A basic guideline regarding the on-screen spatial relationship between a character and another character or object within a scene. By keeping the camera on one side of an imaginary axis between two characters, the first character is alwaysframe right of the second character. Moving the camera over the axis is calledjumping the line orcrossing the line; breaking the 180-degree rule by shooting on all sides is known asshooting in the round.[1]
A basicfilm editing guideline that states the camera should move at least 30 degrees relative to the subject between successive shots of the same subject. If the camera moves less than 30 degrees, the transition between shots may look like ajump cut, which could jar the audience and take them out of the story by causing them to focus on the film technique rather than the narrative itself.[2]
"The Abby" is the second-to-last shot. Named after assistant director,Abner E "Abby" Singer, who called out the shot to give the crew extra time to prepare for a company move or wrap.[4]
The list of individuals who guide and influence the creative direction, process, and voice of a given narrative in a film and related expenditures. These roles include but are not limited to thescreenwriter,producer,director, andactors. Contrastbelow-the-line.[5]
The transfer of a creative work or story, fiction or nonfiction, whole or in part, to a motion picture format; i.e. the reimagining or rewriting of an originally non-film work with the specific intention of presenting it in the form of a film.
Any source of light that is not explicitly supplied by thecinematographer. The term usually refers to sources of light that are already "available" naturally (e.g. the Sun, Moon, lightning) or artificial light that is already being used (e.g. to light a room).[7]
A translation of a phrase fromFrenchfilm criticism,plan américain, which refers to a medium-long ("knee")film shot of a group of characters, who are arranged so that all are visible to the camera. The usual arrangement is for the actors to stand in an irregular line from one side of the screen to the other, with the actors at the end coming forward a little and standing more in profile than the others. The purpose of the composition is to allow complexdialogue scenes to be played out without changes in camera position.[8]
1. The technique of shooting awidescreen picture on visual recording media with a non-widescreen nativeaspect ratio.
2. A projection format in which a distorted image is "stretched" by an anamorphic projection lens to recreate the original aspect ratio on the viewing screen.
The first version of a givenmotion picture that is printed to film aftercolor correction on aninterpositive. It is also the first version of the movie printed to film with the sound properly synced to the picture.[9]
The process of re-recording dialogue by the original actor after the filming process to improve audio quality or reflect dialogue changes.[11][12] In India the process is simply known as "dubbing", while in theUK, it is also called "post-synchronisation" or "post-sync". The insertion ofvoice acting performances foranimation, such ascomputer-generated imagery oranimated cartoons, is often referred to as ADR, although it generally does not replace existing dialogue.
A type ofjump cut, where the camera suddenly moves closer to or further away from its subject along an invisible line drawn straight between the camera and the subject.[13] While a plain jump cut typically involves a temporal discontinuity (an apparent jump in time), an axial cut is a way of maintaining the illusion ofcontinuity.[14] Axial cuts are used rarely in contemporary cinema but were fairly common in the cinema of the 1910s and 1920s.[15]
A woman who performs the duties of a best boy may be called abest girl.
In afilm crew, an assistant to either of two department heads: thegaffer or thekey grip (with the assistant sometimes referred to as thebest boy electric orbest boy grip, respectively).[17] The best boy acts as theforeman for his department.[18]
A film technique of inserting ashot into a film to disguise a mistake, or acut.[20][21][22][23] For example, if Character A is talking to Character B and the microphone is briefly in shot while Character A is talking, the editor could insert a shot of Character B listening or reacting, to cover up the mistake. This technique is often used innews reporting when there is no opportunity for re-takes, or to cover up cuts in aninterview.[24]
A type of lighting whereby aspotlight accentuates a singlecharacter or other subject and sometimes a few props in ascene, so that the focus of the scene is on the subject and not its surrounding environment. It is often used to create an "angelic" shot, such as one where a light used to represent God or heaven shines down onto the character. Cameo lighting derives its name from the art form in which a light relief figure is set against a darker background. It is often achieved by usingbarn-doored spotlights. A problem with cameo lighting is that it can lead to color distortion and noise in the darkest areas.
The specific location and position from which amovie camera orvideo camera is oriented to take ashot. A single scene may be shot from several camera angles simultaneously.[26]
A wheeled cart or similar apparatus to which a camera is mounted so that the camera can be moved horizontally in order to capture smooth, naturalmotion shots. Often but not necessarily operated upon a set of rails or a track, a dolly is generally used to produce images which involve the camera moving toward or away from a subject, orpanning across a scene from side to side. Adolly grip may be responsible for manually pushing the dolly back and forth.
Thepre-production process by which individualactors,extras, or other performers are selected for particular roles or parts in ascreenplay or script, often but not always followingauditions held for certain roles or parts.
Anactor who specializes in or is often cast insupporting roles as unusual, interesting, eccentric, or otherwise distinctive characters, particularly those that highlight the actor's range and versatility or that permit them the freedom to develop or stylize the character in their own unique way.
Also calledchroma key compositing,color keying, orcolor-separation overlay (CSO).
Apost-productionvisual effects technique forcompositing or layering two images or video streams together based on color hues: a specific range of color(s) in the background of the first shot is made transparent, allowing separately recorded footage or a static image to be displayed in the transparent areas instead, giving the appearance that the foreground subject of the first shot is in front of a particular background environment. Chroma keying can be done with any color from the first shot that is uniform and distinct from the colors of the intended foreground subject, but green and blue are commonly used because the subject is often a human and these differ most distinctly in hue from human skin colors.
A device used in filmmaking and video production to assist in the synchronizing of picture and sound, and to identify and mark the variousscenes andtakes as they are filmed and audio-recorded. Use of a clapperboard can makeediting and arranging film sequences easier duringpost-production.
A narrative technique in which a film or television program begins by immediately showingscenes from the story, before thetitle sequence oropening credits are shown.
The practice of adding color toblack-and-white,sepia, or othermonochrome film or still images, either as aspecial effect, to "modernize" films made in the pre-color era, or torestore or remaster dated color films; or any process by which this effect is achieved. Modern colorization is usually achieved with digital image processing software.
The process or technique of combining visual elements from separate sources into a single image, particularly so as to create the illusion that all of those elements are parts of the samescene. In modern cinema, compositing is usually achieved through digital image manipulation inpost-production.
A mistake in the apparentcontinuity of a motion picture or itsscript as it is presented to and understood by the audience; e.g. an object in ascene that is present in oneshot subsequently being absent or in a different position in the next shot, without any obvious explanation given as to how or why the object might have moved. Continuity errors are often the result of shots or scenes which are ultimately presented consecutively in the finished film being filmed out of sequence or under different shooting conditions during production, such that the natural continuity intended in the scenes is lost and must instead be simulated by the filmmaker.
A device through which light from a man-made source is filtered in order to produce patterned illumination of ascene orshot by casting shadows or silhouettes or otherwise scattering the light, often with the intention of achieving a more natural look or simulating certain aspects of asetting, e.g. passing shadows.
An abrupt but usually trivialtransition from oneshot or sequence to another, consisting simply of the sudden termination of the first shot and the immediate beginning of the next, without any delay or interspersed effects. The term originally referred to the physical cutting of a film strip and the subsequent splicing together of non-adjacentframes, but is now also used to refer to a similar process in computerediting software. It is often used interchangeably with the termedit, though edit may also imply any number of transitions or effects.
The raw, unedited footage shot during the making of a motion picture, traditionally the first positive prints developed from the negatives filmed on the previous day, in a process that in the era of physical film reels took place overnight. The dailies were typically reviewed by thedirector and othercast andcrew members the next day. With the advent ofdigital filmmaking, dailies became available instantly after eachtake and the review process was no longer tied to the overnight development of film.
The schedule crafted by theassistant director, using thedirector's shot list. It is issued to the cast and crew of a film production to inform them of when and where they should report for a particular day of filming.[29] The production schedule is usually listed bycall time, the time when people are expected to start work on afilm set.
A set of cinematic techniques used to simulate a nighttimescene while filming in daylight, often employed when it is too difficult or expensive to actually shoot during nighttime. When shooting day for night, the otherwise bright daytime footage is typically underexposed in-camera or artificially darkened duringpost-production, often with a blue tint added; additional effects may also be used to give the impression of genuine darkness.
1. A representation of sound recorded in, or converted into, digital form, in which the sound waves of the audio signal are typically encoded as numerical samples in a continuous sequence.
2. The entire technology of sound recording and reproduction using audio signals that have been encoded in digital form.
The process of recording amotion picture using digital image sensors rather than physicalfilm stock. Almost all modern films are both recorded and distributed digitally.
The process of digitally assembling (i.e. with computer software) multiple independently recorded images to create a final composite image, typically duringpost-production.
The process of making a motion picture available for viewing by an audience, typically by exhibiting it directly to the public through amovie theater or a television broadcast, or by printing and selling copies for personal home viewing. For commercial projects, film distribution is usually accompanied by marketing and promotion.
A type of sound recording in which the sound for ascene is recorded on to a machine that is separate from the camera or picture-recording apparatus; hence the recorded images and sounds are recorded simultaneously but independently on to separate storage media.
Also calledDutch tilt,canted angle, oroblique angle.
A type of camerashot where the camera is set at an angle on its roll axis so that the shot is composed with vertical lines at an angle to the side of the frame, or, equivalently, so that the horizon line of the shot is not parallel with the bottom of the camera frame. This produces a viewpoint akin to tilting one's head to the side.[31] Incinematography, the Dutch angle is one of manycinematic techniques used to portray psychological uneasiness or tension in the subject being filmed.
Anyshot which sets up or establishes the context for ascene by showing the relationship between its important figures and objects.[28] It is often along orextreme long shot at the beginning of a scene indicating where, and sometimes when, the remainder of the scene takes place.[32][33][34][35]
The sense of movement or "flow" established by the duration of theshots (and consequently the frequency ofcuts) that comprise ascene or sequence. Lengthening or shortening the duration of the shots establishes an often subconscious rhythmic pattern that may complement or contrast with theinternal rhythm and content of a scene or sequence.
Anactor or performer in a film who appears in a non-speaking or non-singing capacity, usually briefly and in the background, without any particular characterization or direct plot relevance, such that viewers are not intended to identify with or consciously focus on the character at all. Extras are often employed in large numbers in war films or epic films, or in scenes depicting crowded city streets, with the sole purpose of creating a sense of scale by populating the scene with activity. They generally have the most minimal roles of any persons consideredcast members, and though they are usually required to be paid, they are sometimes not even trained actors.
A narrative film with arunning time long enough for it to be considered the principal or feature presentation in a commercial entertainment program. The term originally referred to the main, full-length film in early cinema programs that also included one or moreshort films,newsreels, or advertisements presented before the main event. In modern usage the term more commonly indicates simply that a film is of a substantial length or running time, as distinguished from short films, though what is considered "feature length" can vary and has changed over time.
The minimumrunning time necessary to be considered a full-length orfeature film, as opposed to ashort film. Most films between 75 and 210 minutes in duration are said to be feature-length, but the precise definition can vary.
One of three sources of light in a traditionalthree-point lighting set-up, generally placed to one side of the subject being filmed or photographed, opposite theback light and approximately perpendicular to thekey light. The fill light is often used to reduce thecontrast of a scene in order to match on the recording media the level of detail typically seen by the human eye in real-world lighting conditions.
The collective term for a group of people hired by afilm production company for the purpose ofproducing afilm ormotion picture. The crew is distinguished from thecast, which is generally understood to consist solely of theactors who appear in front of the camera orprovide voices for characters in the film, as well as from theproducers, who own at least a portion of the production company or the film's intellectual property rights.
The rectangular opening in the front of a motion picture camera through which thefilm is exposed to light. It can be seen by removing the lens and rotating the shutter out of the way. A pressure plate behind the film holds the film on a uniformplane at a calibrated distance from the gate.
The surface inside a camera upon which the lens creates a focused image. Each lens used with the camera must be calibrated carefully to ensure that the image is focused on the exact spot where the individualframe offilm or digital sensor is positioned during exposure.
A piece of original music written specifically to accompany a film. A score is typically divided into a number of orchestral, instrumental, or choral pieces called cues, which are timed to begin and end at specific points during the film in order to enhance the dramatic narrative and the emotional impact of particular scenes.
An analog recording medium formotion pictures that is recorded on by a movie camera, developed, edited, and then projected on to a screen by aprojector. Film stock consists of a long strip of transparent plasticfilm base coated on one side with a gelatin emulsion containing microscopic light-sensitivesilver halide crystals. When briefly exposed to the light admitted by a camera lens, a subtle chemical change occurs that is proportional to the amount of light absorbed by each crystal, creating an invisible latent image in the emulsion which can then be developed through further chemical treatment into a visible photograph. Film stock made of nitrate, acetate, or polyester bases is the traditional medium for capturing the numerousframes of a motion picture, widely used until the emergence ofdigital film in the late 20th century.
Sometimes used interchangeably withfilm production.
The process of making afilm ormotion picture, generally in the sense of a film intended for extensive theatrical exhibition. Filmmaking typically involves a large number of people and takes from a few months to several years to complete.
A technique which employs optical illusion to make an object appear farther away, nearer, larger or smaller than it actually is. It manipulates human visual perception and exploits sensory biases through the use of scaled objects and the correlation between them and the vantage point of the observer or camera.
1. Any raw, unedited material filmed by a movie or video camera, as opposed to that which has been edited to produce a completed work such as a motion picture or television show.
2. The amount of film shot or material recorded during a particular period of time or during the making of a particular scene or feature, referring especially to the physical length of the recordedfilm strip, which was traditionally measured in feet. One foot of standard35mm film contains 16frames, and a standardrecording speed is 24 frames per second, or 1.5 feet per second; a 90-minutefeature film shot in this way on conventionalfilm stock is therefore equivalent to more than a mile and a half of footage.[36]
One of a series of numerous still images which, when viewed rapidly in sequence, compose amotion picture. Each frame is typically only shown to the viewer for a fraction of a second, and the number of frames viewed every second is known as theframe rate.
The rate or frequency at which the consecutive still images of a motion picture, known asframes, are captured or played back, typically expressed in frames per second (fps) orhertz (Hz).
A type ofstop-motion animation which attempts to simulatemotion blur in eachframe involving motion. Ordinary stop-motion animation can result in a disorienting "staccato" effect because the animated object has a perfectly sharp appearance in every frame (since each frame was actually shot when the object was perfectly still); by contrast, objects that are actually moving will appear slightly blurry, because they moved while the shutter of the camera was open. Go motion attempts to recreate this blur effect so that the animation appears more natural, as if the animated object was actually moving in each frame.
Acinematic technique where the camera looks down on the subject from a high angle and the point of focus often gets "swallowed up."[37]High-angle shots can make the subject seem vulnerable or powerless when applied with the correct mood, setting, and effects.[38] In film, they can make the scene more dramatic. If there is a person at high elevation who is talking to someone below them, this shot is often used.[39]
An artistic work that can be easily pitched to aproducer because it can be readily summarized with a few key ideas or with a succinctly stated premise. Contrastlow concept.
A style of lighting that aims to reduce thelighting ratio present in the scene being filmed, particularly by creating a more balanced ratio between thekey light and thefill light in a traditional three-point set-up. High-key lighting is usually rather homogeneous and free from dark shadows, and therefore is commonly used to suggest an upbeat mood, especially insitcoms and comedies.
An orange-based motion picture film with a positive image made from the edited camera negative. The orange base provides special color characteristics that allow for more accurate color reproduction than a clear base, as used in anexhibition positive.
A piece of filmed, printed text edited into the photographed action at various points. In early films, intertitles were often used to convey character dialogue and to provide related descriptive or narrative material; in modern usage, the term refers almost exclusively to the latter, inserted at or near the beginning or end of a film or television show.
A seniorcrew member who is responsible for supervising thegrip crew, typically in order to perform tasks such as assessing what equipment is necessary at each shooting location, coordinating the transportation and set-up of this equipment, and arranging for the general movement and positioning of the camera. The key grip collaborates closely with thedirector of photography and relies on thebest boy as their chief assistant.
One of three light sources in a traditionalthree-point lighting set-up, generally positioned directly in front of the subject being filmed or photographed and supplemented by theback light andfill light. The key light is usually the first and most important light to be considered when staging a scene. Its purpose is to highlight the form and dimension of the subject; omitting the key light can result in asilhouette effect.
The mental phenomenon by which viewers of a film interpret the juxtaposition of and interaction between sequentialshots in a way that differs from their interpretation of either of the individual shots alone. This effect can be demonstrated by comparing viewers' reactions to two different sequences, each featuring an identical shot preceded or followed by different shots that suggest or evoke distinct associations; viewers tend to ascribe different emotions or meanings to the identical shots based on the mental associations implied by the adjacent shots. The effect illustrates how the interpretation of any individual shot in a motion picture depends largely on the shots immediately adjacent to it – no single shot exists in isolation.
A type ofsplit edit in which the picturecuts before the audio, such that the audio of the precedingshot orscene overlaps the picture from the following scene; i.e. the audio of the previous scene (often dialogue or narration) continues to play over the beginning of the next scene before cutting or fading.
The process of transferring film shot in awidescreenaspect ratio to standard-width video formats while preserving the film's original aspect ratio. Doing so necessarily results in eachframe of the video signal being lined with horizontal mattes, usually empty black strips, above and below it. Letterboxing is common in feature films formatted forhome video playback on standard-width television screens.
A type of film distribution in which a film is shown in just a small fraction of the movie theaters available in a region or country, typically only in major metropolitan markets and often at small-scale independently owned theaters; in the U.S. and Canada, a limited release is defined as a film released in less than 600 theaters nationwide. Contrastwide release.
lockup
An area being cordoned off and controlled by crew members to prevent either unwanted sound or pedestrians from ruining thetake.
Ashot ortake with a duration much longer than the conventionalediting pace used in the rest of the film or of films in general. Significant camera movement and elaborateblocking techniques are often though not always elements in long takes.
A term used inHollywood for the finalshot set-up of the day. The Martini Shot was so named because "the next shot is out of aglass", referring to a post-wrap drink.[40]
A type ofcut from oneshot to another where the composition of each shot is matched to the other by the action or subject matter depicted; e.g. in a scene depicting a duel, along shot showing both of the duellists might cut to aclose-up shot of one of the duellists in the midst of the action. Match cuts are precisely timed and coordinated so as to produce a seamless transition that is consistent with the logic of the action.
A term referring to a fictional character (by whatever name) whose job it is to explain the plot or parts of a plot to other characters and the audience.
The deliberate use of certainlighting characteristics in a scene or even an entire film in order to provoke a particular state of mind or feeling in the viewer.
Afeature-length motion picture filmed in one long, uninterruptedtake by a single camera, or edited in such a way as to give the impression that it was.
Pivoting or swivelling a camera horizontally about a fixed vertical axis, usually somewhat slowly, similar to the motion of a person turning their head from left to right. In the resulting image, new material appears on one side of the screen as it exits from the other; perspective lines may or may not be conspicuous enough to reveal to the viewer that the entire image is being seen from a stationary vantage point (as opposed to the camera as a whole moving, as if mounted on a camera dolly).
A concise verbal presentation of an idea or concept for a film or television series, generally presented or "pitched" by ascreenwriter ordirector to aproducer or studio executive in the hope of attracting financing to pay for the further development of the idea into a full-scale production.
Any object used on set by actors as part of ascene.[42] The term "prop" sometimes implies a mock or imitation of an actual object, or an accurately rendered but non-functional replica, as with aprop gun, but may more broadly encompass all objects handled by actors during filming, whether artificial or genuine.
An organized live reading of thescreenplay or script of a film, television, radio, or theatre production, usually in an early stage of production and with theactors cast in each speaking role present around a table and reading their respective parts. Non-speaking parts and those that have not yet been cast may be read by stand-ins or members of the production team.
A lighting technique used in studio portrait photography and cinematography which is characterized by the presence of an illuminated triangle beneath the eye of the subject on the less illuminated side of the face. This effect is generally achieved with the use of a single light source positioned to one side of the subject and areflector on the opposite side, and is popular because it is capable of producing images which appear both natural and compelling with a minimum of equipment.
A plot device in narrative structure in which a previously unseen key character or element of the plot is exposed to the reader or audience for the first time. Major reveals often occur at critical moments in the development of the plot, such as theclimax.
2. A command to a film crew to start recording a scene with cameras and sound recorders, and/or to the cast to proceed with the acting out of a scene from a certain point.
3. The rotation of a camera around the lens axis. Contrastpitch andyaw.
The second of three stages of offline filmediting, in which shots and sequences are laid out in approximate relationship and chronology, without detailed attention to the individualcutting points.
The direction that actors or objects appear to be moving on the screen from the point of view of the camera or the audience. A fundamental rule offilm grammar andfilm editing is that movement from one edited shot to another must maintain consistency of screen direction in order to avoid audience confusion.
A written work byscreenwriters for a film, television show, or video game. Like theatrical playbooks, screenplays are a form of narration in which the movements, actions, expressions, and dialogue of the characters are explicitly described in a specific format; visual or cinematographic cues may also be written, as well as descriptions ofscenes and scene changes. Screenplays can be original works oradaptations from existing pieces of writing.
A series offrames that runs for an uninterrupted period of time. In production, the term refers more specifically to the period between the moment the camera starts rolling and the moment it stops; infilm editing, it refers to the continuousfootage or sequence between two consecutive edits orcuts. Shots are essential aspects of all screen productions, including both film and television, where angles, transitions, and cuts are used by the filmmaker to further express emotions, ideas, and movement.
A film technique in which one character is shown looking at another character, and then the other character is shown looking back at the first character in a separateshot. Since the characters are shown facing in opposite directions, the audience is led to assume that they are looking at each other.
A film editing technique which usesshots of long duration, i.e. withcuts occurring at long intervals. Most shots longer than about 15 seconds seem slow to modern-day Western audiences accustomed to mainstream films, where slow cuts are uncommon.
A technique offilm editing in which onescene abruptlycuts to another for aesthetic, narrative, or emotional effect. To this end, the smash cut usually occurs at a crucial moment in a scene where the audience would not expect a cut; to heighten the impact, a disparity in the type of scene on either side of the cut is often emphasized, e.g. cutting from a tense or fast-paced scene to a pleasant or tranquil one.
A non-commissioned and unsolicitedscreenplay or filmtreatment, i.e. one that is written of ascreenwriter's own accord, usually with the intention of having the script optioned and eventually purchased by aproducer, production company, or film studio.
A person who substitutes for anactor during an early stage of film or television production, prior to actual filming, often for technical purposes such aslighting and camera set-up but also forscript andstoryboarding purposes such as atable-read, especially when the actors intended to portray certain characters have not yet been cast.
A popular brand ofcamera-stabilizing mounts for film cameras invented byGarrett Brown and introduced in 1975 byCinema Products Corporation. These mounts mechanically isolate the operator's movement, allowing for a smooth shot even when the camera moves over an irregular surface.
A graphical arrangement of images or illustrations depicting the scenes and characters of a motion picture, animation, or interactive media production and displayed in sequence for the purpose of allowing writers, directors, or artists to pre-visualize and easily modify the chronology and structure of the narrative and/or the compositions of and transitions between particular shots. The storyboarding process is one of the earliest steps inpre-production.
A single continuous recording of a performance, often denoted with a number and used to track the stages of filming, especially the filming of a particularscene. Multiple takes may be filmed for the same scene or performance so as to provide editors with more than one option from which to choose whenediting.
Acinematographic technique in which the camera remains in a fixed position but pivots up or down in a verticalplane, i.e. upon its own x-axis.[45] Tilting the camera results in a motion similar to someone raising or lowering their head to look up or down. It is distinguished frompanning, in which the camera is pivoted horizontally left or right. Pan and tilt can be used simultaneously.[46] In some situations the lens itself may be tilted with respect to the fixed camera body in order to generate greaterdepth of focus.[47][48]
A sequence of numeric codes generated at regular intervals by a timingsynchronization system and commonly used invideo production and other applications which require temporal coordination or logging of recordings or actions.
A technique in which the frequency at which filmframes are captured is much lower than the frequency at which they are played back when viewing the sequence. When played at a normal playback speed, time appears to be moving faster or "lapsing". For example, if images of a scene are captured at a rate of 1frame per second but then played back at a standard 30 frames per second, the resulting sequence appears to be occurring 30 times faster than it did in reality. Time-lapse photography is the opposite ofhigh-speed or slow-motion photography, in which film is captured at a much higher rate than at which it is played back, appearing to slow down an otherwise fast action.
Anyshot in which the camera follows backward, forward, or moves alongside the subject being filmed. The camera may be mounted on adolly designed to move along a dedicated track, or it may be moved manually via a handheldsteadycam orgimbal. Tracking shots are often long, continuous sequences lasting multiple seconds.
The process of capturingmoving images on electronic media orstreaming media, including in the broadest sense methods ofvideo production andpost-production. Once considered the video equivalent ofcinematography, the emergence of digital video recording technologies has blurred the distinction between the two, such that in modern usage any type of video recording (e.g. television news broadcasting) may be referred to as videography, while cinematography is usually reserved for large-scale commercial motion picture production.
Anactor who performs using only their voice, i.e. throughvoice-overs. Voice acting is used especially in radio productions andanimated films, where the actual providers of the voices of speaking characters are never seen, but is also commonly used for narration inlive-action films. Many voice actors are not exclusively voice actors but also act in standard non-voice roles in other productions.
Is amotion picture that is playing nationally. This is contrast to a film that is having premiere showings at cinemas, or is inlimited release at selected cinemas in larger cities around the country. In the American film industry, a movie is considered by some to be a wide release when it plays in 600 cinemas or more in the United States and Canada.[49]
One of severalanimation devices predating modern film techniques that produces the illusion of motion by displaying a sequence of drawings or photographs showing progressive phases of that motion.
^"The dramatic world can be extended to include the 'author', the 'audience' and even the 'theatre'; but these remain 'possible' surrogates, not the 'actual' referents as such" (Elam 1980, 110).
^Roth, Emily (2017).Stage management basics : a primer for performing arts stage managers. Jonathan Allender-Zivic, Katy McGlaughlin. New York.ISBN978-1-317-33652-5.OCLC966616991.{{cite book}}: CS1 maint: location missing publisher (link)
