Video Production Flashcards

Flashcards for video lecture notes.

Producer

Responsible for getting the movie done, hiring the director and people for their vision, and helping fund the elements of the film.

Executive Producer

Finds the money for the film.

Cinematographer/Director of Photography

Head of camera/lighting, makes decisions on the look of the scene with the director. Oversees Electric, Grip, and Camera dept.

Production Designer

Head of the Art Department. Responsible for everything on screen (not lighting). Works closely with the director to fulfill the visual elements needed to tell the story.

Sound Designer

Responsible for all the sound in the film and bringing all sound elements on film. SFX editors. Makes ambient sound when sets are fake.

1st Assistant Director

Time must not go overtime bc over budget/time - on set safety - background action.

2nd Assistant Director

Call sheets - Scheduling logistics - Near future (days next week) - Mostly offset.

Camera Operator

Operates and maintains cameras.

Grip

They lift heavy things, set rigging points, and handle non-electrical parts of lighting setups (flags, bounces, overheads). On soundstage, they move major set pieces to help with camera position. Report to key grip.

Key Grip

Chief grip on set and is the head of the set operations dept. Works with DP on lighting/blocking.

Best Boy (Grip Dept)

Organizes the grip truck. Chief assistant to the key grip.

Dolly Grip

Operates and sets up the dolly.

Gaffer

Head of lighting dept, plans lighting for a production. May be credited as chief lighting technician.

Best Boy (Electrical Dept)

Deals with the electric truck, rentals, manpower, and other logistics. Chief assistant to the gaffer.

Lighting Technician

Sets up and controls lighting equipment.

Art Director

Reports to P.D and oversees artists and craftspeople, such as set designers, graphic artists, and illustrators, who give form to the production design as it develops.

Assistant Art Director

1st, 2nd, 3rd assistant art directors carry out the instructions of the art director. They measure locations, manage workflow, gather info for the P.D and act as the foremen of the drawing office. 1st assistant = set designer.

Camera Operator

Looks through lens, may also be DP.

1st Assistant Camera

Keeps camera in focus and maintains the camera.

Steadicam OP

Wears piece of equipment.

Art Department

Overseas Wardrobe, Makeup, Locations, Props, Paint, Construction, Hair, and Decorating.

Script Supervisor

Maintains the film’s continuity and records the production unit’s daily progress when shooting the script.

180 Degree Rule

Cam is on one side of an invisible line to maintain spatial continuity.

Script Coordinator

Tracks changes in drafts of scripts, annotate scripts, and make sure everyone has the most recent corrected draft. Has a larger role in pre-production.

Key Make-Up Artist

Handles cosmetics, facial hair, building wigs, shaping something to look like someone else's silhouette, wardrobe, and makeup.Answers directly to the director and P.D. Plans makeup designs for all leading and supporting cast. If special effects are involved, they will consult with a special effects makeup team to create all prosthetics and SFX makeup.

Set Designer

The draftsman, an architect who realizes the structures/interior spaces called for by the P.D.

Illustrator/concept artist

Draws/paints visual representations of the designs to communicate the ideas imagined by the P.D

SFX Make-Up Artist

Works with live models/structures, applies make-up effects/prosthetics. If the effects are extremely large, SFX makeup might liaise with the director and P.D directly.

Costume Designer

Design, plan, and organize the costumes down to the fabric, colors, and sizes. On large productions needing period pieces, they have dozens of people working under them.

Costume Standby

Repairs and monitors continuity of costumes and assists actors with re-set pieces or getting into costume.

Location Manager

Oversees the Locations Dept, typically reports directly to the P.D and Assistant Director. Gets permissions - Fields complaints - Go to tech surveys - Make photo files - Book/Sign locations - Decides where to park trucks - Picks up garbage - Hangs up signs so people dont get lost

Location Scout

Does much of the actual research, footwork and photography to document location possibilities.

Special FX Supervisor

Instructs how to design moving set elements/props that will safely break, explode, burn, collapse, and implode without destroying the film set. Also reproduce weather conditions.

Live Broadcasting

Streamed as it happens

Live with Delay

Images comes into camera and buffer so we can censor/cut

Live to Tape

Recorded in front of the studio audience, air it later; can colorize/edit/fix audio before air

Taped

Shoot it the same way as film, not filmed in order, filmed in convenient way and edited together to air it

Stunt Coordinator

Head of the stunt dept, works out the choreography and logistics of every stunt and hires stunt performers. Also work with makeup artists, costume designers, special effects technicians, and prop masters.

Stunt Performers

Perform stunts safely and according to the coordinator and director's vision. Also specialize in a particular discipline, such as driving, aerial work, underwater.

Walk Cycle

Determines acting and how that character moves.

Concept Art

Casting visual representations of every design.

Expression Sheet

What the characters facial expressions/emotions are.

Celluloid

Clear piece of plastic. Using transparent Cels.

Cel Animation

Traditional 2D Animation made on cels. Each cell is a frame of movement. Played in order to create motion (24 fps).

Stop Motion

Frame by frame animation models. Objects slightly moved and photographed one frame at a time.

Persistence of Vision

Your eyes fill in the motion in the space between each frame.

Modeling

Turn 2d concept art and traditionally sculpted “puppets” into 3D models using polygons. 4 ways: build from scratch, trace 2D art, 3D scan, or use presets

Rigging

Is like putting in bones AND tendons - Everything in human body that helps move muscles - Anything you want to have kinetic motion, bending, moving.

Previsualization

Used as a guideline to create the 3D space, lay assets and play - It enables taking advantage of the actual space within which the characters are “acting” - Character Blocking, Camera Placement, Camera Movement, Choice of lenses

Animation

Take that rigging and move those characters over the course of time.

Surface map

All the little pieces that are sew/mesh together to make character - the program usually does it.

Composition and rendering

All the assets, matte background, surfaces, different lighting, camera moves and lenses, and effects are combined to form the final shot. Fix any problems, color correct. Render farm

Send to Editors

Send shots to be edited into live action (post production).

Dynamic simulations

Mathematical models that attempt to apply and follow Newton's laws of motion. Ex. wind, ocean, rain, hair

Ingest (Sync & Log)

Import files into the program. Sync audio and video. Script supervisor takes notes/logs shots.

Assembly

All the master shots strung together, which show the set layout and most characters/actions.

Match on action

Starts on shot A and ends on shot B, hide edit in motion. Shot A ends at the exact point in action that Shot B starts. No gap of time.

Match on form

What's framed is the exact same.

Match on audio

Sound bridge not one continuous audio. Audio that bridges us from one scene to another scene.

Jump Cut

Cutting from a wide shot to a closer shot from same angle. OR breaking the action by pulling out segments of the show. Intentionally lose time - Draws attention to the edit no continuity

Wipes

This edit is hidden by something crossing the screen. Can be optical aka done in post-production. Visual effect to make one scene go away.

L cut

The audio from 1st shot continues over visual 2nd shot

J Cut

The visual from the 1st shot continues over audio of 2nd shot - We hear the audio of shot 2 before we see the video of shot 2.

Referents

Cut to whatever was just talked or thought about.

Match Cutting

1st shot begins/2nd shot finishes it. The edit is smooth. You match the last frames action/form/audio of the 1st shot to the first frame of the 2nd shot.

Dialogue referent

I love doughnuts then cut to donut.

Thought referent

If they think about it and it’s shown. Ex someone is thinking about their memory and then we cut to that memory

Montage

A series of short shots that are edited into a sequence to condense space, time, and information (often accompanied by music).

Cross Cutting

Going back and forth.

Intercutting

Editing of 2 or more actions taking place at the same time that creates the effect of a single scene than 2 distinct actions.

Parallel Action

2 or more scenes that could play out on their own and still make sense, but the director has chosen to cut them together for a reason (theme, tension, commentary, etc.)

Assembly

To make sure time and length make sense. All the master shots of each scene are strung together to watch a play version of your entire film in one wide shot.

Ambient/Room Tone

Background.

Production dialogue

Recorded on set

Automated Dialogue Replacement

Re-recorded in post

Foley mixer

Records the sounds.

Foley walker

Create the sounds.

Foley editor

Makes any slight timing adjustments to ensue that they’re exactly in sync with the final picture after they are recorded

Practical SFX

If on set ex. Record wagon noise

Uni-directional Mic

Only hears in one direction ;>0

Bi-directional Mic

Won't hear from the sides, only between 0

Omni-directional Mic

360 degrees.

Cardioid Mic

Hear upfront and a little bit of the side.

Hypercardioid/Shotgun Mic

Long reach and a little bit to the side, far away from ppls voices so its not in frame

Lavalier/Lapel/Button Mic

Can have every pick up pattern except shotgun, clip on hidden somewhere

Dialogue Editor

Makes sure audio is in sync with image, cleans up dialogue as much as possible, decides if they can fix with crossfade or do ADR. Double noise and mix, smooth transition, add noise from each background.

Sound FX/Foley

Record sound effects live in sync with the pictures. Ex. footsteps, prop movement, cloth rustling, etc.

Narration

Additional voice recording.

Color Correcting

Correcting the color so that the shots look the same, the color matches what it’s supposed to look like, and the color is continuous.

Color Grading

Adding beauty elements and visual style. Making the film match what you want stylistically. Some shoot in low contrast to manipulate during post-production.

Matte painting

Painted representation of a landscape/set/distant location that creates environments that are nonexistent in real life or would be too expensive/impossible to build/visit. Required masking certain areas of the film to control which areas are exposed.

Chroma Key

Green screen to take out exact same color. 2 shots: foreground and background.

CGI

A complete fabrication of an item within software then importing it into your footage OR digitally removing an item.

LED Volumes

Large curved or enclosed wall of high-resolution LED screens used to display real-time 3D environments as backgrounds during the live-action filming.