Glossary of Hollywood Film/TV Industry Terms

 

APPENDIX

Glossary of Industry Terms

If you’re going to make movies or television shows you have to learn the language of film and TV sets. 

Producer

A producer does just that - produces things. When you're putting the project together, the producer produces the money, the crew, the equipment, etc. Anyone who has an essential part in making the project happen can be, and will probably want to be, called a producer.

Producers often package the film, raise money, over- see the budget, bring actors to the project, negotiate, and know the right people. They are variously known as executive, supervising, associate, co-, and line producers. 

There are all sorts of names for producers: Executive Producer, Line Producer, etc. In my opinion, when you're doing a small independent production, it's senseless to bother with all the fancy titles. If you can have someone fill the job of Production Manager, that person will represent the producer(s) on set and make sure everything is running smoothly and according to budget. Most first-time producers will work independently, and some will also be the writer and director. It's tough, but someone can do it.

Director

The person responsible for translating the script onto film. He has overall responsibility for the artistic interpretation of the script. The director is the eye of the audience. A movie is a story told in moving pictures, and the director decides which pictures will best communicate the story to the audience. Directors work closely with the other department heads (described below) and provide a unified vision of the finished project. The director also works with the actors, fine-tuning their performances so that they fit with the unified vision (left to their own devices, actors can be a pain in the arse.)

Directors have a lot of creative power over your production. A bad director can ruin a great script, and a great director can save a bad one. He or she is also responsible for the "feel" of the set. The screaming, frenetic directors we see characterized in movies would lead to a very uncomfortable set, a disgruntled crew, and probably a bad product. The director is the most essential member of the creative team. Choose him or her carefully.

Assistant Directors (ADs)

Usually, there are four: the first, second, third, and AD-in-training (TAD). I could go into lengthy descriptions of what each one does, but essentially, they all help the director communicate with the cast and crew to accomplish everything that needs to be done on schedule. You can get away with just a first, but he or she should have on-set experience. Without at least one AD, your director will go insane.

Big-budget productions hire a bunch of Production Assistants (PAs) as well. They do all sorts of things, from directing traffic to watching the parking lot, and work closely with the Locations Manager (LM). If you have enough money for PAs, you don't need to be reading this - just hire a producer who already knows what they're doing!

Director of Photography (DOP)

Also called cinematographers, DOPs are experts on the media you're shooting on (film, digital video, etc.) and the camera you're shooting with. Also known as the D.P. or Cinematographer, creates (along with the director) the film's visual style. Responsible for what we will see and how we will see it (chooses film stock, recording medium, lenses, filters, camera placement and angles, etc.) Everything a movie cast and crew works for must pass through that little lens.They know how to light a scene to match the mood, set up the camera to match the director's vision, and make the thing look good. There's not much more I can say about it except that a good DOP is absolute gold. You know how some movies have breathtaking shots that make you feel like you're there, and some have crappy lighting and just look like sh*t? That's the difference between a good DOP and a bad one (also the quality of the post, but that's a whole other ball game).

Camera Operator

Well, what can I say? Camera Ops operate the camera. They should know the camera well and how to handle the media, along with all the camera equipment, such as dollies, steady-cam rigs, and camera cranes. They work under the direct supervision of the DOP and director and can save much time, money, and effort if they're good. It is very important to have an experienced camera op, but on really small productions, the DOP also operates the camera.

The Camera Operator can also have one to several assistants, depending on the budget, the media, and the camera equipment used. Film cameras often require a separate Focus Puller, for example, and dollies require someone to push them around. Work with the Camera Operator to figure out the requirements for your particular shoot. I recommend at least one camera assistant, though.

Sound Mixer and Boom Operator

Film cameras don't record sound directly onto the film, so a sound crew is essential. But even if you're shooting on video, I suggest using separate sound recordings on your production. This provides for greater flexibility and higher-quality sound. Some will argue that it's not worth the hassle for a small indie production. In my opinion, they are lazy, and their product will sound terrible. Do it right the first time, blah, blah, blah.

Your Sound Mixer operates the mixing board where all the sound sources are recorded, and your Boom Op gets the microphones close to the actors without getting in the shot. A good sound crew will save you tons of headaches and make your final product much better. You can do everything else right, but if the sound sucks, so will your movie. These people are essential to the success of your project.

Gaffer, Grips, and Electrics

The Gaffer sets up the lights. It sounds simple, but it's a very complex job. The amount of hardware it takes to light a scene properly is astounding. If you don't have a lot of lights, then one person will suffice. If you want to light your project as the professionals do, plan on having an assistant for your Gaffer, or "Best Boy," a Key Electrics and assistants to supply the enormous amount of power needed for the lights, and a Key Grip and assistants to move everything around and set up the gear. Not to mention Transport to move the stuff from location to location. Even on small production, you'll do well to assign people to these key positions to make sure the gear you do have is handled properly and things get done on time. Most of the time it takes to make a movie is spent on lighting, so a good team in this area can make or break your shooting schedule.

Location Manager (LM)

Guess what - they manage the locations. They scout out good places to shoot and work with the director and producers to decide which ones to use. They deal with authorities, property owners, etc., to get all the necessary permits and secure the location. From paying the big bucks to landlords to dealing with the public to keeping the locations clean, LMs have huge and varied jobs and usually require a lot of assistance with big productions. An LM may be redundant for us little guys because you only use one location, and it's your parents' basement. Or you may be "guerrilla" shooting anywhere you can set up your camera before someone kicks you out. Whatever the case, ensure your creative team thoroughly and realistically assesses the production needs concerning locations.

Art Director

Also known as the Production Designer, the Art Director decides what everything in the movie will look like, including the decorations on the walls of the main character's house, the design of special props, artistic themes, and colors in the costumes and environment where the scenes are taking place, the look of animations and special effects, etc. He or she also works with the Set Designer and builders to create artificial sets that specifically suit the artistic and technical needs of the production.

On a smaller project, you may or may not be building sets, or your Art Director may also be your Set Decorator and/or Props Master. This area depends on how much money you're spending and how elaborate the environment in which your story takes place is. Again, thoroughly assess your needs and balance them out with your budget. I recommend assigning at least one person to do this work, even on a tiny set.

Wardrobe, Hair and Make-Up

These are pretty self-explanatory; I won't go into detailed job descriptions. I will say that every one of these jobs is extremely important. You might have one person doing all of them, but someone must.

Caterer and Craft Service

These may be the most important and loved people on your set, especially when you have a crew working for free. The crew's productivity will quickly go down the toilet if you don't feed them. This area is easily overlooked or underestimated. Again, a happy, effective crew is one whose stomach is full. The Caterer cooks the meals; Craft Services provides the snacks, drinks, and, most importantly, coffee. The Craft Service provider usually has a second job as the First Aid attendant. Having someone on your set who is well-versed in first aid is essential. The safety of your crew is even more important than their hunger. You may have one person doing these jobs, but have someone doing it. And provide nutritious, tasty, and energizing food that fits your budget. Trust me, you'll thank me later.

An electrician person who sets and adjusts the lights

Gaffer The Gaffer is the lighting director, who works with the Director of Photography to set lights for the shot.

Grip Grips are crew members who set objects that "control" the way light is cast on the set, move heavy objects, set up scaffolding, etc.

Key Grip: The head grip.

Dolly: A cart with wheels on which the camera is mounted for moving shots, controlled by the Dolly Grip, of course.

Dolly Grip: The Grip is in charge of pulling the dolly for moving shots.

Wheelchair Dolly: a staple of and credited to Robert Rodriguez and his first few independent films, in which he used an actual wheelchair for his dolly since he couldn't afford a real dolly.

Best Boy Assistant to the Gaffer or Key Grip. I have worked with Best Girls, too, BTW... (note: a department head's assistant is called a "best boy," "second," or "assistant," depending on the department)

First Assistant Director, also known as 1st A.D, is the traffic cop on set. This person keeps the set quiet, relays instructions via walkie-talkie to those off-set about what to prep, etc., and schedules the show, which may involve 150 scenes, dozens of actors and locations, conflicting schedules, changes in weather, etc.

Foley: credited to the inventor who designed sound effects recording for radio, filmmaker adopted this process (see any "Three Stooges" films). Aka: Film Sound Effects.

Second A.D. The 1st A.D.'s assistant helps manage the set, does paperwork, and supervises getting actors through make-up and wardrobe.

2nd 2nd A.D. Assistant to the Second A.D. In England, it is known as the 3rd A.D., which is probably less confusing unless you're a 2nd 2nd.

P.A. Production Assistant. These young men and women used to be called "gophers." They run errands, get coffee, clean up, move things, and try to keep everything quiet while the camera is rolling.

Script Supervisor: Usually a woman; old movie credits often listed them as "Script Girls." They are in charge of continuity (what line did the actor enter on, which hand did he pick up the glass with), making sure camera angles match, and keeping track of how much of the script has been shot.

Line Producer responsible for controlling the expenses and keeping costs down

The Loader Loads film into the camera and then unloads it for processing, usually in a small darkroom in the camera truck.

The Editor is responsible for assembling the film's parts into a coherent whole after it has been shot.

ADR Either Additional Dialogue Recording or Automated Dialogue Replacement, aka "looping"-- whatever the name, is the re-recording of dialogue due to background noise, a flubbed take, re-written dialogue, etc.

(Hint: if a film uses a voice-over narrator too much, usually it is because the film didn't make sense when they started editing it)

Second Unit: A small, usually rogue crew that shoots the shots that the cast is not needed for or First Unit didn't get, such as stunts, sunsets, beauty shots, close-ups of ashtrays, car drive-bys (if you don't see the stars face as the car drives by, he was probably miles away on his yacht, and 2nd Unit got the shot with a photo

double)

Photo Double: Someone dressed/made up to look like an actor when the actor isn't there, usually for long shots, shots of hands, etc.

Production Designer See Art Director.

Stand-In People who resemble the stars of a film (in height and coloring) and "stand in" for an actor while the set is being lit and cameras are placed. Lighting can take a long time; the stand-ins get to sit under the hot lights while the set is being readied (which can take hours!) so the actors are fresh when the shot is good to go.

Locations If you are not on a soundstage, you are on one of these: any house, road, or building in the real world when invaded by a film crew. The Locations Department manages these, serving as a buffer between the needs of the film crew and reality (i.e., a rock and a hard place).

Location Scout person who searches out locations and photographs them to show the director, designer, and producer

Transportation is Responsible for everything involving vehicles. This includes maintenance and parking for trucks, trailers, cars, and vans.

I.A.T.S.E. is the union that represents much of the movie crew, including grips, projectionists, and wardrobe employees

Screen Actor's Guild (S.A.G): the union that represents the actors. SAG sets pay minimums for union members. Visit www.sag.org for membership requirements.

Stunt Coordinator: hires stunt people, plans and manages stunts, and ensures they are carried out safely

Principal Photography: the filming of all the speaking parts of the film, usually involving the major characters

Post-production is the process of completing the film. Involved in editing, adding music and sound effects, and preparing the film for release or distribution

Unit Manager/Unit Production Manager (UPM): Coordinates and manages the shooting schedules and locations and assists with the day-to-day financial operation of the shoot

A publicist is the person responsible for handling all media requests during filming. Also responsible for setting up interviews, managing press conferences, and arranging set visits.

Props: objects appearing on the set that are movable, including things like chairs, lamps, dishes, weapons

Set dressers find and place movable items (props) on the set, such as furniture, decorative pieces, posters, wall hangings, rugs, etc.

MOS When a scene is recorded without sound. The term is a somewhat playful reference to the German director Josef Von Sternberg, an acronym for "Mit Out Sound."

C47 Grip-speak for a clothespin.

Honey Wagon: A trailer with dressing rooms and toilet facilities for location shoots.

Craft Service The snack table on set has munchies, cold drinks, coffee, etc. It is always a good place to look for AWOL crew members.

Caterer: The person responsible for bringing in full-scale dinners and lunches for the entire crew. Usually, Caterers on location shoots are nearby restaurants that provide food services to the film crew. Caterers and Craft Services are not the same.

Cyc Wall: A cyclorama (cyc) wall is commonly used as a green screen in film. A cyc is also a stage that has visibly seamless transitional curves between the floor and wall, as well as between the different walls on a multi-wall cyc stage. With proper lighting, it gives the appearance of an endless or horizon-less background. It is commonly seen in advertisements and music videos.

Some soundstages keep their cyc walls painted white when not in use, and the product that uses them can paint them blue or green as needed. Instead of having a corner at the bottom, the cyc wall is curved, so there are fewer shadows when the green (or blue) is replaced in editing.

People use the term "cyc" simply because that's faster and easier to spell or say than cyclorama.

Breakfast Burritos: are a Wonderful breakfast tradition on set. Scrambled eggs and whatever else you want are wrapped in a burrito. Naturally insulated and fairly drip-proof, they're perfect for those on the go at 6:00 AM.

Sides: ¼-size copies of the script pages to be shot that day; handed out to the cast and crew in the morning. Small enough to go in one's pocket.

Taco Cart: Any rolling cart containing props, sound equipment, grip gear, etc.

Abbey Singer: Second-to-last-shot of the night. Named after the infamous production crew person who often called "Last Shot" prematurely. Thus, the second to last shot is the "Abby Singer" because it is not the last shot.

Martini Shot: The Last shot of the night. On most production sets, this shot has a bad habit of turning into the Abbey Singer, meaning the director will call for yet another shot after this Martini Shot has been called, effectively making it the "Abbey Singer" shot.

Wrap: That's the end.