300 of the most common professions in the video and video industryTerminology"Preparation for live filming in the front and late production of promotional packaging" is organized in ten chapters, full of 1,300 consecutive numbers。
Each word gives a Chinese term, a common English language and an introductory paragraph, and seeks to say “what it is and why it matters”。
The meaning of the same term in different sectors may differ (e.g. “tracking” is different from what is stated in the effect) and is interpreted in the context of the chapter in question. The electronic version provides direct access to the term Ctrl+F。
Directory Summary
| Chapter | Overwrite content | Number of words | Correction |
|---|---|---|---|
| 01 Scene Production | Pre-planning languages such as spectro scripts, slot maps, bulletins, etc | 30 | Prior preparations |
| 02 Field deployment | Step, axis, sight match and art | 25 | Live |
| 03 Photography camera | View, angle, motion, lens optical, exposure and lighting | 45 | Live |
| 04 Specialization in sound recording | Dial system, level control, synchronization and two-system process | 30 | Live |
| 05 Video Clip | Montagnard theory, editing techniques, diversions and engineering processes | 40 | Later production |
| 06 Video effects | Synthetics, portraits, 3D production, simulations and virtual filming | 30 | Later production |
| 07 Video Tuning | oscilloscopes, level II, colour science, style and delivery | 30 | Later production |
| 08 Mix | Standards for white, pronunciation, sound, end mixing and sound | 25 | Later production |
| 09 Poster design | Type of poster, language of design, signature and printing specifications | 25 | Promotion of packaging |
| 10 Performing staff table production | Headtail structure, signature rules and subtitles | 20 | Late/ Dissemination |
Chapter 01 Previous preparations
Scene Production
Word 001 – 030 30 words
The spectroscope is "Photo on paper": Before flowering, each shot is clearly drawn and sequenced. The 30 words of this chapter cover the pre-preparatory language from spectroscopy scripts, slot maps to circulars — reading them so that you can understand what a group is doing before it starts。
| serial number | Terminology (common English) | Interpretation |
|---|---|---|
| 001 | scene-by-scene script
Storyboard |
The screenplay was deciphered and presented in a drawing-and-formula to unify the image of the whole group。 |
| 002 | Text Shape
Shot List |
Small-cost theatres are most common without drawings, tabulations, spectrographs, optics, content, long spectrometry。 |
| 003 | Storyboard Painter
Panel / Frame |
Each graph in the lens corresponds to the critical moment of the lens or the lens; the graph ratio should be the same as the picture。 |
| 004 | Dynamic Mirror
Animatic |
The spectroscopy is designed to be a long video with sound and music, and the pace of narratives is tested in advance。 |
| 005 | 3D rehearsal
Previs |
A three-dimensional software pre-empts complex lenses (actions, special effects scenes) into low-precision animations to verify the viability of the space and movement。 |
| 006 | Field and mirror
Scene/ Shot No. |
A scene in the field identification script, a shot in the mirror identification field, such as "5-3" or "5-3" or "3" mirror, is the coordinates of the whole group。 |
| 007 | The part
Scene Breakdown |
The script is broken down into a list of scenes by scene, by day and by night, within and outside, and the characters, props and special needs involved in each event are counted。 |
| 008 | Follow the schedule | A summary table of all the scenes, in the order of the script, is used to provide an overview of the advance of the story and is the basis for the planning of the shoot。 |
| 009 | The shooting plan
Shooting Schedule |
The schedule for the reordering of the scene by venue and stage; the same scene is normal and the scene is almost never taken in the sequence。 |
| 010 | Shoot the list
Call Sheet |
“Operational instructions” issued to the entire group prior to each of the shoots: collect time, scene on the day, actor's makeup time, weather and safety tips。 |
| 011 | The sights
Location Scouting |
Field trip to the shooting site to assess light, sound environment, power, space and approval conditions。 |
| 012 | Fulfill
Moood Board |
Put the reference pictures, the colours, the fonts into a "emotional wall" to unify the visual tone of the entire piece。 |
| 013 | Temporal Chart
Concept Art |
The Department of Fine Arts produces more specific scenery and atmosphere drawings than emotional plates, which directly directs the setting and lighting programme。 |
| 014 | Timing
Floor Plan |
A surface map of the top view, indicating the scene, the position of the actor and the position of each position; a picture of the complex movement。 |
| 015 | Step routing | An arrow is used to mark the actor ' s mobile route and stop point on a seat map or drawing, and is designed in conjunction with the lens movement。 |
| 016 | Scene Sports Legend | An arrow symbol system for push, pull, shake and move in the spectra; normally, an arrow in a frame indicates a movement of the subject and an arrow outside the frame indicates a move of the lens。 |
| 017 | Start
Start Frame |
The motion lens starts with static and stable images, usually stopped for two to three seconds, leaving a cut point for the clip。 |
| 018 | Fall
End Frame |
The static image at the end of the motion lens, as at the beginning, needs to be complete and is where the cut is。 |
| 019 | Draw and Draw
Enter / Exit Frame |
The subject enters or leaves the drawing frame; the entry and exit drawings are indicated in the lens and the upper and lower lens directions are connected。 |
| 020 | Screen Direction
Screen Direction |
The movement of the subject in the picture should be directed; the lens should be consistent (e.g. running right) or the audience would think the person would turn around。 |
| 021 | Placemark | THE DESCRIPTION OF THE SPECTRA AND ABBREVIATIONS (ELS, LS, FS, MS, CMU, CU, EU) ON EACH SPECTROSCOPE IS ONE OF THE CORE MESSAGES OF THE SPECTROSCOPE。 |
| 022 | Port angle indicated | The basic face of a picture is defined by the light, on the side, on the side or at the top。 |
| 023 | The shot is long
Timing |
The projected seconds are indicated for each shot, which can be cumulatively estimated as the length of the film and the volume of the shooting。 |
| 024 | Words and Sound Tips | Extracts key lines, sound effects or music tips from the drawing grid so that the lens can "read the sound."。 |
| 025 | special effects lens tag
VFX Shot |
The cameras are marked as requiring later effects (green curtains, wiping, synthesis) on which the conditions and reference material are set aside。 |
| 026 | Redirect | INDICATES HOW YOU CONNECT WITH THE LENS: CUT(CUT), DISS(SCRAMBLE), FADE(FADE) ETC。 |
| 027 | Create a camera
Establishing Shot |
The lens phase should be planned for the big scene at the beginning of the scene, where the environment and the position of the person are related。 |
| 028 | Empty
Scnery Shot |
Only the scenes do not have the camera of the main person, and are used for re-profiling, interspecting time and space, or for lecturing; it is desirable to have several more items at the time of filming。 |
| 029 | Coverage
Coverage |
In the same play, a few more sets of material were taken in different slots and scenes, leaving room for choice for the clips; commonly known as "the bottom shot."。 |
| 030 | Pull
Shot-by-shot Analysis |
The scenery-by-scenario decomposed into the film, the mirror, the length and the clip point, which is the "reverse lens" -- is the most effective and stupid way to learn audio-visual language。 |
Chapter 02 Live filming
Field deployment
Phrase 031 – 055 25
"Mise-en-scène" is meant to be "placed in the scene" — how the director puts actors, slots, scenes, light into a picture, that is, movement. Twenty-five words in this chapter range from the axle rules to the curing path, covering the core languages of directors and fine arts at the scene。
| serial number | Terminology (common English) | Interpretation |
|---|---|---|
| 031 | Field deployment
Mise-en-scène |
From French, “placed in the scene”, to guide the overall organization of all the elements in the picture (persons, walking, scenery, light)。 |
| 032 | Move
Blocking |
When, where and where the designer moves in the scene, and towards where, is the skeleton of all movements。 |
| 033 | Rehearsal the play
Rehearsal |
Before the official set-off, the actors and the camera went through the walk-through and performed the rhythm, mirrors and focus。 |
| 034 | Site Tag
Mark |
the duct tape spot on the ground; the actor "step" stops, so the image and focus can be accurate, and the english saying hit the mark。 |
| 035 | Axis
180° Rule |
The hypothesis between the two subjects of communication is connected; all slots remain on the same side of the line, so that the person ' s left and right position does not pass in the direction of sight。 |
| 036 | Cross-axis
Crossing the Line |
Jumping to the other side of the axis leads to a person-to-person relationship or a sudden reversal of direction, and the audience loses its position instantly。 |
| 037 | Neutral camera
Ride Axis |
Cameras taken in the direction or back of the axis; between the two lenses, it is possible to "lawfully" transition to the other side of the axis。 |
| 038 | Eyes
Eyeline |
The view of the actor indicates the direction and height; the view of both sides in the competition must be “readable” in space。 |
| 039 | View Match
Eyeline Match |
The person who looked out of the picture, the next mirror cut out what he looked at, and the audience automatically created a space link between the two。 |
| 040 | Actor movement | The mode of movement, which is dominated by the movement of actors and has a relatively fixed space, is based on a change in the structure and the view。 |
| 041 | Camera Scheduler | Actors are relatively static, relying on camera movements (twirling) to change the movement of points of view。 |
| 042 | Integrated Movement Control | Actors and cameras also move and interact with each other in complex movements; this is the case in the long lens sections。 |
| 043 | Deep Schedule | The picture is well advanced, with a single shot of multiple layers of information。 |
| 044 | Horizontal movement | The movement of the subject in the left and right direction of the picture, with a strong sense of plane and speed, is often used in parallel moving, chasing, etc。 |
| 045 | Extraspace
Off-scape Space |
Space outside the frame but implied to exist; it can be activated with sight, sound, access drawings。 |
| 046 | Foreground Shape
Dirty Frame |
The “dirty picture” of the front edge of the lens, which brings into the shoulder, door frame, plant, etc., enhances the sense of peeking and the spatial level。 |
| 047 | Clean
Clean Frame |
Without any hidden visions (e.g. clean single-person lens Clean Single), the vision is direct and emotional。 |
| 048 | Grouping and Background Actions
Background Action |
in the background activities of the crowds of actors who move, talk, etc.; the deputy director starts by calling background action and starts the show。 |
| 049 | Fine arts design
Project Design |
Fine arts guides the overall design of the entire visual world (situation, props, colour, taste) are the material basis for the movement。 |
| 050 | View
Set Construction |
The scenery was built or modified by fine graphics, including the setup and the retrofitting of the scene in the studio。 |
| 051 | Set
Set Drsing |
The details of furniture, fabrics, and groceries are displayed in the scenery, making the space look like a “living person” and a sign of life。 |
| 052 | stage props
Props |
Items related to performances; play-shows (used by actors), displays (placed in the environment) and personal props (with personal effects)。 |
| 053 | Clothing
Costume |
The style, colour, new and old description of the identity, character and circumstances of the person is also part of the image。 |
| 054 | Make-up and special effects
Makeup / SFX Makeup |
The image of the person in the basic make-up is changed; the person is changed by the special effects of the make-up (harm, geriatric makeup, bioformation)。 |
| 055 | The scene
Continuity |
Consistency of control by field record: clothing, prop position, action, vision must be on between different lenses, otherwise it will be a gang。 |
Chapter 03 Live filming
Camera
Phrase 056 – 100 Total 45
The camera department is responsible for turning the movement into a picture. The 45 words of this chapter are arranged in the order of "Specific angles of motion and exercise, load equipment, lens optical, exposure image, light" -- this is also the recommended path for beginners to create a photographic knowledge system。
| serial number | Terminology (common English) | Interpretation |
|---|---|---|
| 056 | scenery
Shot Size |
The extent to which the subject is presented in the picture is the most basic word for audio-visual language; it is determined by the space and lens focus。 |
| 057 | Grand Vision
ELS |
The environment is the preponderance of the small and indistinguishable of the person; it is used to set the tone and show the relationship between the heavens and the earth。 |
| 058 | long-range view
LS |
The person can be identified but is still environment-driven and used to explain the climate of geographical relations and scale。 |
| 059 | panoramic
FS |
The whole of a person's body and a small number of environments can see the physical movement and the person's-environment relationship, and often make a “general angle”。 |
| 060 | medium term view
MS |
The combination of action and expression is the most common “works landscape” of narratives。 |
| 061 | Medium Near View
MPU |
The main part of the conversation is about the body of the body above the waist: the face is clear and the body language such as gestures is preserved。 |
| 062 | Close shot | Above the chest, the facial expression becomes the subject of the picture, with a strong sense of communication and intimacy。 |
| 063 | close-up (filmmaking, photography etc)
CU |
The prominent face above the shoulder neck, or the separate appearance of hand, object, etc., is a magnifying glass of emotion and detail。 |
| 064 | Big close
EU |
Only the parts of the five officials or objects (e.g. an eye) are taken, and the impact is very strong, and they should be used carefully and with a blade。 |
| 065 | Pass the shoulder lens
OTS |
Taking shots of the opposite person across one side's shoulder, the conversation is being reversed by a standard configuration with a self-portrait。 |
| 066 | Double and single
Two Shot / Single |
The image is the same for two or only one; the switch from double to single is itself a relationship language。 |
| 067 | Subjective and objective
POV |
Subjective lenses are seen in the eyes of role simulations, often paired with “persons watching”; objective lenses are bystanders' perspectives。 |
| 068 | Flatshot
Aye Level |
The view of the person is as high as that of the person, and the perception of the person is objective and a tacit view of the facts and daily narratives。 |
| 069 | On camera
Low Angle |
The plane is below sight and the person is tall, oppressive or heroic。 |
| 070 | overlook
High Angle |
The altitude is higher than the view-down, and the person appears to be weak, isolated and often used to account for ground movement。 |
| 071 | Top shot
Overhead |
Close to vertically down, the "God's Perspective" is so powerful that it's often used in ceremonial sensibilities to deal with big scenes。 |
| 072 | Dutch Horn
Dutch Angle |
A slashed slash of the horizon conveys a state of anxiety, imbalance and dizziness。 |
| 073 | fixed lens
Static Shot |
The position and focal length of the camera are not moving, and the movement within the painting is subject to change and the air is stable and restrained。 |
| 074 | Push and pull
Dolly In / Out |
The fuselage is pushed forward or backward; the thrust is to emphasize proximity, to reveal the environment or to disengage from emotions, with a vision of change different from the focal point。 |
| 075 | Shake
Pan / Tilt |
(b) Stand still, with a cloud pavilion horizontally swinging (Pan) and vertically moving vertically with a leaning (Tilt) for following, patrolling or revealing。 |
| 076 | Move with
Tracking / Flow |
The overall body moves horizontally or in depth to "mov" and always follows the main movement to "hide" and is strongly immersed。 |
| 077 | Rise
Crane / Pedestal |
The fuselage rises or falls vertically, and is often used for the first, last, first, and last, a kind of God's Hand movement。 |
| 078 | Throw
Whip Pan |
It is also often used to hide the cut point from the end of the scene。 |
| 079 | revolve around
Arc Shot |
The camera moves around the subject in arc, emphasizing the centrality of the person or the rise of emotion。 |
| 080 | Slide Focus
Dolly Zoom |
Trailing takes place at the same time as the reverse focal point: the main body size remains unchanged, the background lens changes dramatically, and the classic dizziness effect (the Vertigo)。 |
| 081 | Hand and shoulder
Handhold |
There is no need for a stabilizer to direct the camera, and breathing and shaking brings a sense of substance and tension。 |
| 082 | Orbital and slide tracks
Dolly / Slider |
A device that lays an orbit that allows the camera to move smoothly; the slide is a light version of its desktop level。 |
| 083 | The stabilizer and Stanicon
Gimbal / Steadicam |
The electron three-axis stabilizer and the mechanical defibrillation vest system smooth the motion lens as silk。 |
| 084 | Shake your arms
Jib / Crane |
Put the camera on top of the end of the long arm and do a large up-and-down spin, and take a panorama of the aerobics。 |
| 085 | The drone
Drone |
The air viewer has become a “shock arm replacement” for low-cost theatre groups。 |
| 086 | Focal length
Focus Length |
Perspective parameters of the lens (in mm): The wider the value, the narrower the value, the greater the sense of spatial compression。 |
| 087 | Wide corners, standards and focus | wide angles (about 35 mm below) exaggerate visualization and accommodation; standards (about 50 mm) are close to human eyes; long focus (about 85 mm above) compress space and defame context。 |
| 088 | Focus and Focus
Prime / Zoom |
Focused focus is fixed and paints and large radials are excellent; the focal lens is multi-focal and flexible。 |
| 089 | Halo
Aperture |
The lens enters a photo aperture, expressed as a f value (or the T-value of the film lens): the smaller the value, the deeper the view, and the more the light, the greater the light, the more the ND is used。 |
| 090 | Depth of Field
DOF |
The breadth of clarity in the picture: the shallow view highlights the subject, the vanquished context; the deep view provides clarity both back and forth and allows for deep movement。 |
| 091 | Focus and Focus
Follow / Rack Focus |
The focal point (1st AC) moves with the subject to focus in real time; the focus shifts from one object to another in the lens and is used to guide the view。 |
| 092 | Quickgate and 180° Code
Shutter |
Quick door angles 180° (24 G time about 1/48 seconds) are the closest to the eye; smaller angles are the "crystal," as in Saved Private Ryan's landing。 |
| 093 | Sensitivity
ISO / EI |
SENSORS MAGNIFY LIGHT: THE HIGHER THE PICTURE, THE MORE NOISE THE MORE; FILMMAKERS USUALLY WORK NEAR THE ORIGINAL ISO TO GET THE BEST PAINT。 |
| 094 | White Balance and Color Temperature
WB / Kelvin |
"WHAT'S WHITE?" TUNGSTEN LANTERNS ARE ABOUT 3200 K FOR HEAT AND ABOUT 5600 K FOR SUNLIGHT; COLOUR TENDENCIES CAN BE OBTAINED BY DELIBERATELY SETTING DEVIATION。 |
| 095 | Frame Rate and Elevation
Frame Rate |
Film standard is 24 cells per second; high frame rate is used to film, 24 grids to show slow motion (upgrading), while low frame rate is used for fast motion (downgrading)。 |
| 096 | Paint ratio
Aspec Ratio |
The image is wide: 1.85: 1, 2.39:1 (broad screen), 4:3, 9:16 (difference); the choice of the painting is itself a narrative attitude。 |
| 097 | Log and RAW | Log curve in exchange for greater tolerance with grey-level images, RAW directly records raw sensor data; both are intended to leave the creative space for later coloring。 |
| 098 | Three o'clock light
Three-point Lighting |
The main light (plastic), the auxiliary light (shading) and the contours (margins) make up people like the basic form of the light, the starting point of all the complex light。 |
| 099 | Optical | The position of the relative subject of the light source: the light is smooth, the side-light stereo, the reverse light is contours, and the top and foot light creates anomalies and horrors。 |
| 100 | Light and Shadow | Hard-light (direct) shadows are strong, soft-light (soft-light) transitions delicately; high-profile images are short of shadows and low-key images are inversely different。 |
Speculation
It's a long way away, it's all in shape, it's in love, it's in touch, it's in character, it's in God。
IN AI IMAGE AND VIDEO GENERATION, THE SCENERY IS ALSO ONE OF THE MOST STABLE AND MANAGEABLE VARIABLES IN THE HINTS - IT IS OFTEN MORE EFFECTIVE THAN THE STACKING OF ADJECTIVES BY A DIRECT SCHEMATIC TERM OR ABBREVIATION (ELS/LS/FS/MS/MCU/CU/ECU)。
Chapter 04 Live filming
Recording
Phrase 101 – 130 30 words
The industry often says, “Voice is half a movie”, and the same time recording determines the upper limit of the half. This chapter 30 words cover the division of labour between people who make live recordings, the microphone system, the level control and the synchronized process - once read, it is clear what the recording team is protecting on the set。
| serial number | Terminology (common English) | Interpretation |
|---|---|---|
| 101 | Concurrent
Project Sound |
The synchronous recording of the white and the sound on the scene; "Can be used during the same time" is the industry consensus, which is the bottom of the sense of truth。 |
| 102 | Recorder for the same period
Sound Mixer |
The person in charge of the sound on the scene: manages the microphone set, tunes and flats and gives feedback to the director on the availability of each sound。 |
| 103 | The microphoneman
Boom Operator |
If you have a pick-up stick, you need a backword, prephrase, so that the microphone is always close to the sound source and doesn't fit in。 |
| 104 | Pick a pole
Boom Pole |
If you can stretch a pole, you can stretch it up or down the frame, and you can get the microphone to the nearest safe position。 |
| 105 | Gunphone
Shotgun |
The strong pointer microphone with an interferocity tube, which primarily captures the sound in the right direction, is the standard configuration on the picker。 |
| 106 | A collar microphone
Lavalier |
Not in a collar or a miniphone hidden in a dress (commonly known as “bees”) to pick up the sound and not to be afraid of actors leaving。 |
| 107 | Wireless microphone system
Wireless |
Packet + waist packs + receiver combinations, free actors in range, and be used in a frequency-proof manner。 |
| 108 | Phone pointer
Polar Patterson |
The sound sensitivity of the microphones in different directions is as follows: all-direction (all over all sides), heart (one-sided), hypercardiogram (more narrow and more pointed)。 |
| 109 | Rings and caps | The sound, low-sensitivity and high-voltage conditions are suitable for high-voltage environments; the sound, delicate, electricity-intensive, and the visual-to-penetrating of white。 |
| 110 | Mirage power
Phantom Power |
48V DIRECT CURRENTS, WHICH ARE PROVIDED EXCLUSIVELY FOR THE ELECTRICAL MICROPHONES, FROM THE SOUND MODULATION OR RECORDER。 |
| 111 | Live recorder
Field Reformer |
Multi-track portable recorders, each of which independently captures a track record for processing at a later stage。 |
| 112 | Gain
Gain |
The dialogue canisters are very large; the gain is set and the level is meaningful -- too low, the noise is relatively high, and too high。 |
| 113 | Scale
Level Meter |
Displays the signal size of dBFS, 0 as the full digit tic; during the same period, the white peak is usually controlled at approximately -12dBFS, leaving a safe balance。 |
| 114 | Ripple
Clipping |
The signal is “dimmed” over the full scale to produce a broken sound; the ripple of the digital recording is almost irretrievable, so it is better not to explode。 |
| 115 | Security track
Safety Track |
The same microphone has an extra track back-up at a low of 6 to 12 dB, and the main track is saved if it explodes。 |
| 116 | Bottom Noise
Noise Floor |
The background noise layer inherent in the equipment and the environment; a valid signal is sufficiently high to make the recording clean。 |
| 117 | Noise ratio
SNR |
The ratio of a valid signal to the noise; the more the microphones come closer to the noise -- the "nearest" is the first rule for recording during the same period。 |
| 118 | Environment Sound
Ambience |
The background sound inherent in the scene (street, wind, crowd) needs to be recorded in separate tracks for later laying to create a sense of space。 |
| 119 | Silence
Room Tone |
The group silently recorded 30 to 60 seconds of "Voice of the room" ; it was used to sew the sound when the late cut pairs were white, so the sound did not "breath off."。 |
| 120 | On site
PFX |
The sound of actions (opening doors, footsteps, object collisions) taped in the same period tends to be more consistent than later recouping。 |
| 121 | Reference Tracks
Scratch Track |
The sound of reference recorded in the camera headphone will be used only for editing the set and judging content and will not enter the film。 |
| 122 | Field board
Slate |
On the board, we're going to put a visual on it, and the sound of "push" is going to provide a precise sync for the sound-to-speech。 |
| 123 | Time code
Timecode |
with "hours: seconds: frame" as the number of each frame; the material is automatically aligned with Jam Sync。 |
| 124 | Double-system recording
Dual System |
Videos and sound are recorded by cameras and professional recorders, and are combined at a later stage by tablet or time code, with a much better sound quality than in-board recording。 |
| 125 | Sync
Sync |
The second step in the later stage, when the two-system sound drawings are set or waved, is the first step in the later stage。 |
| 126 | Listen
Monitoring |
The tape recorder and the microphoneman were able to listen to the live-recording signal all the way to the headphone, and ultimately decided to rely on the ears rather than on the electric table。 |
| 127 | Windproof sweater
Windjammer |
a long hair mask (commonly known as deadcat) placed outside the microphone, life-saving equipment for outdoor recording。 |
| 128 | Earthquake-proof
Shock Mount |
A flexer with a microphone, isolated from holding and moving noises from the pole。 |
| 129 | Sample Rate
Sample Rate |
The video industry standard is 48 kHz for the number of sound wave sampling per second。 |
| 130 | Bit depth
Bit Deep |
record accuracy at each sampling point, video and video is commonly used 24bit: high dynamic residual and low bottom noise。 |
Chapter 05 Late production
Video Clip
Phrase 131 – 170 Total 40
Films are often referred to as “third creation” done on a screenplay, followed by a film. This chapter 40 words refer from the Montage theory to the specific operation of Roll / Slip / Slide, taking into account "Why" and "How"。
| serial number | Terminology (common English) | Interpretation |
|---|---|---|
| 131 | edit (video images, film)
Editing |
Select and sequence the lens to construct narrative, rhythm and meaning work; the material is the same, the cut is the same, the two films are different。 |
| 132 | Non-linear editing
NLE |
Digital clips that can be sequenced and modified at any time on a computer are referred to together with the software (Premiere, Davinci Research, Final Cut, Avid)。 |
| 133 | timeline
Timeline |
Workspaces in the editing software that schedule the audio clips by time: Orbital layers, upper layers covering the lower layers。 |
| 134 | Crude
Rough Cut |
The version that initially links available material in the sequence of scripts seeks to complete the narrative without obfuscating the details。 |
| 135 | Cut
Fine Cut |
Editions of rhythms, performances and clipping points are often repeated on a rough-cut basis。 |
| 136 | Staple
Picture Lock |
Image clips are finally locked, not added or deleted; sound, special effects, and colours are used as the baseline。 |
| 137 | Cut Point
Cut Point |
The frame of the two lenses; the good clip point is invisible by action, sight or sound。 |
| 138 | Hardcut
Cut |
Direct interconnection without any transition effect is the most basic and common lens conversion。 |
| 139 | Jump
Jump Cut |
Directly connected with the space, near-spectrum lens, creates a sense of frustration of time leaping; moving from taboos to style ( " exhausted " )。 |
| 140 | Match Clip
Match Cut |
Using a similar image, action, or sound from the front and back lens to complete the inter-temporal connection, such as a bone tossing to spaceships (Space Rover 2001)。 |
| 141 | Action cut point
Cutting on Action |
The continuity of the movement conceals the cut and is the smoothest cut。 |
| 142 | J-cut and L-cut | The next shot goes to J-cut before the image; the image is cut and the last shot continues to L-cut. The sound is wrong to allow the conversation clip to flow naturally。 |
| 143 | Fight back
Shot / Reverse Shot |
The classic editing structure of both sides of the dialogue is presented interchangeably along the axes and is matched with a shoulder lens and a vision。 |
| 144 | Reaction camera
Reaction Shot |
To the expression of the listener or bystander; “speaks less than listens”, the response is often more dramatic than the line。 |
| 145 | Insert camera
Incert |
• Special features of local details (hands, letters, clocks) in the same scene to highlight information or stitch clip break points。 |
| 146 | Cut out the camera
Cutaway |
For the time being, it is possible to adjust the rhythm, compress the time, and to save the arcade。 |
| 147 | Cross-Clip
Cross-cuting |
Switches and turns between multiple clues that occur at the same time, creating the last minute rescue tension。 |
| 148 | Parallel Clip
Parallel Editing |
Cuts the clues that are not available at the same time but that are relevant to the subject and produces contrasts and metaphors。 |
| 149 | montage (film) (loanword)
Montage |
In French, the meaning of "connection"; in a broad sense, the art of editing itself is based on the idea that a lens interface produces a new meaning that a single lens does not have。 |
| 150 | The story | Clustering for the purpose of telling stories, including in a continuum, parallel and cross-cutting manner, is a fundamental part of commercial narratives。 |
| 151 | You're acting like Montague | A combination designed to stimulate association: contrast (poor and rich), metaphors (crowd to sheep), psychology (smoking images)。 |
| 152 | Kurishov Effect
Kuleshov Application |
The same face with no face is connected to hot soup, coffins, children, and the viewers read hunger, sorrow, love -- meaning between the lenses。 |
| 153 | Wrap Paragraph
Montage Security |
Quick-time-condensed paragraphs (training, love, entrepreneurship) started with a couple of minutes。 |
| 154 | Long shot and one shot at the end
Long Take |
The uncut, long-term lenses are complex, strutted and continuous; the “One Mirror at the bottom” film is mostly sewn up by hidden clips。 |
| 155 | Invisible editing
Invisible Cut |
With the shuffles, the shadows of the outlook, and the darkness, the clips are hidden, so many of them look like one。 |
| 156 | transitions
Transtion |
The overall name of the transition between the scene and the scene; the choice of the transition is to mark the distance between time and emotion。 |
| 157 | Collapse
Dissolve |
While the former picture becomes invisible, the latter one becomes visible, implying the passage of time or the transformation of space and the gentleness of air。 |
| 158 | Fade
Fade In / Out |
The picture emerges from the black (white) field, or it becomes invisible, as if it were the breath of a chapter。 |
| 159 | Draw
Wipe |
It's retrospect with a moving border to push the old picture out。 |
| 160 | # Black and white #
Dip to Black / White |
Rapidly dark or white enough to enter the next lens is a more convenient emotional interval than folding。 |
| 161 | Flashback and Flash
Flashback / Flashforward |
Inserts past or future paragraphs; always jumps at a time that matches the clip, the sound first or the tune change。 |
| 162 | Time omission
Ellipsis |
Cutting out processes of noatrical value (between going out and arriving), the audience automatically fixes the brain; the omission is the job of editing。 |
| 163 | Overlap Clip
Overlapping |
The same action is repeated in the adjacent lens for a long and intensified period of time (the trio of the Psalms of the Battleships。 |
| 164 | rhythm and cut rate
Pacing / ASL |
THE LENGTH OF THE LENS TURNS INTO THE PULSE OF THE FILM; THE AVERAGE LENGTH OF THE LENS (ASL = NUMBER OF LONG POACH LENSES) IS A COMMON INDICATOR FOR QUANTIFYING THE CUT RATE。 |
| 165 | Temporary chorus
Temp Music |
Reference music advanced at the cut-off stage helps to establish emotions and rhythms; it must be replaced by formal music to avoid abuse and “temporary dependency”。 |
| 166 | Three o'clock cut
3-point Edit |
Sets three points for the input, output and time line points of the source material to complete precise insertion, which is the basic function of efficient editing。 |
| 167 | Shearing Tool
Roll / Slip / Slide |
Roll simultaneously moves the seams of the adjacent sections; Slip replaces the footage without moving its position; and Slide moves the segment without changing its content。 |
| 168 | Proxy Clip
Proxy |
Use a small, low-resolution file instead of the original large material for a smooth clip, which is automatically switched back to the original。 |
| 169 | Offline and Bottom
Conform |
After cutting with a proxy (offline), reconnect the time line back to the original material (set/online) by the time code and then enter the mosaic and output。 |
| 170 | Engineering exchange
EDL/ XML / AAF |
The exchange file format for the transmission of time-line information between editing, modulation and mixer software is the “width stick” of collaboration between departments。 |
Chapter 06 Late production
Video special effects
Phrase 171 – 200 30 words
THE SPECIAL EFFECTS WERE TWO: LIVE SFX AND LATE VFX. THE 30 WORDS IN THIS CHAPTER ARE STRUCTURED ALONG THE FOLLOWING LINES: "SYNTHETIC BASE 3D PRODUCTION OF SIMULATIONS AND NEW TECHNOLOGIES" TO HELP BEGINNERS UNDERSTAND THE DISTRIBUTION OF JOBS IN SPECIAL EFFECTS COMPANIES。
| serial number | Terminology (common English) | Interpretation |
|---|---|---|
| 171 | Visual and field effects
VFX / SFX |
VFX REFERS TO THE EFFECTS OF LATE COMPUTER PRODUCTION, AND SFX REFERS TO PHYSICAL EFFECTS (EXPLOSION, RAIN AND SNOW) ACTUALLY TAKEN IN THE FIELD; THEY ARE OFTEN ASSOCIATED WITH THE COMPLETION OF THE SAME LENS。 |
| 172 | Live effects
SFX |
The real effects of the actual phase: pyrotechnics, flashpoints, artificial rainfall, snow and snow, fragmentation, etc.; the true sense of physical quality is still difficult to replace。 |
| 173 | synthesis
Compositing |
Multiple layers of images, such as reality, CG, drawing, are seamlessly folded into a single frame of core processes, often using software like Nuke, After Effects。 |
| 174 | Green and blue curtains
Green / Blue Screen |
Pure background screens to facilitate the later separation of people from the background; choice of green or blue depends on the colour of the clothing and the equipment for the filming。 |
| 175 | The statue
Keying |
The technology to make the background of the green screen transparent and to extract prospective figures by colour; the level of parity required to light the curtain is extremely high。 |
| 176 | Mask
Matte / Mask |
Defines which regions are shown in the picture and which areas are hidden in black and white。 |
| 177 | Roll
Rotoscoping |
It is also common for special effects companies to have access to “physical work” that creates a mask on the edge of the subject when it cannot be compared。 |
| 178 | Track
Tracking |
LETS LATE-STAGE ELEMENTS FOLLOW A POINT OR A FLAT MOTION IN THE PICTURE (2D TRACKING/PLATFORM TRACKING); MOBILE PHONE SCREENS, SIGNS REPLACEMENTS DEPEND ON IT。 |
| 179 | Camera Respond
Matchmove |
THE CG ELEMENTS ARE ABLE TO KEEP A SYNCHRONOUS VIEW OF THE PICTURE FROM THE REAL PICTURE。 |
| 180 | Erase
Cleanup / Paint |
To erase what should not have happened in the picture: Via wire, microphones, penitentiaries; often, clean floors (Clean Plate) are required in advance。 |
| 181 | Screen Replace
Screen Return |
Replaces the green screen on a mobile phone or television with one of the most common "hidden effects" that is designed。 |
| 182 | CGI | Computer-generated images are generic: from a cup to a planet, they can be built in a vacuum。 |
| 183 | Modelling
Modeling |
SHAPING THE GEOMETRY OF OBJECTS IN THREE-DIMENSIONAL SOFTWARE IS THE FIRST STEP FOR ALL CG ASSETS。 |
| 184 | Materials and stickers
Shading / Texturing |
Gives properties such as colour, texture, reflection, roughness to the surface of the model, which determines what it looks like。 |
| 185 | Tie
Rigging |
The model is equipped with bones and controllers so that it can pose and do animations -- the equivalent of a wired puppet。 |
| 186 | 3D Animation
Animation |
Let bound characters or objects move over time: Animators set key frame (keyframe) attitude, software completes the meso frame。 |
| 187 | Action Capture
Motion Capture |
RECORDING THE MOVEMENT OF REAL ACTORS AND EVEN THE EXPRESSION (SHOW CAPTURE) DRIVES DIGITAL CHARACTERS, GIVING CG A REAL SENSE OF WEIGHT AND DETAIL。 |
| 188 | CG LIGHT AND RENDER
Lighting / Reading |
In three-dimensional scenes, the computer calculates the final image; the rendering is the process of "porning" three-dimensional data into two-dimensional sequence frames。 |
| 189 | Render Layer
AOV / Pass |
Distinct the output of elements such as radiance, altimetry, shadow, depth, etc., which can be adjusted separately for each layer during the synthesis phase。 |
| 190 | Alpha Channel | The fourth channel to record transparency information in the image; the material with Alpha can be added directly to any background。 |
| 191 | Particle Effects
Particles |
Massive phenomena such as Mars, dust, rain and snow, and magic lights are simulated with a large number of small units。 |
| 192 | Dynamic simulation
Simulation |
The movement of fluids, pyrotechnics, fabrics, hairs, fractures by physical pattern; the sense of truth comes from “counting out” rather than “drawing out”。 |
| 193 | Digital View
Matte Pointing |
The creation of a vision environment (old-age cities, extraterrestrial surfaces) in the form of drawings combined with photo synthesis is the digital offspring of traditional glass landscapes。 |
| 194 | Digital View
Set Exchange |
THE ACTUAL SCENE IS ONLY ONE FLOOR, AND THE 99TH FLOOR IS CONNECTED TO THE CG; THE MOST POWERFUL IS THE SEAMS OF THE SCENERY AND THE DIGITAL SCENE。 |
| 195 | Digital double
Digital Double |
The actor's high-precision digital fraction: acting as a substitute for dangerous action, replicating missing lenses, and even achieving “digital age reduction”。 |
| 196 | Cluster Simulation
Crowd Simulation |
A mass of smart bodies with behavioral logic produces thousands of horses; the Massive system of the King of the Rings is the archeologist。 |
| 197 | Virtual shoot
Virtual Production |
A LARGE LED SCREEN IS USED IN REAL TIME TO SHOW A DIGITAL SCENE WITH ACTORS IN IT: REAL, VISIBLE AND VISIBLE INTERACTION (MANDALOS)。 |
| 198 | Real-time engine
Real-time Engineering |
Game engines (e.g. Unreal Engineering) enter the video process to render virtual filming and previews in real time, ending with "render waiting"。 |
| 199 | TimeMap
Time Remapping |
At a later stage, the retrospective processing of the lens: the elevation is slow, acceleration, speed curve (the sudden and slow `spacing') and action clips are spices。 |
| 200 | Stable and shivering
Status |
The software analyzes image motion and reverses compensation, shakes hands and smooths; the cost is that the image will be slightly reduced。 |
Chapter 07 Late production
Video Tuning
Phrase 201 – 230 30 words
The coloring is later on, "The Second Exposure of Photography." The 30 words in this chapter are arranged according to the concept oscillator tool → colour science style → delivery; remember one principle: alignment first (school colour) and then beauty (style)。
| serial number | Terminology (common English) | Interpretation |
|---|---|---|
| 201 | Align & Colour
Grading / Corraction |
The color is "ticking the wrong": restoring the exact exposure and color; the color is "creating": giving the film the same style and emotion。 |
| 202 | Level 1 Tone
Primary |
The whole picture will be exposed, compared, the whole of the world will be fine-tuned, with each shot "corrected."。 |
| 203 | Secondary Tone
Secondary |
It's a fine-tuned image (a piece of colour, an area), for example, to single out human faces and to crush the sky。 |
| 204 | oscilloscope
Spopes |
The colorer's "matrix": judge the image with data rather than the naked eye, avoiding deception by display differences and visual fatigue。 |
| 205 | Wave Chart
Waveform |
An oscillator that shows the brightness distribution across the picture: look at the upper limit for exposure, and look at the lower limit for death, as the first reference to control exposure。 |
| 206 | Vector oscillator and colour line
Victorscope |
A disk showing the distribution of colour and saturation; the colour indicator line (Skin Tone Line) on the disk is the calibrated colour ruler。 |
| 207 | Histogram
Histogram |
A column chart of the distribution of the number of dark pixels can quickly determine whether the exposure piles at both ends。 |
| 208 | RGB SCALE
Parade |
A wave-shaped graph showing the red, green, blue three-channel parallels: three colours are coloured and a sharp object of white balance。 |
| 209 | Dark/middle/light
Lift / Gamma / Gain |
Modified three-part partition control: Lift tube shadow, Gamma tube middle, Gain tube light。 |
| 210 | Colour Wheel
Color Wheels |
This is the classic film sense of three subdivisions moving colours on each other; "Small in the Dark, Orange in the Light"。 |
| 211 | Curve
Curves |
The most liberal modulation tool is the precise control by curve of the luminous and dark relationship with the colour channels。 |
| 212 | Delimiter
Qualifier |
Second-level tools that are tailored to a specific colour range (e.g. sky, colour, brand colour) by color, saturation, brightness。 |
| 213 | Window
Power Windows |
Circles, squares, or local constituencies with custom shapes, align with edge plume and adjust only the area within (or outside) the frame。 |
| 214 | Modified Track
Tracking |
Allows the window to automatically follow the person's face or object moving in the image, without a frame-by-frame manual adjustment。 |
| 215 | node
Node |
The process unit for the monetizing operation in DaVinci Research: a layered serial node that does not interfere with a parallel node, like a tuning flowchart。 |
| 216 | LUT
Find Table |
A COLOUR MAP: TECHNOLOGY LUT IS RESPONSIBLE FOR COLOR SPACE CONVERSION, STYLE LUT WITH A CERTAIN "FILTRATION SENSE" -- BUT IT SHOULD NOT BE A SUBSTITUTE FOR A REAL COLOR。 |
| 217 | Log Revert | Rec.709 images that convert grey Log materials to colour space or technology LUT back to normal contrast are the starting point of the modulation process。 |
| 218 | Colour Space
Color Space |
Criteria for defining “what colours, how to code”: Rec. 709 (high-resolution television), DCI-P3 (digital cinema), Rec. 2020 (super-high-resolution)。 |
| 219 | Colour Management
ACES ETC |
Harmonized processes, such as the Academy Colour Coding System, bring different types of material into the same standard space; multi-spaced, multi-sectoral collaborations do not run。 |
| 220 | Colour/saturation/saturation
HSL |
The three dimensions of the color description: the color is "What color" and the saturation is "How bright" and the brightness is "How bright"; the tuning is moving between the three。 |
| 221 | Contrast & Pivot
Contrast / Pivot |
The dichotomy increases the contrast; the Pivot determines which brightness is the axis to spread to both ends。 |
| 222 | hairstyle
Look |
A single piece of colour: oranges, bleaching, retropics, high-comparison black movies... have narrative motivations, then style choices。 |
| 223 | Film simulation and particles
Filling / Grain |
Simulates the colour response curve of a particular film and superimposes the particles to inject a material sense into an overly “clean” digital image。 |
| 224 | Optimus
Halation / Glow |
Soft light on the edges of the high light and red orange dizziness: The physical properties of the film are now commonly used as a means of creating illusions and retrograde feelings。 |
| 225 | Dark corner
Vignette |
The four corners of the picture are slightly darked, bringing the viewers to the centre; the heavy-handedness is deliberate。 |
| 226 | Camera Match
Shot Matching |
In the same play, the color of the camera, which is taken at different times, is the same -- the most invisible and the most important day-to-day work of the colorer。 |
| 227 | Noise reduction and sharpening
NR / Sharpen |
Remove high-sensation light noise and moderate enhancement details; the two are drawn together, and over-treatment creates a “plastic sense”。 |
| 228 | HDR AND SDR | THE HIGH-DYNAMIC-RANGE VERSION HAS A BRIGHTER HIGH-LIGHT AND WIDER COLOUR FIELD AND REQUIRES A MASTER VERSION SEPARATE FROM THE STANDARD DYNAMIC-RANGE (SDR) VERSION。 |
| 229 | Watch and calibration
Monitoring |
The modulation relies on calibrated professional monitors and controlled environmental light; the monitors are not valid and all adjustments are made to the aeroplane。 |
| 230 | Delivery master
Deleverables |
The final version, to be produced by the distribution side: cinema DCP, television publishing, streaming media ProRes/IMF, network H264 etc。 |
Chapter 08 Late production
Mix Sound delay
Phrase 231 – 255 25 words
After the clips were cut, the film reached the end of the sound: clean-up for white, "acting" for action, sound for music, and finally a final sound tape in the studio. This chapter 25 words cover all critical processes of the current line。
| serial number | Terminology (common English) | Interpretation |
|---|---|---|
| 231 | Sound delay
Audio Post |
THE OVERALL NAME OF ALL SOUND WORK AFTER THE CUT IS: THE FULL FLOW LINE OF WHITE CLIPS, ADRS, PRONUNCIATIONS, SOUND EFFECTS, MUSIC TO THE END。 |
| 232 | A white clip
Diallo Editing |
Cleaning up the whites for the same period: selecting the best strips, removing the murmurs and sutures with silent sound, making the conversation sound like a good thing。 |
| 233 | The White Book
ADR |
The actors went into the studio and watched the images re-matched with the lines of the scene and tried to recover completely from the mouth and emotions。 |
| 234 | Pronunciation
Foley |
The soundwriter in the shed watched the images synchronized "shows" with the sound of actions like footsteps, clothing frictions, instrument collisions, etc., more than the sound library material。 |
| 235 | Sound sheds and props | A studio full of different ground materials and eccentric devices; a cracking sound of celery may be a fracture in a piece。 |
| 236 | soundscape
SFX |
A synonym for all sound elements other than white and music: may be recorded on site, may be based on sound, may be synthesized by sound。 |
| 237 | Acoustic Bottom
Ambience Bed |
A continuous environmental background (wind, insect, city low frequency) is laid for each scene; it is invisible to the audience, but it cannot be removed for a moment。 |
| 238 | Sound Design
Sound Design |
The work of creating a world of unique voices for the film: the roar of dinosaurs, the buzzing of lightsabers, are all the results of the design of the Unfinished。 |
| 239 | Music and songs
Score / Source |
Music is an off-the-shelf music originally created by the film; songs are part of a song with an inner sound (source Music, like songs on the radio)。 |
| 240 | Music Editor
Music Editing |
The point of entry and exit of the music by image, the resonance of emotions; the replacement of ad hoc music, and the extension of the length of the music are done by it。 |
| 241 | Finally
Re-recording Mix |
Balancing the entire audio tracks of white, music and sound into the mixer booth to the total assembly of the final sound tape。 |
| 242 | Mixer
Re-recording Mixer |
Leads the ultimate voice artist; large-scale projects are often coordinated by a division of labour between white and audio mixers。 |
| 243 | Premix and Bottom
Premix / Stems |
The first is to mix the same sound into white, music, and sound (DME Stems); the end is to be more flexible than later。 |
| 244 | Equilibrium balance
Balance |
The first priority of the mixer is to hear what should be heard at any given time (usually white), with the rest in place。 |
| 245 | Sound
Panning |
Place the sound in the right, right, or even around the sound field, echoing the scene or deliberately creating a sense of alienation。 |
| 246 | equalizer
EQ |
Raise or decay specific frequency bands: remove low-frequency booms, suppress sarcasms, and let the white "get in front of the picture."。 |
| 247 | Compressor
Compressor |
Automatic pressure lowers the instantaneous, lifts the overall acousticity and makes the voltage more stable and manageable。 |
| 248 | Limiter
Limiter |
Sets an inexhaustible electrical ceiling to prevent any instant excesses and is the last gate on the delivery chain。 |
| 249 | Mix
Reverb |
Simulation of the resonance of space reflections: to get the chords from the shed "back" to the scene, to get the music into the church or the bathroom。 |
| 250 | Delay
Delay |
This is the result of resonance: valleys, telephones, and stylistens。 |
| 251 | Noise reduction repair
Noise Review |
Use spectrum restoration tools (e.g. iZotope RX) to remove buzzes, wind noises, noises and rescue problematic material。 |
| 252 | Sound standard
Loudness / LuFS |
LUFS-MEASURED SOUND REGULATION: TV BROADCASTING REQUIRES ABOUT -24 (OR -23) LUFS, WITH DIFFERENT STANDARDS FOR ALL STREAM MEDIA; IMPACT COMPLIANCE IS A HARD INDICATOR OF DELIVERY。 |
| 253 | Stereo and 5.1 Ring | The two tracks and the “Multi-right-right-right-right-right-right-right round-barrel-barrel-barrel-barrel-barrel-barrel-barrel-barrel-barrel-barrel-barrel-barrel-barrel-barrel-barrel-barrel-barrel-barrel-barrel-barrel-barrel-barrel-barrel-al。 |
| 254 | Panorama
Dolby Atmos |
A three-dimensional sound-formation based on "sound objects" adds to the sky channel, where sound can move freely between its head and its surroundings。 |
| 255 | International voice track
M&E |
Music and sound, and white-free versions (Music and Effects) for overseas audio translation。 |
Chapter 09 Promotion of packaging
Poster Design
Phrase 256 – 280 25 words
The poster is the “first frame” of the film: the audience has not seen the film, but first saw it. This chapter 25 words cover the system of type of poster, design language and printing specifications, as well as the signature strips, the signposts, and the easily ignored “prescriptive actions”。
| serial number | Terminology (common English) | Interpretation |
|---|---|---|
| 256 | Main poster
Key Art |
A core visual programme that runs through all the materials; once the main poster is identified, the rest of the material is extended by it。 |
| 257 | Lead poster
Teaser Poster |
Posters were published early and with little information: there was often only one obscurity period, the purpose of which was to satisfy the appetite。 |
| 258 | Role poster
Character Poster |
A single-person poster for the main players is a syllable of video-making and fans。 |
| 259 | Final poster
Final Poster |
The official version, which will be released as soon as possible, will have the most complete information: the main vision, the cast, the stage and the endorsement。 |
| 260 | Concepts and series of posters | Posters (aerobics, lines, ink, etc.) distributed in a unified concept set are used to create multi-wheel transmission rhythms。 |
| 261 | Snippets
Title Treadment |
the unique font design for the title - the "logo" for the film, must be consistent on all material。 |
| 262 | Main Vision
Key Visa |
The poster contains the core image of the recognition (persons' clippings, logos); it should be remembered by the audience at a glance。 |
| 263 | Visual Level
Visa Hilarchy |
Watch through size, clarity and location: what to look at first, what to look at, what to look at last。 |
| 264 | Posters | Central valorization, triangle stability, an acoustic vigil, ceremonial sense of symmetrical symmetry; design decisions take precedence over all details。 |
| 265 | Leave a message
Negative Space |
Space without one object is also designed: to leave the body breathing and often hide the second layer of graphics (hidden images in the film)。 |
| 266 | Colour tone
Palette |
Posters are dominated by colours: oranges' sense of business, gold's sense of quality, high saturation comedy, low saturation。 |
| 267 | Font Printing
Typography |
The fonts, ids and spacing of all languages other than the title (advocacy, formation, slotting) are the watersheds of a sense of professionalism。 |
| 268 | Advocacy
Tagline |
One sentence hits the point of selling the film -- "No one can hear you screaming in space" -- and it complements the title without repeating it。 |
| 269 | Comment Quote and Decepticons
Quotes / Laurels |
The most important credit endorsement for the poster for the Renaissance Film Festival is the Quail of the Good Media。 |
| 270 | List of staff members
Billing Block |
The list of finely compressed fonts at the bottom of the poster; its content is often strictly bound by the contract。 |
| 271 | Signing order
Billing Order |
Whose name is first, first, and how big is the title, which is determined by the contract negotiations, and which is the most intuitive expression of the position of the industry。 |
| 272 | Slotting Information
Please date |
“The early year of the Greeting Year” “Summer Show” - the slot itself is part of marketing information。 |
| 273 | It's a sign wall
Logos |
The top or bottom of the poster is a list of product, platform and plant signs; the more signs, the more they are, the more the layout is put to the test。 |
| 274 | Marker and Recording Information | Posters for domestic public films are required to reflect information on the Film Publicity Licence (commonly known as the Dragon Marker), while overseas markets are given their own sorting signs。 |
| 275 | A special picture
Photo Shoot |
Specially organized photo productions for posters, different from the scenes of the scenes; the main posters are mostly synthesized by special material。 |
| 276 | Synthetic and illustration posters | Photo synthesis, direct information; illustrations are more stylish and more valuable, with two routes in their possession。 |
| 277 | Motion Poster
Motion Foster |
A video poster with local kinetic effects (snowing, blinking, photo-flow) has been added to the static image, which is a frame for the social media age。 |
| 278 | Formulaes and Dimensions | One Sheet standard is 27 x 40 inches vertical; there are other vertical (e.g. 9:16), horizontal, etc. specifications for domestic court lamp boxes and online platforms。 |
| 279 | Hemorrhage and safety zone
Bled / Safe Area |
the print cut must spread blood (approximately 3 mm) around the size of the finished product; key words must be incorporated into the security zone in order to prevent them from being cut off。 |
| 280 | Colour Mode and Resolution
CMYK / RGB |
Printing uses CMYK and on-line distribution uses RGB, which are not the same colour fields that require separate calibration; printed copies usually require 300dpi。 |
Chapter 10 Later / Dissemination
Performing staff table production
Phrase 281 – 300 Total 20 words
The performance form is the signed commitment of every worker to the film and is a “legal document” that is subject to contracts and practices everywhere. The 20 words in this chapter describe the structure of the headtails, the signature rules and the production norms。
| serial number | Terminology (common English) | Interpretation |
|---|---|---|
| 281 | Subtitles
Speaking Credits |
The opening of the film presents a list of the originals, the order and style of which are determined by the contract and industry practice; many of the films choose to open in a cold format, with everything but the name。 |
| 282 | Plant Animation
Project Logo |
Producing dynamic signs (snow mountains, castles, rings ...); multiple joint productions in order of priority。 |
| 283 | Subtitles
End Credits |
The film concludes with a complete list of all actors and copyright information, a commitment by the industry to “every name should be seen”。 |
| 284 | Roll Screen & Freeze
Crawl / Cards |
The bottom-up flat-speed screen is commonly used at the tail; the head and key signatures are presented on a single-space (Card) basis。 |
| 285 | Online
Above-the-line |
Core creators above the budget line: author, producer, director, author, lead performer; the headline is largely signed from this ladder。 |
| 286 | Underline staff
Below-the-line |
Departmental staff below the budget line: photo crews, light group, art group, and later stages of work form the subject of the long list。 |
| 287 | Signing order
Credit Order |
The general practice of the film (in Hollywood, for example) is that the plant’s logo – the lead actor – the title – the side corner – the lead author of the sector – the producer of the film – is the director; the contract is the standard。 |
| 288 | Single Card
Single Card |
The signature of a single screen by one person is a symbol of status; the same screen is called the United Card。 |
| 289 | Lead and lead | The usual level of subtitling in the country is higher than the lead, and the difference between ranking and character is determined by the broker interview。 |
| 290 | It's a special show and friendship | Practice of the profession: especially performances of actors with more than one degree of seniority; friendships with a zero or low pay character。 |
| 291 | The director's signature
A Film by |
The title to the director of a “specific work” is often placed at the centre of the tablet; there is a long-standing controversy at the level of the author's union because it dilutes the contributions of the author, among others。 |
| 292 | Comparison of job descriptions | Common English posts at the end: Gaffer Light Guide, Key Grip Mechanical Leader, West Boy Department Deputy, 1st AD First Deputy Director, Script Supervisor Field Record, DIT Digital Image Engineer, Coloist Colorist。 |
| 293 | Products and joint products | The “output” is the main investment and rights party, and the “co-output” “honor products” are reduced in the order in which they are financed and contributed; the ranking of companies is also included in the contract。 |
| 294 | Acknowledgements
Special thanks |
(d) To express gratitude to the individuals and institutions that have provided assistance but do not constitute the signature of their functions: local, branding, co-production units, etc。 |
| 295 | Music rights subtitles
Music Credits |
A syllable listing of the music ' s titles, the authors, the performers and the authorized parties is an inescapable part of copyright compliance。 |
| 296 | Copyright and fiction statements | The legal paragraph at the end: the copyrighted (year-old company) and the reserved rights statement, as well as the exoneration statement that “this story is a mere fiction, and it is a coincidence if it is mine”。 |
| 297 | Character and readability | Rolling subtitles need to ensure that the minimum fonts are visible on both the cinema screen and the cell phone screen; line spacing and alignment (centre or right column) must be the same。 |
| 298 | Subtitle Security Box
Title Safe |
SAFE AREA PRACTICES FROM THE ERA OF TELEVISION SCANNING: KEY TEXT SUGGESTIONS ARE IN THE RANGE OF ABOUT 90% (OPERATIONAL SAFETY ZONE) TO 80% (SUBTITLE SECURITY ZONE)。 |
| 299 | Roll Screen Speed | Scrolls with "Each screen text can be read in its entirety" as a bottom-scroll speed; too fast is the most common error in the end of a piece。 |
| 300 | Smash egg
Post-credits Scene |
Additional footage hidden in the middle or at the end of the subtitles; where there are eggs, the announcement usually suggests "subtitles with surprises" to keep the audience。 |
Instructions
The visual terminology differs slightly from the term used in different teaching materials and regions (continental / Hong Kong / European and American) (e.g., the five-and-nine-by-the-view) and the dictionary uses the common caliber of the continental industry。
Only when the term is used repeatedly in the form of a photo and in the actual creation will it really become your own language — it is suggested that for every chapter of the study, a preferred film be cross-referenced。
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