
makes it possible to see the sequential projected images of a motion
picture as life-like continuous movement.
PERSPECTA SOUND: A system of
recording that produces a form of stereophonic reproduction by using a
single optical sound track carrying three sub-audible control tones
that can shift the one track sound source to the left, center, or
right speakers with the appropriate reproducing equipment. The system
is compatible with normal single track sound reproducers.
PHENAKISTISCOPE: An early animation
device that uses a disc with sequential drawings around its border in
front of a mirror to create the illusion of motion,
PHOTO CD: An optical disk which stores
photographic images in a digital format. The images can be played
back on a TV screen by means of a photo CD player, which also allows
simple image manipulation.
PHOTOCELL: An electronic device that, when
modulated by visible light, produces electrical impulses that can be
amplified to drive audio speakers.
PHOTOGRAPHIC SOUND TRACK:
See OPTICAL TRACK.
PHOTOMETER: An electro-optical device used
to measure light intensity (a light meter).
PIN: A component of a camera of printer mechanism
that engages with a perforation to secure the film at the time of
exposure, or to advance the fihn for the next exposure.
PIN REGISTRATION: A film term
relating to the steadiness of the image. For optical and film-to tape
transfers, a pin-registered device holds each frame in position for a
perfectly registered image, critical for creating multilayered special
effects.
PITCH: (1) That property of sound which is
determined by the frequency of the sound waves. (2) Distance from the
center of one perforation on a film to the next; or from one thread of
a screw to the next; or from one curve of a spiral to the next.
PIXEL('PICTURE ELEMENT'): The digital representation of the smallest
area of a television picture, appearing as a tiny dot on the
television screen. In a full color image, each pixel contains three
components - a combination of red, green and blue signals - reflecting
the trichromatic nature of human vision. The number of pixels in a
complete picture differs from one system to another; the more pixels,
the greater the resolution.
PIXILATION: A stop motion technique in
which full-sized props and live actors are photographed frame-by-frame
to achieve unusual effects of motion.
POLALITE (3D): A
three-dimensional 35 mm presentation first introduced by
Universal-lntemational in which the two images necessary to produce
the 3D effect were contained on the same film. The system simplified
the 3D projection process and corrected most of the problems
encountered with the two film/two projector systems although the
special polarizing glasses were still necessary.
POLARIZING FILTER: Transparent
material used to subdue reflections and control brightness of the sky.
POLYESTER: A name for polyethylene
terephthalate developed by E.I. Dupont de Nemours & Co. (Inc.). A
film base material exhibiting superior strength and tear
characteristics. Cronar is the trade name for Dupont motion picture
products; ESTAR Base is the trade name for Kodak products.
POSITIVE FILM: Motion picture film
designed and used primarily for the making of master positives or
release prints.
POSITIVE IMAGE: A photographic replica
in which the values of light and shade of the original photographed
subject are represented in their natural order. The light objects of
the original subject are represented by low densities and the dark
objects are represented by high densities.
POST-PRODUCTION:The work done on a
film once photography has been completed, such as editing, developing
and printing, looping, etc.
POSTSYNCHRONIZATION: The
recording of the sound track after the picture has been completed.
PREMIER SYSTEM: A Kodak digital image
enhancement system used to create and manipulate still photographic
images at extremely high resolution, suitable for print reproduction.
PRESYNCHRONIZATION: The recording
of the sound track before any production has begun, so that action can
be synchronized when the film is exposed with the prerecorded sound.
PRIMARY COLOR: One of the light
colors-blue, red, or green-that can be mixed to form almost any color.
PRINTER LIGHTS: On an additive
printer, incremental steps.
PRINTER POINTS: An increment of
light-intensity change.
PRINT FILM: Film designed to carry
positive images and sound tracks for projection.
PRINTED EDGE NUMBERS: Edge
numbers (usually yellow) placed on film at the laboratory by a
printing machine.
PRINTING: Copying motion picture images by
exposure to light energy.
PRINTING FLOWCHARTS: Diagram of
printing sequences showing the steps that can be used to produce a
projection print.
PRINTING TAPE: A perforated strip or
tape which provides information concerning the necessary changes of
the printing light levels.
PROCESSING: Procedure during which exposed
film is developed, fixed, and washed to produce either a negative or a
positive image.
PROCESS SCREEN
PHOTOGRAPHY: The filming or videotaping of actors, props, or
objects in front of a blue-screen (or green-screen). In
post-production, the blue or green is replaced by another element,
such as a background, using digital or optical special effects
techniques.
PROCESSING TIME: The amount of time
it takes for a computer to process data.
PRODUCER: The administrative head of the
film, usually responsible for budget, staff, legal contracts,
distribution, scheduling, etc.
PRODUCTION: The general term used to
describe the process involved in making all the original material that
is the basis for the finished motion picture. Loosely, the completed
film.
PRODUCTION SUPERVISOR: An
assistant to the producer, in charge of routine administrative duties.
PROJECTION: The process of presenting a
film by optical means and transmitted light for either visual or aural
review, or both.
PROJECTION SPEED: The rate at which
the film moves through the projector; twenty-four frames per second is
the standard for all sound films.
PROTECTIVE LEADER: A section of
unexposed film attached to the beginning and/or end of a reel of film.
PROTECTIVE MASTER: A master
positive from which a dupe negative can be made if the original is
damaged.
PROUD EDGES: One or two convolution of
film that protrude above the smooth surface of a firmly wound roll of
film and are susceptible to damage.
PULL-DOWN CLAW: The metallic finger
which advances the film one frame between exposure cycles.
PUSH PROCESSING: A means of
increasing the exposure index of film.
R-190 SPOOL: 4.940 outside diameter metal
camera spool. Square hole with single keyway, two offset round drive
holes, one elliptical hole in both flanges. Side 1 and side 2
markings. For 200 foot 16mm film loads.
R-90 SPOOL: 3.615 inch outside diameter metal
camera spool. Square hole with single keyway in both flanges, with
center hole aligned on both flanges for 100 foot film loads. Used in
16mm spool-loading cameras.
RACK: A frame carrying film in a processing
machine.
RACKOVER: A method of checking the precise
center of the camera's field, in which the body of the camera is
temporarily shifted to one side to allow the camera operator to look
through a special viewfinder with cross hairs; the camera is shifted
back into position for shooting to continue. Rackovers are often used
to check the accuracy of off-center shots.
RASTER: The lines forming the scanning pattem
of a television system. Scanned are comprising the active portion of
a video signal displayed on a cathode ray tube (CRT).
RAW STOCK: Unexposed and unprocessed motion
picture film; includes camera original, laboratory intermediate,
duplicating, and release-print stocks.
REAL TIME: The instantaneous response of a
computer or device to instructions: the normal viewing time of any
film or videotape program.
RECIPROCITY LAW: Expressed by (H)=Et,
where E is the light intensity, and T is time. When E or T are varied
to the extreme, an unsatisfactory exposure can result.
RECOMMENDED PRACTICE: An SMPTE
engineering committee recommendation specifying good technical
practice for some aspect of film or television.
RECTIFIER: An electronic device designed to
convert a current into the dc current necessary for operating carbon
arcs, xenon arcs, exciter lamps, etc.
REDUCTION PRINT: Print made from a
larger-gauge film.
REDUCTION PRINTING: Making a copy
of a film original on smaller format raw stock by optical printing;
for example, printing a 35 mm original onto 16 mm stock for use in
libraries, etc.
REEL BAND: A stiff paper strip with a
string loop tie that contains the release print number, title, and
reel number and is used to keep the film snug on the shipping reel.
REFLECTANCE: The brightness reflected
from a surface such as a motion picture screen. See LUMINANCE.
REFLECTOR: Any surface that reflects light.
Reflectors can be constructed of cardboard, metal, cloth, or other
material. In motion picture projection, primarily the lamphouse
mirror and the screen.
REFRACTION: The change of direction
(deflection) of a light ray or energy wave from a straight line as it
passes obliquely from one medium (such as air) to another (such as
glass) in which its velocity is different.
REJUVENATION: A process offered by some
laboratories whereby a damaged and dirty print can be rendered usable
for further projection.
RELEASE NEGATIVE: Duplicate negative
or color reversal intermediate from which release prints are made.
RELEASE PRINT: In a motion picture
processing laboratory, any of numerous duplicate prints of a subject
made for general theater distribution.
RELIEF IMAGE: The slightly dimensional
image that can sometimes be seen on the emulsion side of a color print
film viewed under a glancing light reflected towards the observer.
REM-JET BACKING: Antihalation backing
used on certain films. Rem jet is softened and removed at the start
of processing.
RENDERING: The simulation of light on
three-dimensional objects; determining an object's surface
characteristics, such as color and texture.
RESOLUTION: The capacity of a medium to
capture and playback distinctly fine details. Film is a high
resolution storage medium; current videotape formats are low
resolution mediums. Computers can perform at a wide range of
resolutions, from the lowest to the highest, depending on hardware and
software capabilities, and are therefore considered resolution
independent.
RESOLVING POWER: Ability of a
photographic emulsion or an optical system to reproduce fine detail in
the film image and on the screen.
RETICULATION: The formation of a coarse,
crackled surface on the emulsion coating of a film during improper
processing. If some process solution is too hot or too alkaline, it
may cause excessive swelling of the emulsion and this swollen gelatin
may fail to dry down as a smooth homogeneous layer.
REVERSAL FILM: Film that processes to a
positive image after exposure in a camera, or in a printer to produce
another positive film.
REVERSAL INTERMEDIATE:
First-generation duplicate that is reversed to produce the same kind
of image (negative or positive) as the original; used for printing.
REVERSAL PROCESS: Any photographic
process in which an image is produced by secondary development of the
silver halides grains that remain after the latent image has been
changed to silver by primary development and destroyed by a chemical
bleach. In the case of film exposed in a camera, the first developer
changes the latent image to a negative silver image. This is
destroyed by a bleach and the remaining silver halides is converted to
a positive image by a second developer. The bleached silver and any
traces of halides may now be removed with hypo.
REVERSE ANAMORPHIC: An optical
device which, when placed in front of a prime lens, reduces the size
of the projected anamorphic image rather than magnifies it, as with a
normal anamorphic attachment. This feature allows the use of short
focal-length prime lenses with larger apertures resulting in added
screen luminance of up to 40 percent. See Anamorphic lens.
REWIND: An automatic console or set of bench
mounted spindles used to wind film from reel-to-reel.
REWINDING: The process of winding the film
from the take-up reel to the supply reel so that the head end, or
start of the reel, is on the outside. If there are no identifying
leaders on the film, upside-down images will signify the head end.
RGB: Red green & blue, the primary color
components of the additive color system used in color television.
RIPPLE: Automatic updating of an EDL following
a length altering edit. "Ripple the list."
RMS: Root-Mean-Square. This mathematical term is
used to characterize deviations from a mean value. The term "standard
deviation", which is synonymous, is also used.
RMS GRANULARITY: Standard deviation
of random-density fluctuations for a particular film.
ROPING: Continuous sprocket tooth indentation
along the length of the film; caused by a bad splice or other damage
that forces the film to ride off the sprocket.
ROTATION:A camera move in which the camera
is moved in a complete circle to give a spinning effect in the film.
A partial rotation is called a Tilt.
ROTOSCOPE: A device patented by Max
Fleischer in 1917, that projects live-action film, one frame at a
time, onto a small screen from the rear. Drawing paper is placed over
the screen allowing the animators to trace the live-action images as a
guide in capturing complicated movements.
ROUGH CUT: Preliminary stage in film
editing, in which shots, scenes, and sequences are laid out in an
approximate relationship, without detailed attention to the individual
cutting points.
ROUGHS:The animators' original drawings, which
are usually broad and sketchy, rather than finished drawings, and
which are refined by the cleanup artist.
RP-40:The recommended
practice sponsored by SMPTE titled, "Specifications for 35 mm
Projector Alignment and Screen Image Quality Test Film." Also, the
name usually referred to by projectionists for the test films made to
these specifications and available from SMPTE as Projector Alignment
and Image Quality Test Film, 35-IQ-200.
RP-82: 16 mm version of
above, except test film is identified as 16-PA- I 00. Also available
from SMPTE.
RS-232: Electronic Industries Association (EIA) standard
for serial data communications.
S-83 SPOOL: 3.657 inch outside diameter metal
camera spool. Square holes with single keyway in both flanges.
Center hole aligned on both flanges. For 100 foot 35mm camera
negative film.
SAFELIGHT: A darkroom light fitted with a
filter to absorb light rays to which film is sensitive.
"S" BENDS: Kinks in the film layers caused by
pulling the end of the film on a loose roll in order to tighten the
roll. Especially damaging to film containing oil deposits since no
slippage is possible (oil deposits cause film to stick).
SAFETY BASE: Film base that is
fire-resistant or slow-burning as defined by ANSI PH1.25 and PH22.31,
and by various fire codes. Acetate-base film and polyester-base film
meet safety-film standards.
SAFETY FILM: A photographic film whose
base is fire resistant or slow burning as defined by ANSI document
PH1.25, PH22.21, and by various fire codes. At the present time, the
terms "safety base film," "acetate base film" and "polyester base
film" are synonymous with "safety film."
SAMPLING: The process of determining the
best color combinations that represent an original image or desired
effect.
SATURATION: Term used to describe color
brilliance or purity. When color film images are projected at the
proper brightness and without interference from stray light, colors
that appear bright, deep, rich, and undiluted are said to be
"saturated."
SATURATION BOOKING: The
simultaneous availability and showing of a new feature release in all
the major theaters in the country. Such a release can involve more
than 1,000 new prints.
SATURDAY MORNING
TELEVISION: A term which has its roots in the child-oriented,
limited animation cartoon shows that began to dominate this time slot
in the 1950's, but has come to stand for this genre of mass-produced
animation.
SCANNER: A device for scanning images and
converting them into an electronic signal in a standard video
format.
SCANNING BEAM: A collimated narrow slit
(0.1 mm or less) of light that scans the optical sound track of a
motion picture film.
SCENE PLANNER: In studio animation, the
person who works with the director and storyboard artist to do
detailed drawings of the scene, indicating the path of action,
background elements, camera moves, etc. Also known as a Layout
Artist. See LAYOUT.
SCENE: A segment of a film that depicts a
single situation or incident.
"SCOPE": A diminutive terrn used to
describe any anamorphic projection system or film. See CINEMASCOPE.
SCRATCHES: non-photographic blemishes on
the film emulsion or base.
SCRIM: A translucent material that rnakes hard
light appear more diffuse, or reduces, like a screen, the intensity of
the light without changing the character of it.
SCRIPT: The text of a film, giving dialogue,
action, staging, camera moves, etc.
SECAM (SYSTEM ELECTRONIQUE POUR
COLOUR AVEX): The color television -system developed in France, and
used there and in most of the former communist-block countries and a
few other areas including parts of Africa.
SENSITIVITY: Degree of responsiveness of
a film to light.
SENSITOMETER: An instrument with which a
photographic emulsion is given a graduated series of exposures to
light of controlled spectral quality, intensity, and duration.
Depending upon whether the exposures vary in brightness or duration,
the instrument may be called an intensity scale or a time scale
sensitometer.
SENSITOMETRIC CURVE: See
Characteristic Curve.
SENSITOMETRY: Study of the response of
photographic emulsions to light.
SEPARATION LIGHT: A light that helps
define the outline of a subject, thereby separating it from the
background. Also called edge light, top light, rim light, backlight,
hair light, skimmer, or kicker.
SEPARATION MASTERS: Three separate
black-and-white master positives made from one color negative; one
contains the red record, another the green record, and the third the
blue record.
SEQUENCE: A group of related scenes in a
film that combine to tell a particular portion of the story, and which
are usually set in the same location or time span.
SET: Derived from "setting." The prepared stage
on which the action for three-dimensional animation takes place. A
set may be as sirnple as a plain tabletop, or as elaborate as props
and decoration can make it.
SHADOW LIGHT: See FILL LIGHT.
SHARPNESS: Visual sensation of the
abruptness of an edge. Clarity.
SHORELINE: Fuzzy lines or contours around
the perforations in print film; caused by non-uniform drying.
SHORT: The term usually refers to the cartoons
made in the Hollywood studios during the 1930's, 1940's, and 1950's,
which ran between 6 and 7 minutes long. Today, shorts range from one
and one-half to over 20 minutes in length and cover a variety of
styles and subjects.
SHORT PITCH : The
perforation pitch of a negative stock, which is somewhat shorter than
the pitch of positive stock to avoid slippage in contact printing.
SHOT: An unbroken filmed segment; the basic
component of a scene.
SHOULDER: High-density portion of a
characteristic curve in which the slope changes with constant changes
in exposure. For negative films, slope decreases and further changes
in exposure (log H) finally produce no increase in density because
maximum density has been reached. For reversal films, slope
increases.
SHRINKAGE: Reduction in the dimensions of
motion-picture film caused by loss of moisture, support plasticizers,
and solvents, as well as heat, use, and age.
SHUTTER: In theatrical projection, a
two-bladed rotating device used to interrupt the light source while
the film is being pulled down into the projector gate. Once blade
masks the pulldown while the other blade causes an additional light
interruption increasing the flicker frequency to 48 cycles per second
... a level that is not objectionable to the viewer at the recommended
screen brightness of 16 footlamberts (55 candelas per square meter).
SIBILANCE: Excessive amount of vocal hiss
when consonants such as "s" are spoken.
SILVER RECOVERY: Reclaiming the
silver from processing solutions. Primarily from the Fix.
SINGLE-FRAME EXPOSURE: The
exposure of one frame of motion picture film at a time, in the manner
of still photography. Commonly used in animation and time-lapse.
SILVER HALIDES: Light-sensitive
compound used in film emulsions.
SINGLE-PERFORATION FILM: Film
with perforations along one edge only.
SINGLE-SYSTEM SOUND: Sound on a
magnetic or optical track that was recorded on the same strip of film
on which the action was recorded.
16 MM FILM: Film 16 mm wide. May have single
or double perforations.
SKIP FRAME: An optical printing effect
eliminating selected frames of the original scene to speed up the
action.
SKIVINGS: Fine thread-like particles found
in the vicinity of the projector gate; caused by physical abrasion
against a sharp burr or nick on a film-path component.
SLOW IN/SLOW OUT: Refers to the fact
that panning and trucking moves usually begin slowly, gradually attain
their full speed, then slow to a stop, to avoid a sense of jerkiness
in the movement.
SLOW MOTION: The process of photographing
a subject at a faster frame rate than used in projection, to expand
the time element.
SMPTE: Acronym for the Society of Motion
Picture and Television Engineers.
SMPTE TEST MATERIALS
CATALOG: A comprehensive list of test materials used to check the
performance of projectors, optical and magnetic sound systems, image
quality and alignment, television color reference and test patterns,
plus other helpful items such as the SMPTE Universal Leaders.
SNAKE TRACK: A common name for a scanning
beam test film used to check the uniformity of illumination across the
scanning slit.
SOFT: The opposite of "hard". (1) As applied to
a photographic emulsion or developer, having a low contrast. (2) As
applied to the lighting of a set, diffuse, giving a flat scene in
which the brightness difference between highlights and shadows is
small.
SOFT LIGHT: Light made up of soft,
scattered rays resulting in soft, less clearly defined shadows; also
called diffuse light.
SOUND APERTURE: See ACADEMY APERTURE.
SOUND DRUM: A flat roller in the sound
head designed to keep the film precisely positioned at the point where
the scanning beam slit scans the sound track. Also called the
scanning drum.
SOUND EFFECTS (FOLEY): Sound from a source other than
the tracks bearing synchronized dialogue, narration or music: sound
effects commonly introduced into a master track in the rerecording
step, usually with the idea of enhancing the illusion of reality.
SOUND GATE: The gate used in an optical
sound head, instead of a sound drum, to keep the film sound track
precisely aligned on the scanning beam slit during sound reproduction.
SOUND HEAD: The optical sound reproducer
mounted beneath the projector head, but above the take-up reel support
arm or magazine.
SOUND NEGATIVE: The negative record of
photographic sound recording.
SOUND POSITIVE: A positive print of
the photographic sound recording.
SOUND READER: A device used for playback
of sound tracks, particularly during the editing procedure.
SOUND RECORDER: Device that may use
audio tape, magnetic film, or motion-picture film to record sound.
SOUND SPROCKET: Any sprocket that
pulls the film past the sound scanning beam slit.
SOUND STRIP: Narrow band of magnetic
recording medium on a strip of film.
SOUND TRACK: Photographic/optical sound
track running lengthwise on 35 mm film adjacent to the edges of the
picture frames and inside the perforations.
SPARKLE: Printed-in dirt that causes white
dirt in the projected image.
SPECIAL DISTRIBUTION: Range and
proportion of wavelengths radiated by a particular illuminant.
SPECIAL-DYE-DENSITY CURVE:
A graph: 1. of the total density of the three dye layers measured as a
function of wavelengths, and 2. of the visual neutral densities of the
combined layers similarly measured.
SPECLIAL EFFECT: A term broadly
applied to any of numerous results obtained in the laboratory by
combination and manipulation of one or more camera records to produce
an imaginatively creative scene different from what was in front of
the main camera. The making of special effects may involve techniques
such as double printing, fades, mattes, vignetting, etc.
SPECTRAL INTEGRAL DENSITY:
Density at a specific wavelength determined by a spectrophotometer.
SPECTRAL OUTPUT: The range,
intensity, and characteristics of wavelengths emanating from a light
source.
SPECTRAL RESPONSE: The measure of
the ability to differentiate among wavelengths and characteristics
emanating from a light source. The ability of a camera film to record
various wavelengths (colors) of light.
SPECTRAL SENSITIVITY: The
relative sensitivity of a particular emulsion to specific bands of the
spectrum within the films sensitivity range. Sometimes confused with
Color Sensitivity.
SPECTRUM: Range of radiant energy within
which the visible spectrum-with wavelengths of from 400 to 700 mm
exists.
SPECULAR: A term used to describe
mirror-like quality of a reflection or reflected light from a surface.
Specular also can describe a hard or point-surface light such as the
sun, arc light, or any other light producing nearly parallel beams and
hard shadows.
SPECULAR DENSITY: Comparing only
the transmitted light that is perpendicular to the film plane with the
normal incident light, analogous to optical printing and projection.
SPEED: 1. Inherent sensitivity of an emulsion
to light. Represented by a number derived from a films characteristic
curve. 2. The largest lens opening (smallest f-number) at which a lens can be set. A "fast" lens
transmits more light and has a larger opening and better optics than a
"slow" lens.
SPLICE: Any type of cement or mechanical
fastening by which two separate lengths of film are united end-to-end
so they function as a single piece of film when passing through a
camera, film processing machine, or projector.
SPLICER: A mechanical device arranged for
holding film in alignment and with the correct sprocket hole interval
during the various operations required in joining two pieces of film.
It often includes a device for removing emulsion.
SPLICING: The joining together of two or
more pieces of film so that the joined film segments will pass through
a projector, film processor, or camera without interruption.
SPLICING TAPE: Tape designed to make
overlap or butt splices without the need for film cement or mechanical
fastener. Available in a variety of sizes, with or without
perforations, and can be clear, translucent, or opaque orange.
SPOOKING: Caused by loose winding of film
that has considerable curl.
SPOOL: A roll with flanges on which film is
wound for general handling.
SPOTLIGHT: A lighting unit, usually with a
lens and shiny metal reflector that is capable of being focused;
produces hard light.
SPROCKET: A toothed wheel used to transport
perforated motion picture film.
SQUASH AND STRETCH: An element of
character animation which involves the exaggeration of the normal
tendency of an object in motion to undergo a degree of distortion,
lengthening as it travels, and compressing as it stops.
STABILIZATION: The influence of a
magnetic flux in steadying the flow of electrons in a carbon arc. The
action of a damping roller or other device in reducing wow and flutter
in a soundhead.
STAGING: The planning of how the action will
take place.
STAND:The entire photographing unit, including
the compound, camera, and crane.
STANDARD FIELD: See FIELD.
STATIC ELECTRICITY: Electric field
that is present primarily due to the presence of electrical charges on
materials.
STEEL FILM: A steel tape, precisely
dimensioned and perforated, used to align motion picture equipment.
STEP: An exposure increase or decrease, usually
by a factor of 2. The same as "Stop", except stop specifically refers
to lens aperture. A patch of a step tablet used for sensitometer
exposures, as in "21-step tablet."
STEP-CONTACT PRINTER: Contact
printer in which the film being copied and the raw stock are advanced
intermittently by frame; exposure occurs only when both are
stationary.
STEP PRINTER: Contact or optical printer
in which each frame of the negative and raw stock is stationary at the
time of exposure.
STEREOPHONIC: Sound recording and
reproduction with multiple microphones and speakers, each of which has
its own separate track; designed to simulate the actual sound and to
achieve a three-dimensional effect.
STILL STORE: Device which stores
individual video frames, either in analog or digital form, allowing
extremely fast access time.
STOCK: General term for motion picture film,
particularly before exposure.
STOP: The relationship between the focal length
of a lens and the effective diameter of its aperture. An adjustable
iris diaphragm permits any ordinary photographic lens to be used at
any stop within its range. Sometimes used synonymously with
f-number as in "f-stop". A unit of exposure change.
STOP DOWN: To decrease the diameter of the
light-admitting orifice of a lens by adjustment of an iris diaphragm.
STOP FRAME (HOLD FRAME): An optical printing effect in which a
single-frame image is repeated to appear stationary when projected.
Also, camera exposure made one frame at a time rather than by
continuous running.
STOP MOTION: An animation method whereby
apparent motion of objects is obtained on the film by exposing single
frames and moving the object to simulate continuous motion.
STORYBOARD: A series of small consecutive
drawings with accompanying caption-like descriptions of the action and
sound, which are arranged comic-strip fashion and used to plan a film.
The drawings are frequently tacked to corkboards so that individual
drawings can be added or changed in the course of development.
Invented at the Disney studio, the technique is now widely used for
live action films and commercials, as well as animation.
STRAIGHT-LINE REGION: Portion of
characteristic curve where slope does not change because the rate of
density for a given log exposure change is constant or linear.
STRAY LIGHT: Any light that does not
contribute to the purpose for which it was intended. In theatrical
projection, all of the nonimage-producing light hitting the screen.
STRIP: Part of a wide roll of manufactured film
slit strips final width for motion picture use.
STRIPE, MAGNETIC: Narrow band(s) of magnetic
oxide usually coated toward the edges of the base side of motion
picture film for accepting audio signal recordings in the form of
magnetic impulses.
SUBBING LAYER: Adhesive layer that
binds film emulsion to the base.
SUBTRACTIVE COLOR: The formation of
colors by the removal of selected portions of the white light spectrum
by transparent filters or dye images.
SUBTRACTIVE PROCESS: Photographic
process that uses one or more subtractive primary-cyan, magenta, and
yellow-to control red, green, and blue light.
SUNLIGHT: Light reaching the observer
directly from the sun. To be distinguished from Daylight and Skylight
which include indirect light from clouds and refract the atmosphere.
SUPER PANAVISION: Similar to
Panavision 35, but photographed flat in 65 mm. The 70 mm prints
produce an aspect ratio of 2.25:1 with 4-channel sound and a ratio of
2:1 with 6-channel sound.
SUPERSCOPE: A 35 mm anamorphic release
print system adopted by RKO Radio Pictures that produced a screen
image with an aspect ratio of 2:1 or 2.35:1 when projected with a
normal anamorphic lens. The original camera negative was photographed
flat, but special printing produced the anamorphic print.
SUPPLY REEL: The reel holding the film
before it is projected in a projector.
SURROUND CHANNEL: The specific sound
channel in a sound reproduction system directing audio signals to
speakers placed at the sides and at the rear of the auditorium to
provide the added realism of surrounding area sounds.
SURROUND SPEAKERS: Speakers placed
at the sides and at the rear of an auditorium to increase the realism
of a stereophonic presentation, or to produce other special effects.
SWEETING: Audio post production, at which
time audio problems are corrected. Music, narration and sound effects
are mixed with original sound elements.
SWELL: The increase in motion picture film
dimensions caused by the absorption of moisture during storage and use
under high humidity conditions. Extreme humidity conditions and
subsequent swelling of the film aggravates the abrasion susceptibility
of the film surfaces.
SWITCHER: Device with a series of input
selectors that permits one or more selected inputs to be sent out on
the program line.
SYNCHRONIZER: A mechanism employing a
common rotary shaft that has sprockets which, by engaging perforations
in the film, pass corresponding lengths of picture and sound films
simultaneously, thus effectively keeping the two (or more) films in
synchronism during the editing process.
SYNC PULSE: Inaudible timing reference
recorded on the magnetic tape used in double-system recording. The
source can be a generator in the camera cabled to the tape recorder,
or an oscillating crystal in the recorder when the camera also has a
crystal. When the sound is transferred to magnetic film for editing,
a resolver reads the reference and ensures that the tape runs at the
same speed as during shooting. In this way the magnetic workprint can
be placed in sync with the images for which the original sound was
recorded.
SYNCHRONIZATION: A picture record and
a sound record are said to be "in sync" when they are placed relative
to each other on a release print so that when they are projected the
action will coincide precisely with the accompanying sound. See LIP
SYNC.
SYNCHRONIZE: Align sound and image
precisely for editing, projection, and printing.
T-GRAIN EMULSION: Emulsion made up
of tablet-like crystals rather than conventional silver halides
crystals; produces high-speed films with fine grain.
T-STOP: A lens marking which indicates the
true light transmission of the lens at a given aperture instead of the
approximate light transmission indicated by the conventional
f-stop marking.
TAF: Telecine Analysis Film (TAF) is an objective
tool for initial setup and centering of the controls on a telecine
before you transfer images from film to video.
TAIL ENDS, TAILS: The end of a film. The film
must be rewound before projection if it is tails out.
TAKE: When a particular scene is repeated and
photographed more than once in an effort to get a perfect recording of
some special action, each photographic record of the scene or of a
repetition of the scene is known as a "take." For example, the seventh
scene of a particular sequence might be photographed three times, and
the resulting records would be called: Scene 7, Take 1; Scene 7, Take
2; and Scene 7, Take 3.
TAKEUP REEL: The reel onto which the
already projected film is wound up in a projector.
TAPE SPLICE: Film splice made with
special splicing tape applied to both sides of the film.
TAPE SPLICER: Device designed for making
film splices with special splicing tape. Most use unperforated tape,
and then punch perforations into the tape as the splice is made.
TECHNICOLOR: The trade name of a
three-color imbibition process used to make release prints; no longer
used in this country or Europe, but still being used commercially in
China.
TECHNIRAMA: A 70 mm release print
technique developed by Technicolor and printed from a horizontal
double frame 35 mm negative with a 1.5:1 horizontal compression. The
35 mm reduction print image had a 1.33:1 compression ratio and
produced a 2:1 aspect ratio when projected on equipment designed for
CinemaScope. Some 70 mm prints were also available to be shown at a
2.2:1 ratio.
TECHNISCOPE: A system designed to produce
35 mm anamorphic prints from a 35 mm negative having images
approximately one-half the height of regular negative images and
produced by using a special one- half frame (2 perforation) pulldown
camera. During printing, the negative image was blown up to normal
height and squeezed to normal print image width to produce a regular
anamorphic print that provided a projected aspect ratio of 2.35:1. The
system was designed primarily to conserve negative raw stock.
TELECINE: A device for scanning motion
picture film images and converting them to standard videotape.
TENSION: The resistance to linear motion of
the film caused by restraining forces such as tension pads, drive
sprockets, take-up drive motors, spring-loaded guide rails, and the
like, built into projectors, cameras, and other film handling
equipment.
THIN: As applied to a photographic image, having
low density. As applied to the physical properties of film, thin base
film materials provide for more film per given roll diameter.
35 MM FILM: Film 35 mm wide with four
perforations on both edges of each frame. Image frame and sound-track
area lie inside the perforations.
THREAD: To place a length of film through an
assigned path in a projector, camera, or other film handling device.
Also called lacing.
3-D: The common term applied to three-dimensional
(stereoscopic) images projected on a screen or viewed as a print.
There have been several systems shown in theaters but the discomfort
attributed to the necessary eyewear, along with other equipment
limitations has, more or less, relegated the present systems to
novelties.
THROW: In theatrical projection, the distance
from the projector aperture to the center of the screen.
TIGHT WIND: Relating to film wound tightly
on a core or reel to form a firm roll that can be handled and shipped
safely without danger of cinch marks or other damage to the film.
TIME BASE CORRECTOR (TBC):
An electronic device with memory and
clocking circuits used to correct video signal instability during the
playback of video tape material.
TIME-FOG CURVE: Plot of the rate of
fog growth against a series of development times.
TIME-GAMMA CURVE: A plot of the rate
of gamma change over a series of development times. Used to determine
optimum development time for black-and-white negative or positive
film.
TIME-LAPSE MOVIE: A movie that shows
in a few minutes or a few seconds, events that take hours or even days
to occur; accomplished by exposing single frames of film at fixed
intervals.
TIMING: A laboratory process that involves
balancing the color of a film to achieve consistency from scene to
scene. Also includes adjusting exposure settings in duplication.
TITLE: The name or designation of a film.
Also, any inscription contained in a film for the purpose of conveying
information about the film, its message, or its story to the viewer.
TODD-AO: A flat, 70 mm print system developed
by Magna Pictures Corporation and American Optical Company to produce
a 2.2:1 screen image of high resolution, sharpness, and brightness.
The print was made from a 65 mm negative exposed in a specially
designed camera. The extra width of the print film was intended to
provide room for the six magnetic sound tracks contained on four
magnetic oxide stripes. Todd- AO is considered the first commercially
successful 70 mm film system and was introduced in 1955 with the
release of Oklahoma.
TOE: Bottom portion of the characteristic curve,
where slope increases gradually with constant changes in exposure.
TONE: That degree of lightness or darkness in
any given area of a print; also referred to a value. Cold tones
(bluish) and warm tones (reddish) refer to the color of the irnage in
both black-and-white and color photographs.
TRAILER: A length of film usually found on
the end of each release paint reel identifying subject, part, or reel
number and containing several feet of projection leader. Also a short
roll of film containing coming attractions or other messages of
interest.
TRANSITION: The passage from one episodic
part to another. Usually, film transitions are accomplished rapidly
and smoothly, without loss of audience orientation, and are consistent
with the established mood of the film.
TRANSMITTANCE: Amount of incident light
transmitted by a medium; commonly expressed as percent transmittance.
TRAVEL GHOST: A condition that arises
when the projector shutter is not properly timed. On the screen,
light areas produce "ghosts" that extend above or below adjacent dark
areas, depending on whether the shutter is late or early. See TIMING.
TRAVELLING MATTE: A process shot in
which foreground action is superimposed on a separately photographed
background by optical printing.
TRIANGLE: A three-sided framework of wood or
metal, designed to hold the three points of a tripod to limit their
spread.
TRIMS: Manual printer controls used for overall
color correction. Also, unused portions of shots taken for a film;
usually kept until the production is complete.
TRUCK: A camera move in which the camera seems
to move toward (Truck In) or away from (Truck Out) the subject. The
same effect is called a zoom in live-action filmmaking.
TRUCKING: To move a camera translationally
in space as a shot proceeds, usually by means of a dolly or other
vehicular camera support. The purpose is to pace, and maintain image
size of moving subjects.
TUNGSTEN LIGHT: Light produced by an
electrically heated filament, having a continuous spectral
distribution.
TWIST: An effect that is produced in new prints
by loose winding of the film, emulsion side in, under dry air
conditions. If the film is wound emulsion side out under the same
conditions, the undulation do not alternate from one edge to the other
but are directly opposite one another. See EDGEWEAVE.
TYPE C: The SMPTE standard for the 1-inch
non-segmented helical video tape recording format.
TYPE K CORE: 3 inch outside diameter, 1
inch inside diameter plastic core. Used with 1000, 2000, 3000, and
4000 foot lengths of negative, sound and print films.
TYPE T CORE: 2 inch outside diameter, 1
inch inside diameter plastic core. Used with most 16mm films up to
400 feet.
TYPE U CORE: 2 inch outside diameter, 1
inch inside diameter plastic core. Used with various length camera
negative, sound and print films.
TYPE Y CORE: Similar to K but of heavier
construction. Used for most color print films.
TYPE Z CORE: 3 inch outside diameter, 1
inch inside diameter plastic core. Used with camera and print films
in rolls longer than 400 feet.
U-MATIC: The trade name for the 3/4 inch
videocassette system originally developed by Sony. Now established as
the ANSI (American National Standards Institute) Type E video tape
format.
ULTIMATE: Trade name of a high-quality
special effects system similar in application to a chromakeyer.
ULTRA PANAVISION: Similar to Super
Panavision but the 65 mm negative has a compression ratio of 1.25:1
that can provide a potential aspect ratio of 2.75:1 on the screen.
The 70 mm print is projected with an anamorphic lens having a 1.25
image spread thus producing an extremely large screen image.
Reduction prints to 35 mm are compatible with standard anamorphic
systems.
ULTRASONIC CLEANER: Device that
transfers ultrasonic sound waves to a cleaning liquid or solvent that
dislodges embedded dirt on objects immersed in it.
ULTRAVIOLET LIGHT: Energy produced
by the (invisible) part of the electromagnetic spectrum with
wavelengths of 100 to 400 nanorneters. Popularly known as "black
light." UV radiation produces fluorescence in many materials.
ULTRAVIOLET RADIATION:
Radiation at the short wavelength end of the spectrum, not visible to
the eye. It produces fluorescence in some materials.
ULTRAVISION: A 35 mm custom system
designed to provide a high definition and improved contrast film
presentation on a slightly curved screen. Ultravision was designed as
a complete system in which theater design was an integral part.
Projectors, lenses, and lamphouses were also modified.
UNDEREXPOSURE: A condition in which too
little light reaches the film, producing a thin negative or a dark
reversal or print.
UNDERSCAN: Reducing the height and width of
the picture on a video monitor so that the edges, and thus portions of
the blanking, can be observed.
UNIVERSAL LEADER: A film projection
leader, designed according to ANSI document PH22.55 for the current
projection rate of 24 frames per second (1 1/2 feet per second), and
recommended for use on all release prints. It was designed to replace
the Academy leader originally conceived when the motion picture
projection rate was 16 frames per second.
UNSQUEEZED PRINT: A print in which
the distorted image of an anamorphic negative has not been corrected
for normal projection.
UNSTEADINESS: An objectionable amount of
vertical motion in the screen image.
USER BITS: Portions of the scan lines in
the vertical interval, above the active picture area, reserved for
recording information of the user's choosing, e.g. Keykode numbers,
SMPTE time code, etc.
VALVE ROLLERS: A cluster of three or
four small rollers located at the entrances of the film magazines and
designed to prevent fire from reaching the film reels. Since nitrate
prints are now quite rare, and are actually unlawful to use in some
areas of the United States, use of valve rollers, or fire rollers, is
no longer essential on domestic projection equipment.
VARIABLE - AREA SOUND
TRACK: Photographic sound track consisting of one or more
variable-width transparent lines that run the length of a
motion-picture film within the prescribed sound-track area. The most
common type of track.
VARIABLE-DENSITY SOUND
TRACK: Photographic sound track that is constant in width but
varies in density along the length of a motion-picture film within the
prescribed sound-track area. No longer used in motion-picture
productions.
VECTOR SCOPE: A special oscilloscope
used in television to set up and monitor color reproduction.
VERTICAL INTERVAL: Indicates the
vertical blanking period between each video field. Contains
additional scan lines above the active picture areas into which
non-picture information-user bits-can be recorded.
VERTICAL SYNC: The synchronizing pulses
used to define the end of one television field and the start of the
next-occurring at a rate of approximately 59.94Hz (color), and 60 Hz
(black & white).
VIDOSCOPE: A wide-screen process compatible
with CinemaScope-type presentations.
VIEWER: A mechanical and optical device
designed to permit examination of an enlarged image of motion picture
film during editing.
VIEW FINDER: A registration device
mounted near the top of the animation stand that allows the camera
operator to check whether or not the camera is trained on the center
of the field. See RACKOVER.
VIGNETTING: The partial masking, or
blocking, of peripheral light rays either by intent, or by accident.
In theatrical projection, the blockage of peripheral light rays in a
projection lens due to a lens barrel that is too long, or to a
lamphouse optical system that is not correctly matched to the limiting
aperture of the projection lens. In photography, the intentional
masking of peripheral light rays to soften and enhance a photograph.
VISION MIXER: British term for video
switcher.
VISUAL DENSITY: Spectral Sensitivity
of the receptor which approximates that of the human eye.
VISTAVISION: System designed by Paramount
Pictures to provide a sharp screen image with very high resolution.
The 35 mm negative film passed through the camera horizontally and
contained an image approximately twice the size of a typical 35 mm
print-film image. During reduction printing, the negative image was
reduced to normal print size, reducing negative grain and increasing
sharpness and resolution. Normal projection aspect ratio was 1.85:1.
VISTORAMA: A wide-screen process compatible
with CinemaScope-type presentations.
VITC (VERTICAL INTERVAL TIME CODE):
Time code that is recorded in the vertical blanking interval
about the active picture area. Can be read from video tape in the
"still" mode.
VOICE ARTIST: An actor who performs the
voices for the animated characters during a recording.
VOICE-OVER: See NARRATION.
VOICE-OVER-NARRATION: A sound
and picture shot relationship in which a narrator's voice accompanies
picture action.
WARPING: Synonymous with the misused term
"buckle" when describing film distortions. These terms are too vague
to be helpful in communication.
WEAVE: Periodic sideways movement of the image
as a result of mechanical faults in camera, printer or projector.
WET-GATE PRINTER: Printer in which
the film passes through fluid-filled pads just before exposure.
Released fluid temporarily fills film scratches with a solution that
has the same refractive index as the film base, thereby eliminating
scratch refraction and ensuring that the scratches will not appear on
the printed film.
WIDESCREEN: General term for form of film
presentation in which the picture shown has an aspect ration greater
than 1.33:1.
WILD: Picture or sound shot without synchronous
relationship to the other.
WINDING: Designation of the relationship of
perforation and emulsion position for film as it leaves a spool or
core.
WINDOW DUB: A "burned-in window", usually
on a video workprint, showing time code and Keykode numbers. Other
windows can be added, e.g., running footage, audio time code,
scene-take, date, etc.
WIPE: Optical transition effect in which one
image is replaced by another at a boundary edge moving in a selected
pattern across the frame.
WORKPRINT: Any picture or sound track
print, usually a positive, intended for use in the editing process to
establish through a series of trail cuttings the finished version of a
film. The purpose is to preserve the original intact (and undamaged)
until the cutting points have been established.
WORKSTATION: The host computer for any
user application; in digital special effects, the workstation allows
the user to process irnages and interface with digital devices.
XENON ARC: A short arc contained in a
quartz envelope in which dc current, flowing from the cathode to the
anode, forms an arc in a positive (high pressure) atmosphere of xenon
gas. The spectral distribution in the visible range closely resembles
natural daylight.
XENON BULB: The quartz envelope containing
the two electrodes that produce an arc in a high-pressure environment
of xenon gas.
XFR: Shorthand slang for "transfer."
YELLOW: Minus-blue subtractive primary used in
the three-color process.
ZERO-FRAME REFERENCE MARK:
Dot which identifies the frame, directly below as the zero-frame
specified by both the human-readable key number and the
machine-readable bar code.
ZOETROPE: An early animation device that
uses strips of sequential drawings that are spun and viewed through
slits in a rotating drum to create an illusion of motion.
ZOOM-IN: A continuous changing of the camera
lens focal length, which gradually narrows down the area of the
picture being photographed, giving the effect of continuously
enlarging the subject.
ZOOM-OUT: A continuous changing of the
camera lens focal length, which gradually enlarges the area being
photographed, giving the effect of a continuously diminishing subject.
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