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| A shot from above, usually made from a plane, helicopter, or crane |
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| Sound that is not precisely matched temporally with the actions occurring in it |
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| A director or other creative intelligence with a recognizable and distinctive style who is considered the prime "author" of a film |
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| A mechanical device for holding the microphone in the air, out of camera range, and movable in almost any direction |
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| The perspective that the camera takes on the subject being shot. Ex. low angle, high angle, or tilt angle |
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| The director of photography (DP), who is responsible for the camera technique and the lighting of a film in production |
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| Sometimes designated CU; a shot that often shows a part of the body filling the frame--traditionally a face. More generally, any close shot |
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| The process of visualizing and putting visualization plans into practice; more precisely, the organization, distribution, balance, and general relationship of stationary objects and figures, as well as of light, shade, line, and color within the frame |
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| Movement of a camera mounted on an elevating arm that, in turn , is mounted on a vehicle capable of moving on its own power. A crane may also be mounted on a vehicle that can be pushed along tracks |
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| A direct change from one shot to another, ie, the precise point at which shot A ends and shot B begins, a result of cutting |
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| Also known as splicing, the actual joining together of two shots |
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| A form of discontinuity editing pioneered by Soviet film theorist and filmmaker Sergei Eisenstein, in which shots 'collide' or noticeably conflict with one another. It is based on the Marxist concept of dialectical materialism, which posits the history of human society as the history of the struggle between the classes |
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| Sound that originates from a source within the world created by the film, such as on-screen and off-screen sounds heard by characters |
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| A transitional device in which shot B, superimposed, gradually appears over shot A and begins to replace it at midpoint in the transitional process. It usually indicated the passing of time |
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| A movable platform for carrying lights, cameras, and other kinds of filming equipment |
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| In a Dutch-angle shot, the camera is tilted from its normal horizontal position so that it is no longer straight, giving the viewer the impression that the world in the frame is out of balance |
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| A shot that ordinarilly begins a sequence of shots by showing the location of the ensuing action. Usually a long shot |
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| A very close shot of some detail, such as a person's eye, a ring on a finger, or a watch face |
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| A shot that shows the full human body, usually filling the frame, and some of its surroundings |
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| An eye-leyel shot is made from the observer's eye level and usually implies neutrality with respect to the camera's attitude toward the subject being photographed |
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| This type of match cut joins shot A, a point-of-view shot of a person looking off-screen in one direction, and shot B, the person or object at which he or she is looking |
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| The smallest compositional unit of film structure, the frame is the individual photographic image both in projection and on the film strip. |
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| A type of shot made possible by portable, single-operator cameras |
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| A high-angle shot that is made with the camera above the action |
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| Printed titles that appear within the main body of a film to convey dialogue and other narrative information |
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| A single unbroken shot, moving or stationary, that describes a complex action that might otherwise be represented through montage |
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| A low-angle shot is made with the camera below the action |
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| A shot showing the human body, usually from the waist up |
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| A shot distanced midway between a close-up and a medium shot, a human subject's face and torso from the chest up |
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| A term that describes the action, lighting, decor, and other elements with the shot itself |
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| A sequence of shots, often with super impositions and optical effects, showing a condensed series of events |
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| Sound that originates from a source outside a film's world and thus not heard by the characters, such as musical scores and voice-overs |
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| The means by which filmmakers maintain consistent screen direction, orienting the viewer and ensuring a sense of the cinematic space in which the action occurs |
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| Any pivotal movement of the camera around an imaginary vertical axis running through it |
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| A continuously exposed, unedited piece of film of any length |
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| The type of film sound we are most familiar with, which comes from and matches a source apparent in the image, as when dialogue matches character's lip movements |
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| A director shoots one or more versions of each shot in a given setup, only one of which appears in the final version of the film (each version is a take) |
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| The vertical movement of a camera mounted on the gyroscopic head of a stationary tripod |
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| A shot produced with a smooth camera movement that moves with the action |
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| A transitional device in which shot B wipes across shot A, either vertically or horizontally, to replace it. |
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| Allows for continuous motion toward and away from the subject being photographed, it has a continuously variable focal length |
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