A comprehensive glossary of filmmaking terms — from pre-production through post-production. If you've encountered a term on set, on a call sheet, or in one of our guides and weren't sure what it meant, it's probably here.
The crew member responsible for managing the shooting schedule on set, keeping the production on time, coordinating departments, and maintaining set safety. In pre-production, the 1st AD builds the shooting schedule and works with the director on the shot list.
2nd AD (Second Assistant Director)
Assists the 1st AD. Typically responsible for preparing and distributing call sheets, managing extras, and coordinating cast movements between makeup, wardrobe, and set.
Action
In a screenplay, the descriptive text between dialogue blocks that describes what's happening on screen — character movement, environment details, and visual storytelling. Also the command the director gives to begin a take.
ADR (Automated Dialogue Replacement)
The process of re-recording dialogue in a studio after the shoot, typically because the on-set audio was unusable. Also called looping.
Anamorphic
A lens system that optically squeezes a wider field of view onto the sensor, then stretches it back in post or projection. Creates distinctive oval bokeh and horizontal lens flares. Common anamorphic ratios are 2.39:1 and 2.76:1.
Angle (Camera Angle)
The position of the camera relative to the subject. Common angles include eye level, low angle, high angle, dutch angle (tilted on the roll axis), and bird's eye (directly overhead).
Apple Box
A wooden box used on set to raise actors, equipment, or furniture. Comes in four standard sizes: full, half, quarter, and pancake. One of the most versatile tools on any set.
Aspect Ratio
The proportional relationship between image width and height. Common ratios: 16:9 (1.78:1, standard HD), 2.39:1 (anamorphic widescreen), 1.85:1 (theatrical flat), 4:3 (1.33:1, classic TV).
Assembly (Assembly Cut)
The first rough edit of the film, where all scenes are arranged in script order using selected takes. No finessing, no sound design, no color — just the raw structure.
B
B-Roll
Supplemental footage that intercuts with the main action — establishing shots, detail shots, environmental footage. In documentary, B-roll plays over interview audio.
Back Light
A light placed behind and above the subject, aimed toward the camera. Separates the subject from the background by creating a rim of light. Part of the traditional three-point lighting setup.
Best Boy
The second-in-command of either the electric department (best boy electric) or the grip department (best boy grip). Manages equipment, personnel, and logistics.
Blocking
The planned physical movement of actors within a scene — where they stand, sit, walk, and interact with the space. Blocking is typically worked out during rehearsal and directly affects camera placement and coverage planning.
Boom
A pole used to position a microphone above the actors, just out of frame. Operated by the boom operator. Also refers to a camera crane arm.
Bounce
A technique where light is reflected off a surface to create soft, indirect illumination. Bounced light wraps around the subject more naturally than direct light.
Breakdown (Script Breakdown)
The process of analyzing each scene in a screenplay and tagging every element that needs to be planned, sourced, or present on set — cast, props, wardrobe, vehicles, special effects, etc. See our full guide: How to Break Down a Script.
Breakdown Sheet
The document produced for each scene during the breakdown process, listing all tagged elements organized by category (cast, props, wardrobe, etc.) along with the scene number, heading, page count, and synopsis.
C
C-Stand (Century Stand)
A versatile metal stand used to hold flags, diffusion, reflectors, and other grip equipment. The most common piece of grip gear on any set.
Call Sheet
A daily document distributed to all cast and crew that contains the day's schedule, call times, location information, weather, and special instructions. The definitive communication for each shooting day. See: How to Make a Call Sheet.
Call Time
The time a specific person or department is expected to arrive on set. General crew call is the default; individual cast and departments may have earlier or later call times.
Close-Up (CU)
A shot that tightly frames a subject, typically showing a character's face from forehead to chin. Used for emotional emphasis and detail.
Cheat
To subtly adjust an actor's position or a camera angle from what would be physically accurate to improve composition or visual clarity without the audience noticing.
Clapper (Slate / Clapperboard)
The board held in front of the camera at the start of each take, showing scene and take numbers. The "clap" provides a visual and audio sync point for post-production.
Company Move
The process of the entire production relocating from one shooting location to another during a single day. Company moves consume significant time and should be minimized in the schedule.
Color Grading
The post-production process of adjusting color, contrast, and tone to achieve a specific look or mood. Distinct from color correction, which focuses on technical accuracy.
Color Temperature
A measurement of light warmth/coolness in Kelvin (K). Daylight is approximately 5600K. Tungsten is approximately 3200K. Matching color temperatures prevents unwanted color casts.
Compositing
Combining visual elements from different sources — live-action, CGI, matte paintings, green screen plates — into a single image. A core VFX discipline.
Continuity
The consistency of visual elements between shots that will be edited together — wardrobe, props, hair, makeup, set dressing, and actor positions. Tracked by the script supervisor.
Coverage
The total set of camera angles and setups used to capture a scene. Complete coverage means the editor has enough footage from enough angles to cut the scene together. The lined script is the primary tool for planning coverage.
D
Dailies (Rushes)
The raw footage from a day's shooting, reviewed by the director, DP, and editor — typically the same evening or the following morning. Used to verify that coverage is adequate and the performances are working.
Day Break
A marker on the stripboard that separates one shoot day from the next. Everything above the break is shot on one day; everything below starts the next day.
Day for Night
A technique where footage shot during the day is treated to look like nighttime through underexposure, filters, or color grading.
Day Out of Days (DOOD)
A chart showing each cast member's status on each shoot day — working, on hold, start, finish, or travel. Generated from the schedule and used for budgeting and coordination. See: How to Make a Shooting Schedule.
Day Player
An actor hired for a specific number of days rather than the full production. Their schedule is tracked on the DOOD.
Depth of Field (DOF)
The range of distance within a shot that appears acceptably sharp. Shallow DOF (large aperture, long lens) isolates subjects against blurred backgrounds. Deep DOF (small aperture, wide lens) keeps everything sharp.
Diegetic Sound
Sound originating from within the world of the film — dialogue, a car horn, music from a radio on screen. Non-diegetic sound exists outside the story world (score, narration).
Diffusion
Material placed between a light source and subject to soften the light and reduce harsh shadows. Common materials include silk, muslin, and synthetic fabrics.
Dissolve
A transition where one image gradually fades out while the next fades in, overlapping briefly. Often indicates the passage of time.
Dolly
A wheeled platform on which the camera is mounted, allowing smooth horizontal movement. A dolly shot moves the entire camera through space, as opposed to a pan or tilt which only rotates the camera on its axis.
DP (Director of Photography / Cinematographer)
The department head responsible for the visual look of the film — lighting, camera placement, lens selection, and composition. Works closely with the director on coverage planning and the shot list.
E
Eighth (1/8th Page)
The standard unit of measurement for scene length in film scheduling. A full page equals 8/8. Scene lengths are measured in eighths because they provide useful granularity for scheduling without implying false precision.
EP (Entertainment Partners) Color Coding
The industry-standard color system for breakdown categories (cast = red, props = purple, wardrobe = orange, etc.) and stripboard strips (INT DAY = white, EXT DAY = yellow, INT NIGHT = green, EXT NIGHT = blue).
Establishing Shot
A wide shot at the beginning of a scene that shows the location and context — the exterior of a building before cutting to the interior, for example. Sets the spatial context for the audience.
F
FDX (Final Draft)
The file format used by Final Draft screenwriting software. One of the most common screenplay interchange formats, supported by most production tools including Lína.
Fill Light
A secondary light reducing shadows created by the key light. Typically softer and less intense. Part of three-point lighting.
Final Cut
The last approved version of the edited film, after all revisions. Goes to color grading, sound mixing, and delivery.
Flag
An opaque fabric on a frame used to block or shape light. Mounted on C-stands and positioned by grips.
Focal Length
The optical distance (mm) between lens and sensor at infinity focus. Shorter lengths (24mm) capture more scene; longer lengths (85mm, 135mm) compress perspective and isolate subjects.
Focus Pull (Rack Focus)
A deliberate shift of focus from one subject to another within a shot, directing audience attention. Executed by the 1st AC (focus puller).
Foley
Creating and recording everyday sound effects in post — footsteps, clothing rustles, door closes. Named after Jack Foley. Performed by foley artists while watching the picture.
Focus Mode
A distraction-free writing mode in screenplay editors that dims or hides interface elements, allowing the writer to concentrate on the text.
Fountain
A plain-text screenplay format that uses simple markup conventions (uppercase for scene headings, @ for characters, etc.) and can be read as raw text or parsed by software into formatted screenplay output.
G
Gaffer
The head of the electrical department, responsible for executing the DP's lighting plan. Works closely with the key grip on rigging and power.
Gel
Colored transparent material placed over lights to modify color. CTO warms daylight to tungsten; CTB cools tungsten to daylight. Creative gels add any color.
Green Screen (Chroma Key)
A technique where actors perform before a uniformly colored background (green or blue) that is digitally replaced in post-production.
Grip
A crew member responsible for rigging, mounting, and moving equipment that shapes or controls light — flags, silks, diffusion frames, dolly track, and camera support. The key grip is the department head.
H
Handheld
Shooting with the camera physically held by the operator. Creates organic, immediate movement with a documentary feel.
Head Room
The space between the top of a subject's head and the top of the frame. A small amount is standard; too much or too little feels wrong.
HMI
A high-intensity discharge lamp producing daylight-balanced light (5600K). Significantly more powerful than LED equivalents. Requires a ballast.
Holding
A designated area on or near set where actors wait between setups. Should be comfortable and accessible — the call sheet should note its location.
Hot Set
A set that is actively dressed and should not be touched between setups. Everything is positioned for continuity and moving anything risks a continuity error.
L
L-Cut
An edit where current scene audio continues after the picture cuts to the next scene. The opposite of a J-cut. Common in dialogue to show listener reactions.
Lavalier (Lav)
A small microphone clipped to an actor's clothing, hidden from camera. Provides consistent audio regardless of movement.
Lined Script
A copy of the screenplay with vertical lines drawn through the text to indicate which portions are covered by each camera setup. Each line represents a shot. The primary tool for planning and tracking coverage. See: How to Line a Script.
Location Agreement
A signed contract between the production and a property owner granting permission to film at a specific location, typically including dates, hours, fees, insurance requirements, and liability terms.
Lock (Script Lock)
The point at which the screenplay is considered final and scene numbers are assigned. After lock, changes are handled through a formal revision process with colored revision pages.
M
Magic Hour (Golden Hour)
The period shortly after sunrise or before sunset when natural light is warm, soft, and directional. Highly prized but limited — typically 20–40 minutes of usable light.
Martini Shot
The last shot of the day. Named because "the next shot is out of a glass."
Master Shot
A wide shot that covers the entire scene from beginning to end. Provides safety coverage — even if closer shots don't work, the editor can always fall back to the master.
Match Cut
A transition matching a visual element — shape, movement, or composition — between two shots, creating a seamless or thematic connection.
Medium Shot (MS)
A shot framing a character from roughly the waist up. The workhorse of dialogue coverage — close enough to read expressions, wide enough to capture body language.
O
OTS (Over-the-Shoulder)
A shot framing one character with the back of another character's head and shoulder in the foreground. The standard coverage pattern for two-person dialogue scenes.
P
Pan
Horizontal rotation of the camera on its axis — left to right or right to left. The camera stays in place; only the direction changes.
Pick-Up
A short, additional shot captured to fill a gap in coverage or correct a problem — a reaction shot, an insert, or a portion of dialogue that wasn't clean in the main coverage. Also refers to pick-up days scheduled after principal photography.
POV (Point of View)
A shot from a character's perspective, showing what they see. Often preceded and followed by shots of the character looking.
Practical (Practical Light)
A light source visible in frame — a lamp, candle, neon sign. Serves as both set dressing and functional light. Often modified with different bulbs or dimmers.
Pre-Call
A call time earlier than the general crew call, given to specific departments that need extra setup time — typically grip and electric for rigging, or makeup for extensive prosthetics.
Pre-Lap
Audio from the next scene that begins before the picture cuts. Another term for the audio component of a J-cut.
Principal Photography
The main shooting period of a production — from the first day of filming through the last scheduled day. Distinct from reshoots or pick-up days.
Producer
The person responsible for overall management — financing, hiring key crew, overseeing budget, and guiding the project from development through distribution.
Production Designer
The department head responsible for the visual design of physical environments — sets, locations, set dressing, and the overall "look" of the world.
Props
Objects that actors physically interact with during a scene. Distinct from set dressing, which fills the environment but isn't handled by characters. Tagged in purple during the breakdown.
R
Reaction Shot
A shot showing a character's response to something. One of the most important editorial tools for pacing and emotional tone.
Resolution
Pixel dimensions of the image. Common: HD (1920×1080), 4K (3840×2160), 6K, 8K. Higher resolution = more detail but more storage and processing.
Reverse Shot
A shot facing the opposite direction from the previous shot. Standard in dialogue to alternate between speakers.
Room Tone
A recording of the ambient sound in a location with no one speaking or moving. Captured by the sound department and used in post-production to smooth edits and fill gaps in the audio.
S
Scene Heading (Slug Line)
The line at the top of each scene in a screenplay that identifies the location and time of day — e.g., INT. APARTMENT - NIGHT. The foundation of the breakdown and scheduling process.
Script Supervisor
The crew member responsible for tracking continuity, coverage, and takes during production. Maintains the lined script on set and produces notes for the editor. See: What Is a Script Supervisor?
Set Dressing
Objects placed in the environment to create the look and feel of a location — furniture, wall art, curtains, table settings — that aren't physically interacted with by actors. Distinct from props.
Setup
A specific camera position and configuration. Changing the setup means moving the camera to a new position, adjusting the lens, or significantly changing the lighting. Each setup on the shot list requires time for rigging and adjustment.
Shot List
A document itemizing every planned camera setup, organized by scene. Each entry describes the shot type, framing, camera movement, and any notes. See: How to Create a Shot List.
Sides
Printed pages of the screenplay containing only the scenes being shot that day. Distributed to actors and crew on set as a quick reference.
Single
A shot framing one character alone, as opposed to a two-shot. Singles of each character are standard dialogue coverage.
Sound Design
The creative process of building the entire audio landscape — beyond dialogue and music — including ambiences, effects, and processed audio that establishes mood.
Squiggle (Wavy Line)
On a lined script, a wavy or squiggly line indicates that the covered text is happening off screen during that shot — typically dialogue being spoken by a character who isn't in frame. See: How to Line a Script.
Steadicam
A stabilization system worn by the operator producing smooth, floating movement. Allows the camera to move through spaces a dolly can't — up stairs, through doorways.
Shot / Reverse Shot
An editing pattern alternating between two characters in conversation using matching OTS or single shots. The foundational dialogue coverage pattern.
Storyboard
A sequence of drawn, photographed, or digitally created images showing what the camera will see in each shot. Used to plan visually complex sequences. See: What Is a Storyboard and Do You Need One?
Stripboard
A scheduling tool where each scene is represented by a horizontal strip that can be rearranged to determine shooting order. Strips are color-coded by INT/EXT and DAY/NIGHT. See: How to Make a Shooting Schedule.
T
Take
A single, continuous recording of a shot. Scenes are typically shot in multiple takes, with the director selecting the best performance. The script supervisor logs every take.
Tilt
Vertical rotation of the camera on its axis — up or down. The camera stays in place.
Time Code
A numeric label per frame in hours:minutes:seconds:frames format. Used for sync, logging, and precise editing.
Tracking Shot
A shot where the camera physically moves alongside or toward a subject. Achieved with dolly, Steadicam, gimbal, or vehicle mount.
Tech Scout
A visit to a confirmed location by the director and key department heads (DP, gaffer, key grip, sound mixer, AD) to plan the technical execution of scenes at that location. See: How to Scout and Manage Locations.
Turnaround
The minimum rest period between an actor's or crew member's wrap time and their next call time. Union productions mandate specific turnaround hours (typically 10–12). Even on non-union shoots, adequate turnaround is essential for safety and performance.
V
VFX (Visual Effects)
Effects created digitally in post — CGI, compositing, set extensions, wire removal. Distinct from practical effects (SFX) done on set.
Video Village
The area on set where the director and other key crew watch the camera feed on monitors during takes. Usually positioned near the camera but out of frame.
W
Whip Pan (Swish Pan)
An extremely fast pan that blurs the image. Used as a stylistic transition or to convey sudden shifts in attention.
Wide Shot (WS)
A shot showing the full scene environment with characters visible in context. Often used as the master shot for safety coverage.
Wild Sound (Wild Track)
Audio recorded on set not synchronized to a specific take — ambient sound, specific effects, or clean dialogue without rolling picture.
Wrap
The end of the shooting day (daily wrap) or the end of the entire production (production wrap). "That's a wrap" is the traditional announcement.
X
XCU (Extreme Close-Up)
Alternate abbreviation for Extreme Close-Up, sometimes used on shot lists and call sheets.
XLS (Extreme Long Shot)
A very wide shot where the subject is small within a vast environment. Emphasizes setting over character.