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| To fade in one channel while fading out another |
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| Unwanted breakthrough from adjacent channels |
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| Distortion in a mixer or a amp due to severe overloading |
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| Decibel is the smallest change in loudness that the average human ear can detect. Zero dB is the threshold for human hearing. Pain threshold is between 120 and 130dB |
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| Process of reducing unwanted resonant effects by applying absorbent material to a speaker cabinet. Poor damping can mask clarity. |
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| Signal from the output of system returns to the input producing unwanted oscillation that can cause severe damage to speaker components |
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| A form of distortion in which unwanted harmonics are added to the original signal |
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| Musical Instrument Digital Interface |
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| The electronics that allow the combination of several signals in desired proportions |
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| A screen used to stop plosives from having a negative impact on a mics frequency. |
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| A cellular foam mic cover used to prevent plosive blasts from reaching a mics diaphragm. A wind shield generally negatively affects the mics high frequency response. |
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| A mics stand which provides flexibility for both vertical and horizontal adjustment |
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| a non-directional condenser mic that clips onto ones clothing |
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| a multi-channel audio cable intended fo use wiht mic level signals and/or line level signals |
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| a highly directional mic, usually with a long tubular body- used by production sound mixer location or on the stet for film television. |
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| a ground plan of the stage on which all lighting instruments are drafted, showing where each instrument is hung, what type it is, what dimmer it is patched into, and what color it is gelled. |
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| a check of the lighting system one channel at a time |
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| Mounting position on the front edge of the balcony |
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| the general name for lighting fixtures |
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| moving the beam of a lamp from side to side of the stage |
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| a light performing a particular function |
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| metal stencil placed in the gate of a profile spot to shape the beam of light |
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| a lens with a surface composed of a series of concentric ribs of stepped cross sections that make it thinner lighter, and more efficient than a solid lens |
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| A spotlight in which the light collected from an ellipsoidal reflector (mirror) is focused on a lens. The shape of the light beam is adjustable by an internal iris, silhouette stencil (gobo), or independent framing shutters. Most of these lamps are designed to project perforated metal gobos |
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| A light fitting with a specially shaped reflector that produces a broad, elongated light beam enabling a cyclorama to be lit evenly overall from a relatively close distance. |
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| A tungsten-halogen (quartz) lamp in which a parabolic aluminized reflector forms part of the bulb. An internally silvered reflector and a molded lens front glass provide a fixed beam. Par bulbs are available in various beam sizes. |
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| A brand of ellipsoidal spot |
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| Type of light fitting that illuminates a wide area |
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| A thin, tinted plastic-lie sheet placed over a light to change the color of the projected light |
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| A metal “window screen” that can be placed in front of a lighting unit to decrease lighting intensity by a predetermined amount |
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| light that is escaping from the sides of a lighting unit, or any light that is falling where it is not wanted |
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| Reducing the light on an object by means of nets, scrims, dimmers or wasting light |
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| The chief grip who works directly with the gaffer in creating shadow effects for set lighting and who supervises camera cranes, dollies and other platforms or supporting structures according to requirements of the Director of Photography |
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| A mechanical arm which is supported on a dolly, tripod, or other device, which is counterweighted to hold a camera for an increasing range of motion |
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| Telescoping arm for a camera or microphone available in a variety of sizes and shapes |
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| – The frequency at which film or video frames run (i.e. 24 frames per second; 29.97 Hz in NTSC; 25 Hz in PAL (Phase Alternating Line) European Format) |
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| Transfer of finished audio mix back onto the video edit master |
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| Stock footage that was not generated for the specific presentation |
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| A cut made on action or movement between two shots in which the action has been overlapped either by repetition of action or by use of more than one camera |
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| The assembly of shots and the portrayal of action or ideas through the use of many short shots |
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| National Television Standards Committee that sets American Broadcast and videotape format standards for the FCC (525 lines/frame – 29.97 frames per second) |
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| Shot with only one subject in the frame |
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| A medium close-up shot of two subjects, usually framed from the chest up |
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| (Society of Motion Picture & Television Engineers) Time Code – SMPTE time code is also known as longitudinal time code. High frequency signal that allows accurate locking of film audio and video equipment. Locator information is displayed as members |
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| – Audio elements that are not recorded synchronously with the picture |
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| A shot composed with the horizon not parallel with the bottom of the frame |
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