A neg — Exposed negative that is telecined and used for cutting. A neg comprises the circled takes on a production.
A-roll — Also referred to as single strand conforming. A method of conforming a single strand of negative, used primarily for 35mm film.
Aaton code — A type of time code used in Aaton cameras. Aaton code is accurate to within a tenth of a second, but readable only through Aaton Keylink telecine database systems.
Aaton file — A telecine log format whose suffix ends with .flx. Also known as a flex file.
A/B strand conforming — Also referred to as dual strand conforming. A method of conforming two strands of negative, used primarily for 16mm film.
Absolute frames — A method of measuring film, as opposed to footage+ frames. Absolute frames do not count feet. Thus a 35mm footage count of 1+00 would be 16 in absolute frames. Used commonly by animators and CGI.
Academy leader — Leader placed at head of release prints, counting from 11 to 3. As opposed to SMPTE leader.
Acmade — A company that manufactures ink number printers used for reference along the edges of film and mag stock. Used when conforming workprint and mag stock. Not commonly used with NLEs, Acmade numbers can be entered into Avid Film Composer databases. Acmade numbering systems have two leading characters for 16mm film and three leading characters for 35mm, followed by 4 or 5 footage count numbers, as in AA -10256. These were developed originally for the English method of shot counting vs. scene numbering.
ALE Avid Log Exchange — A format used for converting telecine files. Also an application for converting telecine files created by Avid Technology. ALE is used as a log import format for Avid and other NLEs.
Ambience — Also referred to as room tone or presence, production sound used where there is no dialog to establish a setting. More traditionally, ambience refers to outdoor locations, room tone refers to interiors.
Aspect ratio — Ratio of picture width to picture height. 1.85:1 is the most common film aspect ratio in the United States, 1.66:1 is more common in Europe. Standard definition television is 4:3. Most HDTV pictures are 16:9.
Assemble list — Also known as the cut list. A cut list that includes all the edits in a sequence in the order in which they occur chronologically. Used for conforming negative or work print.
ATSC — Advanced Television Standards Committee. The group that is developing standards for high definition and digital television as well as compression schemes for broadcasting them. Currently there are 18 different types of HDTV.
Autosync — Feature that allows for synching and combining of audio and picture clips on an Avid NLE.
B neg — Exposed negative that is usually not telecined. Non-circled takes.
Balancing — The process of creating and maintaining a footage balance between cut reels. Reels used for screenings normally are 1000 feet long. Balancing the reels maintains consistency is length without interrupting the flow of the film.
Batch digitize — The automated process of digitizing previously logged clips in a batch on NLEs.
Batch list — Import log format for Final Cut Pro. A telecine log must be converted into a batch list before it can be digitized into a Final Cut Pro NLE. The equivalent of an ALE file for Avid or Power Log file for Media 100.
Best light transfer — A method of telecine transfer where each scene is corrected to look its best, without consideration of continuity of color between scenes, as in a scene by scene transfer.
Bin — A container where workprint is stored hanging from pins. The editor’s completed scenes are normally stored in a separate bin. A bin normally consists of a series of hooks that overhang into a nonfibrous bag. The clips are attached to cardboard trim tags that visually identify the scene, take, edge numbers, and a short description. The tags and clips are hung on pins and cascade into the bag. Should one of the clips fall off of a hook, you are immediately introduced to the film editor’s sport of bin diving. NLEs have virtual or electronic bins, where pointers to media files are located. NLE bins are used in much the same way as film bins, with the added feature of the ability to copy clips into several different type bins.
Bin diving — The act of having to fish out or find a clip that has fallen into the bin.
Bleach bypass — Popular lab technique used to reduce contrast and desaturate color in a film.
Blow-up — The process of optically enlarging the scale of an original frame, a method of increasing the scale of the frame to show only a part of the original. Also can refer to the process of enlarging a film from one gauge to another, i.e., blowing up a 16mm film to 35mm film. Could also refer to an editor when too many changes are made.
Burn-in — Refers to character generated numbers superimposed on video telecine transfers. Typical burn-ins would include video time code, audio time code, and key numbers.
CCD — Charged Coupling Device. Photoelectric device that converts light into an electronic signal in a camera. Professional video cameras use 3 CCDs.
Camera roll — A roll of motion picture film used in production, usually 400 feet or 800 feet in length. Each roll is assigned a unique number for reference. Also called cam roll.
Camera report — A report issued for each camera roll by the camera department of a motion picture production. Includes scene numbers, takes, circled takes, footage and other information. A copy of this multi-carbon form should be sent to the editorial department.
Capture — To input video and/or audio into an NLE format. Also known as digitizing.
Change list — A list of instructions comparing an updated cut of a sequence to its previous version. Simplifies changes for the person conforming by only listing updated revisions and new edits.
Changeover — The point where the projectionist switches between reels during display of a motion picture. Changeover cue marks must be made 24 frames before the last frame of action (LFOA).
Circled takes — Refers to method of circling takes that the director wishes to print during production. Takes are circled on camera and sound reports as well as on facing pages in the script supervisor’s notes. When referring to the film, circled takes are also known as the A neg. Non-circled takes, not normally telecined, are called B neg. These terms are not to be confused with A roll and A/B roll methods of conforming film.
Clapper — The two striped sticks used on a slate that aid in establishing sync on a shot. By clapping the two sticks together, visual and aural reference for sync is established on film.
Clip name — A name given to a shot used in an NLE to identify it. Clips are usually named after a scene and take number, i.e., “16/1” for scene 16 take 1.
CMX — The most common format for EDLs, CMX was one of the first computer controlled editing machines and a pioneer in nonlinear editing machine development. CMX 3400 EDLs have 2 audio tracks, CMX 3600 have 4. Originally a coventure of CBS and Memorex.
Color correction — The process of adjusting film colors using a colorization system. A component of telecine.
Colorist — Talented artist in telecine who adjusts the color for each shot. Also incorrectly referred to as a telecine operator.
Color timing — Also called timing or grading. The process of adjusting color balance for each scene from a conformed negative.
Composite print — A positive print that has both picture and sound. Also called married print.
Conform — To assemble workprint or negative according to a list, usually a cut list. The term has been expanded to refer to assembly of a videotape sequence from an EDL or an audio sequence from an EDL. Can also refer to assembling an on line high quality video finish from an offline video edit, as in “on line conforming.”
Continuity reports — Could refer to notes made by a script supervisor regarding script continuity. Also refers to reel continuity, where an editor reports durations of reels, last frame of action and last frame of film.
Cut list – An EDL for film. Instead of time code numbers, edge numbers are used.
Dailies — The results of a single day of shooting. Usually refers to workprint made from a single day of shooting, but can also refer to a videotape transfer of the footage. Referred to as dailies because of the traditional method of shooting, developing and printing overnight. Same as rushes.
DAT — Digital Audio Tape. Audio tape recording format used by many sound recordists and audio engineers. SMPTE DAT is most commonly used.
Datacine — A telecine capable of scanning and creating large image files that go beyond the constraints of SDTV video. Datacines can be used for storing color corrected frames of film and the files they create can be scanned back onto film, avoiding the need for color timing.
Digital cut — A video output of your project direct from an NLE
Digitize — Also known as digitalize in some European circles. To input video and/or audio into a digital NLE format. Also known as Capturing.
DNR — Digital Noise Reduction. An option used in telecine that can virtually eliminate all sources of noise on the film. Potentially hazardous to use, as it can also remove grain, which might be desirable.
Double strand — See A/B roll.
Drop frame — a time code counting method that reflects real time. In order to compensate for the base 30 time code count and the actual frame rate of NTSC video (29.97 fps) drop frame time code skips ahead two frames in the count at the top of every minute, excepting the tenth minute of time.
DTV — Digital television. DTV is a standard for broadcast that incorporates transmission of a digital signal vs. traditional analog. Often confused with HDTV, which is a format.
Dual strand — See A/B roll.
Dupe — A duplicate. When one or more frames are used twice in an edited sequence. Short for “duplicate”, as in duplicate frames. Dupe lists are generated to determine which frames will need to be duplicated before a list is conformed. The neg is copied onto an interpositive, which is then duplicated (see IP).
Dupe list — A list of frames that need to be duplicated before conforming a cut list. Dupe lists are checked frequently during editing to prevent the high cost of duplicating negative.
Edge code — A broad classification of film frame numeration which could be either Key Numbers or Ink Numbers. Printed numbers on the edge of film that identify frames; a method of keeping track of edits through a simple numbering process. There are two types of edge numbers. Acmade or ink numbers can be printed on the edge of synced workprint and mag track by an inkjet printers. Key numbers (also called latent edge numbers) appear on the edge of the film when it is developed. Key numbers are more commonly used with NLEs.
Edit bench — The place where much of the nondigital work takes place. Synching and conforming are done here. Also known as “the bench” or work bench. Typically contains rewinds, a gang sync and a splicer.
EDL — Edit Decision List. A list of edits in a sequence showing time code numbers for both source and record tapes. Used for Online video editing, sound conforming, spotting and mixing and in some cases, for comparison with telecine logs for matchback. Can be used with some computerized video editing equipment for automatic conforming.
EOP – End of Picture. The very last frame of projectable film on a reel. Usually occurs a second or more after the LFOA to accommodate for human error when switching between reels. Also known as LFOP, Last Frame Of Picture.
Evertz — A manufacturer of motion picture equipment. Also refers to a telecine log format whose files end with an .ftl suffix.
Facing pages — Pages printed on the back of 3-hole punch paper used in conjunction with a script so that the editor can see both script pages and script supervisor notes. Contain scene, take, camera and other details recorded while on location.
Flatbed — A film editing system for playing back conformed workprint. Flat beds are flat tables with viewing screens attached. Most common are KEMs and Steenbecks.
Flat transfer — A telecine transfer where color and luminance are kept in the middle ranges. Flat transfers are used for footage that will be color corrected later in the post production process.
Flex — Also known as “flex files” or Aaton files, a telecine log format whose files end with an .flx suffix.
4:2:2 — Also 4:4:4, 4:1:1, 8:8:8 and others. Sampling rates used in digitizing video images. The higher the number, the better the sample. Higher numbers also create more cumbersome file sizes and complex pictures. The first number refers to the luminance of the picture. Second and third numbers refer to color. Sometimes a fourth number is also included, which refers to a key or alpha channel.
fps — Frames Per second. Used to measure video or film playback rates.
Frame handles — See Handles.
Gang sync— A gang synchronizer. Used to synchronize picture with one or more sound tracks on an edit bench. Measures footage and frames.
Grading — Also called timing or color timing. The process of adjusting color balance for each scene from a conformed negative.
GVG — Grass Valley Group. A manufacturer of video and television production equipment. Also an EDL file format. GVG EDLs usually refer to their software versions. Most commonly used are 4.0—7.0.
Hamburger — Slang for the Fast Menu used to access preview mattes in an Avid.
Handles — The number of extra frames required for splicing, usually when conforming the OCN. With some splicers, adjacent frames are destroyed during conforming. By adding a number of frames as a handle in your cut list, you can determine whether or not adjacent frames need to be used in other edits, which would require a dupe.
Hard matte — Term used when shooting OCN with a matte in place. As opposed to a soft matte, where no physical matting is done during the production phase.
HDTV — High definition television. One of several formats created for the production of higher quality video images, beyond the normal range of SDTV.
Ink numbers — Also called Acmade Numbers. Inkjet numbers that are added to a workprint and mag stock for reference. Can be used in some NLEs. Also used for Preview Code. Key Numbers are more commonly used for digital editing.
Interlock projector — The projector used for screening workprint and dailies. It consists of a film projector and mag track player that can be “interlocked”, thus remain in sync.
IP — Interpositive print. Created from the OCN, this positive print is used to duplicate a negative. IPs are created for items on a dupe list.
ITU — International Telecommunications Union. An international committee that adopts standards for television, including HDTV. The ITU standard for HDTV is 1920x1080, with no frame rate specified.
Jutter — Also called judder. A stopping and stuttering motion of video caused by pulldown in the telecine process. 2:3 produces the most telecine jutter. PAL B pulldown produces very little.
Key code — Refers to the barcode reference which is machine readable and is placed adjacent to key numbers on a film. Key code can be read by a telecine to generate a database of numbers during a telecine transfer. Commonly confused with key numbers.
Key code reader — A machine used in telecine that reads the latent bar code on film. Key code readers are located on the telecine scanner, usually connected to a character generator which can put key number burn-in windows onto a transferred videotape.
Key numbers — Latent edge numbers that appear along the edge of the film near the sprocket holes. The numbers are adjacent to Keykode, a bar code system used in telecines to identify the frames. Not to be confused with Ink or Acmade numbers, which are printed on the edge of film after the film is processed. Key numbers are generally used for digital editing more often than ink numbers.
Keyscope — A telecine log format using files that end with .ksl.
Lab roll — A roll of negative stored in a lab configuration. Most lab rolls are 2000’ and consist of combined camera rolls.
Lab standard durations — The standard durations for opticals of A/B conform films that can be created by the lab, thus bypassing more expensive optical print. The lab standard durations are 16, 24, 32, 48, 64 and 96 film frames.
Leader — Film-like materials that are attached to head and tail of a reel of film. Clear leader is used as a protecting agent and threading guide for a reel and is attached at the head and tail. Picture leader contains writing that identifies the reel and its contents. Picture leader is usually placed at head and tail. SMPTE or Academy leader provides a countdown before the picture content of a film begins. SMPTE or Academy leader is placed at the head of a reel adjacent to picture content.
LFOA — Last Frame of Action. The last frame of action intended for projection on a given reel. The LFOA is preceded by motor start and changeover cues.
LFOP— Last frame of picture. The very last frame of projectable film on a reel. Usually occurs a second or more after the LFOA to accommodate for human error when switching between reels. Also known as EOP, End Of Picture.
Lined script — A script prepared by the script supervisor, marked with vertical lines to determine coverage of a shot, indicating which characters are on camera for a given take at a given time. Used by editors for easy reference.
Lok box — Also known as a lock box. A videotape player connected to a gang sync, used for conforming a negative. Can also refer to the output of an NLE to videotape which is used for conforming.
Log — The entering of information about clips which could include time code, key numbers and so forth. Can also refer to a medium on which the logging data is placed, such as a file or paper. (See Telecine Log)
Mag stock — Sometimes, but not always, used with dailies, mag stock (aka mag track) is magnetic audio tape attached to a plastic backing which resembles film and consists of sound portions of the film. It is normally synced on an editing bench with the dailies, which are projected for the director to look at and make notes. Mag stock is cut with workprint on flatbed and upright film editing machines. For digital purposes, mag stock and workprint are used to conform a film.
Married print — A positive film print with both picture and sound.
Matchback — A process which allows generation of a film cut list from a 30 fps video based project. Matchback lists can be + or – 1 frame accuracy per edit. A method of converting from one framerate to another, i.e., from 30 fps video to 24fps film. Matchback provides ease of use with the ability to generate both EDLs for video and Cut Lists for a telecined film. Commonly used process for television where a conformed print will be required for distribution in other formats. Could also refer to the application which generates a matchback list.
Meta speed — An option used on Cintel telecines that allows for an extraordinary variety of frame rates during telecine transfers. Meta speed transfers can range from -30 fps to +96.
MOS— From German, “mit out sound”. A scene that is without sound.
Motor start — A cue given to the projectionist as to when to begin running the motor, but not the projection lamp and sound head, on a second projector before a changeover occurs. Motor start cues must be given 200 frames (8 seconds) before the last frame of action (LFOA)
Mute Print — A print with no sound. Picture only print.
NLE — A term for Nonlinear Editor. A digital computer system application that features editing in a nonlinear method. Also known as DNLE or Digital Nonlinear Editor. Manufactured by Avid Technology, Media 100, Lightworks, Apple (Final Cut Pro) and others.
Nondrop frame — A time code counting method that reflects 30 fps instead of the more accurate 29.97 fps of NTSC video. As a result, this method of counting frames is not duration accurate, but each number correctly accounts for each frame without skipping ahead, as drop frame does. See Drop frame.
NTSC — National Television Standards Committee. The group that developed the standard for color television in the U.S. NTSC signals have 525 lines of vertical resolution at a rate of 29.97 fps.
OMFI — Open Media Framework Interchange. A file format that is used primarily for transferring audio files and sequences from one work station to another. Platform independent.
One light — A non-timed exposure of the OCN to a positive copy of the film. It is not the prettiest copy of the film, but presentable.
One light telecine — Also called a “Lab transfer.” A telecine transfer done with color correction “on the fly”, used for editing purposes. Much less expensive than a best light transfer or a scene by scene telecine.
Opticals — The separate creation of dissolves, fades and superimpositions by an optical house. A-Roll conformed films must create opticals of all such effects. A/B roll conformed films must create opticals of any effects that are not lab standard durations.
Original camera negative (OCN) — The original film shot on location. Most films are shot with negative (not reversal) film.
PAL — Phase alternating line. Standard (as opposed to NTSC) used in many different countries. Features 625 vertical lines of resolution and 25 fps.
PAL telecine A — The method of transferring film shot at 24 or 25 fps to PAL videotape via telecine running at 25 fps to achieve a 1:1 frame ratio with the OCN. PAL A telecine shot at 24 fps will have a speed increase of 4.166% when played back on videotape. Some NLEs have speed correction capabilities to adjust it back to original shooting speed.
PAL telecine B — The method of transferring film shot at 24fps to 25 fps PAL video, using a pulldown field every 12th frame to adjust the timebase so that the two match in duration, but not frame for frame accuracy. PAL B has all of the trappings of NTSC 2:3 pulldown, but with less frequency. Also known as 25@24.
Pan & scan — A method of transferring wide screen images to SDTV, where the telecine operator can zoom into a part of the widescreen image and pan across it, filling the SDTV screen, but eliminating some elements of the wider original picture. Pan and scan is a time consuming and expensive method of transfer.
Picture leader — Placed adjacent to SMPTE or Academy leader, picture leader has information written on it that consists of project name, reel number and running time.
Power log — Import log format for Media 100. A telecine log must be converted into a batch list before it can be digitized into a Media 100 NLE. The equivalent of an ALE file for Avid or Batch List for Final Cut Pro.
Pull list — a type of list sorted usually be source, i.e., camera roll, so that the person conforming neg or workprint can pull each shot from that roll at one time prior to assembling the cut.
Preview code — Ink code reference that applies to changes on a conformed work print.
Reddy-Eddy — A circular gauge used in film cutting rooms that calculates film footage to running time and vice versa.
Reversal — Film stock that produces a positive image and requires no printing, as opposed to negative.
Reverse telecine — The process of removing pulldown fields in an NLE so that the digital picture matches the OCN at a 1:1 frame for frame ratio. Process can occur either during or after digitization, depending upon configuration.
Rewinds — Devices used for winding rolls of film backward and forward on an edit bench.
Rivas — a butt splicer commonly used in film editing rooms.
Roller splicer — film splicer manufactured by CineTrim. Uses a round blade to cut film in an unobtrusive manner which is safer for careless or left-handed editors.
Room tone — Also referred to as ambience or presence, production sound used where there is no dialog to establish a setting. More traditionally, ambience refers to outdoor locations while room tone refers to interiors.
Rushes — The results of a single day of shooting. Usually refers to workprint made from a single day of shooting, but can also refer to a videotape transfer of the footage. Referred to as rushes because of the traditional method of shooting, developing and printing quickly for editorial use. Same as dailies.
Scanner — Also known as a film scanner, flying spot scanner or telecine scanner. The physical machine where the film passes through a scanner and is converted to video.
Scene by scene telecine — a method of telecine transfer where color is carefully corrected for best exposure of a film and continuity between scenes is also carefully calibrated. Unnecessarily expensive for editing, a scene by scene is sometimes used after a cut has been made of a film for video distribution or promotion.
Script supervisor — The person responsible for maintaining script notes and circled takes. Produces facing pages and notes for editing.
SDTV — Standard Definition Television. Refers to current television standards, such as PAL, NTSC, PAL-M and SECAM. As opposed to HDTV, High Definition Television.
Sequence — Another term for an edited master, cut or program created in an NLE.
Short end — Term for a short roll of film, typically cut off for use on another shoot. Commonly used on low budget projects.
Single strand — Also referred to as A-Roll conforming. A method of conforming a single strand of negative, used primarily for 35mm film.
SMPTE — Society of Motion Picture and Television Engineers. A society that develops standards used for television and film.
SMPTE DAT — A digital audio tape (DAT) machine that uses SMPTE time code. SMPTE DATs are far more expensive than a conventional non-time code DAT.
SMPTE leader — Countdown leader placed at the head of each built film reel. SMPTE leader counts from 8 to 2 seconds. When the first “2” frame appears, a 1000 Hz tone pops with it (called the 2-pop or sync pop) and an additional 47 frames of black are shown before the reel starts. As opposed to Academy leader, which counts from 11 to 3.
SMPTE time code — The time code standard approved by SMPTE, as opposed to other standards such as VISCA time code. The most commonly used format of time code.
Soft matte — Term used when shooting without a matte, with the intention of inserting one during negative printing. Soft matting allows for adjustments to be made to the frame optically if necessary. Also allows for a 1.33:1 aspect frame to be displayed on videotape or DVD.
Sound report — A report issued for each sound roll by the sound department of a motion picture production. Includes scene numbers, takes, circled takes, SMPTE time code, and other information. A copy should be sent to the editorial department.
Sync pop — A 1000 Hz tone emitted for one frame 47 frames before a reel begins. Used to establish sync with a SMPTE leader “2” frame. Also called a 2 pop.
Take— The filming of a single shot.
Telecine — The process of transferring film to videotape. A telecine maintains a consistent relationship between film and video frames. Not to be confused with a Film Chain, which is not as accurate.
Telecine log converter — An application within Trakker’s Slingshot™ matchback suite. Converts telecine files to NLE usable import files. Could generically refer to all telecine log converters as well, including Avid Log Exchange.
Telecine logger — A computer system used to database the relationship between key code from an original camera negative to video time code recorded on a telecine transfer videotape.
Three perf — A 35mm system that records a single frame using only 3 perfs instead of the traditional four. Used mostly for television production, three perf requires a specially equipped camera and a telecine with meta-speed or other speed alteration device.
Time code — A numbering system used to measure frames of video. Nondrop frame is most commonly used on film, has a direct number to frame correspondence but is not completely time accurate due to the actual video rate of 29.97 fps (NTSC). Drop frame does not have a direct frame to frame numbering correspondence but is time accurate.
Time code reader — A machine used in telecine that reads time code, usually connected to a time code character generator which can put time code burn-in windows onto a transferred videotape.
Time logic control — A method of transferring film to videotape where the pulldown remains consistent between stop points or edits. If a telecine stop occurs on an A frame, the next recorded frame will be a B frame. Commonly referred to as TLC, not to be confused with Slingshot’s TLC or Telecine Log Converter files.
Timing — Also called grading or color timing. The process of adjusting color balance for each scene from a conformed negative.
Trim tab — A small white tab that indicates the content of a clip in the trim bin. West coast trim tabs are usually rectangular. On the east coast, they prefer cross shaped tables.
2:3 pulldown — The process in telecine created when a film, shot at 24 fps, is transferred to video at 30 fps. Every other frame of film is held for an extra field of video, thus the fields run in a 2:3 order. Used in NTSC telecine only.
2 Pop — A 1000 Hz tone emitted for one frame 47 frames before a reel begins. Used to establish sync with a SMPTE leader “2” frame. Also called a sync pop.
Upright — A vertical viewing system for film. Also used for cutting. Moviolas are the most common uprights used. Vaguely resembles a sewing machine with two pedals attached, one for sound, the other for picture.
Wild lines—Dialog that is recorded without the camera rolling.
Wild sound — Sounds that are recorded without the camera rolling.
Window burn-in — See Burn-in.
Workprint — Positive prints (workprint) of film created from the OCN. They usually consist of only the takes that the director orders printed. (Hence the director’s on-location phrase “Print it!”) Workprint is disposable and used for editing. It gets cut, hung in a bin, spliced and unspliced together, cursed at and abused. If destroyed, it can be reordered from the lab. If additional takes need to be printed, the editor can order them from the lab.