Every workplace has its own unique code or shorthand for operational ease. Whether it’s truckers calling out bad road conditions over the radio or even journalists using slang like hed, dek, and graf to denote sections of an article, there’s always a language barrier to overcome when entering a new professional space. Working on a film or television set is no different, in fact, often the most experienced players in these environments are recognized by their use of such terminology.
If you’re looking to build a career in the field of production, then becoming a bit of a polyglot will need to be part of that equation. Get started now by memorizing the terms and phrases listed below.
10/100 or 10/1 — Etiquette has pretty much gone out the window in many work places, but for those who don’t wish to announce every time you’re going to the bathroom, you can still inform people of your whereabouts without going into detail using this quick indicator.
Above the Line — This is mostly used in relation to costs, with above-the-live talent representing the creative arm of the production (writer, director, actor, producer, sometimes VFX).
Apple Box — Differently sized (quarter, half, full, pancake) wooden boxes used for a variety of purposes, for example, elevating actors in certain shots to get the proper eyeline.
Axis of Action/180-Degree Line — This defines the spatial relations between all of the scene’s elements as being either left or right of the performers in order to maintain the geography of the scene. Many say crossing this line (or cutting between two directly opposing framings) breaks the suspension of disbelief, but it has been used intentionally to create a sense of disorientation in viewers.
Background Action — If working on a scene with extras, before the director or assistant director calls action on the main actors, they will cue background talent with this phrase first.
Back to Ones/First Marks/First Positions — Typically called after one take and going into another, each performer and crew member should return to where they started at the beginning of the scene and be prepared to go again.
Barn Doors — Important for gaffers, this denotes the four metal slides on the front of light kits used to direct or position light.
Below-the-Line — Again, mostly used in reference to costs, below-the-line represents fees associated with crew, marketing, rights, etc. It also is used as a catch-all for members of production not associated with the top creatives, i.e. hair & makeup, grips, PAs, drivers, etc.
Bounce Board — Typically a white surface made of foam or poster board used to add soft light to a scene.
Buy Out — For performers or rights holders, this means whatever work is being produced, you will only receive one lump payment. The alternative would be repeat fees for however many times what’s being produced airs. These fees are based on union rules or a separate agreement.
Call Sheet — A schedule given to cast and crew that lists when each department or individual should arrive and who needs to be on set each day. Other important info on a call sheet includes address and phone number for the nearest hospital and locations should you be shooting outside of a studio.
Checking the Card/Drive — In the Hollywood of yesteryear, checking the gate used to signify the process of making sure there was no obstruction to the film being spooled through the camera. Since most productions have gone digital, the process has shifted to checking the card or drive being used to store footage is operational.
Clamps — There are honestly too many variations of clamps to name, from Cardellinis to Mafers, with each having a specific purpose, whether that be holding gels to lights or needing an item held in the perfect position.
Clapperboard/Slate — Used to sync audio to visual before every take, a clapperboard/slate is held in front of the camera with information listed on who’s directing, who’s shooting, as well as scene and take number. This helps the editor organize footage during post.
Clear the Eyeline — Could be called by the actor or the director so that nothing distracting is in their field of view while shooting a scene or capturing a moment.
Composition — When framing a shot or blocking a scene, it’s important not to just think about what is being communicated, but also how. This is where lighting, color, angling, props, costumes, and makeup all come together to make sure whatever vibe the director is trying to put out is accomplished.
Continuity — Usually handled by the script supervisor or coordinator or an assistant director, this has to do with making sure each shot maintains consistency across set-ups, whether that’s the placement of a glass or a piece of hair skewing to the left or right of a performer’s face.
Coverage — All of the angles outside of the master shot that contribute to being able to piece together an edit. In television, the habit is to shoot a lot of coverage to provide options, while many filmmakers tend to be more precise about what they want.
Craftie (Craft Services) — Probably one of the first terms you’ll learn on a set, craftie is where everyone can grab a snack or lunch and often where you’ll find people hanging out when not shooting.
Crew Call — The specific time in which crew is expected to be on set and ready to work.
Crossing — Similar to a kitchen environment, productions involve a lot of moving entities, so should you be walking in front of the camera between takes, it’s always good to call out “Crossing!” so people know you’re about to enter frame.
C-Stand — The most frequently used form of light stand with three adjustable legs, a long metal “arm,” and a round clamping head called a gobo.
Cyclorama — Mostly used in professional studio environments, this is a floor-to-ceiling screen that can be turned into a backdrop for a scene. It’s often used to shoot outdoor scenes inside.
Diegetic Sound — All sounds that are natural to the environment the scene is set in and that exist within that world, as opposed to noises that might be imagined by the characters present in the scene or music laid under in post to direct the audience towards a certain emotion.
Directing the Eye — Used mostly by cinematographers, this has to do with how you want your camera to take in and behave during a scene. This serves as an extension of what you want the audience to experience and where you want to draw their focus in any given moment.
False Take — Called when a scene is interrupted by some unforeseen circumstance like a noise being picked up or a technical issue taking place. The director or AD will then call “Cut!” and start over.
Flag — A black, light-absorbing cloth known as a duvetine stretched over metal frames of all different sizes. It’s used to block out areas of light.
Flying In — A notification that an item needed on set is on its way, whether that be a C-stand or a cast member or even a coffee for a cast member.
Honeywagon — A mobile trailer of sorts that may hold bathrooms, offices, dressing rooms, or all of the above.
Hot Brick — Fully-charged battery for a walkie-talkie. PAs should always have hot bricks ready-to-go.
Hot Set — Shooting is physically taking place or will be in the imminent future, so the set should be left undisturbed, meaning no props or set design should be touched.
Last Looks — The final chance for hair & makeup, costume design, gaffers, and production design to make adjustments before commencing a take.
Magic Hour — Also known as Golden Hour, this is the optimal time of day to shoot magical or romantic scenes, right as the sun is coming down or right as its coming up. It is when the lighting allows for golden-orange hues and soft shadows.
MOW (Make Your Own Way) — Usually noted on a Call Sheet, this is to inform cast and crew that they will need to provide their own transportation to set. If transportation is provided, it may be used to note cast and crew who have opted out of using it.
Marking — Putting tape down so actors know where their mark is.
Master Shot — A shot that contains all components of a scene (characters, setting, time of day, etc) in one frame. Some will shoot the entire scene in masters for safety, while others choose the moments they need masters and fill the rest out with coverage.
Martini Shot — The last camera set-up of the day, this is called out so anyone not working directly on the scene can start packing up equipment not in use.
Money Shot — One of the most important days on set will be when you’re working to achieve the money shot. This is the most expensive scene to accomplish or the one that people will at least spend money to see. Usually takes place at a climax or moment of revelation in the context of the narrative.
On-the-Move — Work in a specific location is completed and the crew is in the process of moving to the next. Can also be used when changing set-ups at the same location.
Per Diem — A daily allowance for cast and crew’s personal expenses while filming on location, such as food or laundry services.
Pick-Up — Reshooting snippets of a scene instead of the full thing.
Pre-Call — Some heads of departments may need to arrive earlier than Crew Call and it should be noted in the Call List.
Reccies — Part of the location scouting process that involves working through any problems that may arise during production. HODs will meet at location, probably more than once, to prepare for every element of the shoot.
Reflector — Similar to a bounce board, this is used to reflect light, filling shadows and softening contrast without adding more lights.
Room Tone — Needed for the edit, this is recorded by sound in each shooting location so that a general ambient tone is had to maintain consistency across the sound design.
Runner — Can be a specific individual or tied into being a production assistant, a runner is the junior-most member of the crew, responsible for all necessary pick-ups, whether that be food, staples, batteries, or anything else that may be needed. They are vital to the flow of production.
Safety — An extra take even after you think you’ve gotten what you need.
Second Unit Photography — Masters and coverage aren’t the only necessary shots for a production to achieve. There also needs to be small inserts that the main production unit don’t have time to get and why a second unit may be called upon. For instance, close-ups on items or landscape shots.
Sides — Specific script pages pulled for the scene being shot that day. Can also refer to material used for auditions.
Stinger — Short for extension cord, of which there will be plenty on a set.
Strike — Breaking down the set, camera, and lights at the end of the shoot. Sometimes may need to be done after each shoot day or can happen on the final production day.
Tail Slate — If you forget to slate at the top of the scene, you can also present the clapper at the end or “tail” of a scene.
Unit Base or Base Camp — The meeting point where cast and crew should arrive for the shoot and where they’re organized before being brought to set.
Video Village — More common in television and professional sets, these are spaces for writers and others not involved in the scene to watch playback. Directors may choose to stay here if dealing with big action they should keep their distance from.
Wrap — The end of the shoot, commonly associated with a party or event to celebrate. This is when everything used for the production is broken back down and prepared to be returned or stored.
