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| The process by which the editor combines and coordinates individual shots into a cinematic whole; the basic creative force of cinema |
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| A device for presenting or reawakening the memory of the camera, a character, the audience- or all three – in which the action cuts from the narrative present to a past event, which may or may not have already appeared in the movie either directly or through inference. |
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| A device for presenting the anticipation of the camera, a character, the audience- or all three- in which the action cuts from the narrative present to a future time, one in which, for example, the omniscient camera reveals directly or a character imagines, from his or her point of view, what is going to happen. |
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| In filmmaking, generally an omission of time - the time that seperates one shot from another – to create dramatic or comedic impact |
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| 1.) In France, the word for editing from the verb monter, “to assemble or put together.” 2.) In the former Soviet Union in the 1920’s, the various forms of editing the expressed ideas developed by theorists and filmmaker such as Sergei Eisenstein. 3.) In Hollywood, beginning in the 1930’s, a sequence of shots, often with superimpositions and optical effects, showing a condensed series of events. |
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| A style of editing that seeks to achieve logic, smoothness, sequential flow, and the temporal and spatial orientation of viewers to what they see on the screen. Continuity editing ensures the flow from shot to shot; creates a rhythm based on the relationship between cinematic space and cinematic time. |
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| A style of editing - less widely used than continuity editing, often but not exclusively in experimental films - that joins shots A and B in ways that upset the viewers expectations and cause momentary disorientation or confusion. |
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| AKA a cover shot. A shot that covers action of a scene in one continuous take. Master shots are usually composed as long shots so that all the characters in the scene are on-screen during the action of the scene. |
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| An imaginary line connecting two figures in a scene that defines the 180-degree space within which the camera can record shots of those fiures. |
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| One of the most prevalent and familiar of all editing patterns, consisting of parallel editing between shots of different characters, usually in a conversation or confrontation. |
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| A cut that preserves continuity between two shots. |
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| Also called parallel editing. Editing that cuts between two or more lines of action, often implied to be occurring at the same time but in different locations. |
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| Editing technique that juxtaposes two or more distinct actions to create the effect of a single scene. |
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| The removal of a portion of a film, resulting in an instantaneous advance in the action - a sudden, perhaps illogical, often disorienting ellipsis between two shots. |
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| Transitional devices in which a shot fades in from a black field on black-and-white or from a color field on color film, or fades out to a black field. |
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| Also known as lap dissolve. A transitional device in which shot B, superimposed, gradually appears over shot A and begins to place it at midpoint in the transition |
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| A transitional device between shots in which shot B wipes across shot A, either vertically or horizontally, to replace it. |
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| Optical wipe effect in which the wipe line is a circle. The iris-in begins with a small circle, which expands to a partial or full image |
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| A method, created either in the camera or during the editing process, of telling two stories at the same time by dividing the screen into different parts. |
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| Material that is not used in either the rough cut or the final cut, but is cataloged and saved. |
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| The process of combining different sound tracks onto one composite sound track that is synchronous with the picture. |
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| The faithfulness or unfaithfulness of a sound to it's source. |
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| Sound that originates from a source within a film's world. |
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| Sound that originates from a source outside a film's world. |
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| A form of diegetic sound in which we hear the thoughts of a character we see onscreen and assume that other characters cannot hear them. |
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| A form of diegetic sound that comes from a place within the world of the story, which we and the characters in the scene hear but do not see. |
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| One variation on the mental, subjective point of view of an individual character that allows us to see a character and hear that character's thoughts. |
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| The lip-synchronous speech of characters who are either visible onscreen or speaking offscreen, say from another part of the room that is not visible or from an adjacent room. |
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| Sound that emanates from the ambience of the setting or environment being filmed, either recorded during production or added during postproduction. |
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| A sound artificially created for the sound track that has a definite function in telling the story. |
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| A sound belonging to apsecial category of sound effects, invented in the 30's by Jack Foley. Foley artistes create these sounds using props in a special studio. |
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| Literally, "writing with light"; technically, the recording of static images through a chemical interaction caused by light rays striking a sensitized surface |
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| Literally, "dark chamber" A box or room; light entering through a hole or lens on one side of the box or room projects an image from the outside onto the opposite side or wall |
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| An early device for exhibiting moving pictures - a revolving disk with photographs arranged around the center. |
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| Also known as chronophotographic gun. CA cylinder-shaped camera that creates exposures automatically, at short intervals, on different segments of a revolving plate. |
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| A form of the chronophotographic gun - a single, portable camera capable of taking twelve continuous images |
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| The first motion-picture camera |
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| A peephole viewer, an early motion-picture device |
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| Film is an analog medium in which the camera creates an image by recording through a camera lens the original light given off by the subject and stores this image on a roll of negative film stock |
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| An electronic process that creates its images through a numbered system of pixels that are stored on a flash card or a computer hard drive |
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| The first stage of creating motion pictures, in which images are recorded on previously en exposed film as it moves through the camera. |
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| The second stage of creating motion pictures in which a labratory technician washes exposed film with processing chemicals. |
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| The third stage of creating motion pictures, in which edited film is run through a projector, which shoots through the film a beam of light intense enough to project a large image on the movie-theater screen. |
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| Exposing the recording media in a camera to light to produce a latent image on it, the quality of which is determined primarily by the source and amount of light. |
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| Short for "picture elements" these are the small dots that make up the image on a video screen. |
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| The concluding narrative events that follow the climax and celebrate or otherwise reflect upon story outcomes |
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| The initial, planning-and-preparation stage of the production process |
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| The second stage of the production process, the actual sooting |
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| The third stage of the production process, consisting of editing, preparing the final print, and bringing the film to the public |
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| The person who guides the entire process of making the movie from its initial planning to its release and is chiefly responsible for the organizational and financial aspects of the production. |
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| The person who determines and realizes on the screen an artistic vision of the screenplay and casts the actors and directs their performance. Works closely with production design and editing |
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