Terms:  Numeric

Term (optional text)
{Frame of Reference}		 Definition
Category

°ASA
{Film Speed}		 Abbreviation For:   | film speed - ASA |
Camera,
Film,
Grip & Electric,
Measurements

°BS
{Film Speed}		 Abbreviation For:   | film speed - BSI |
Camera,
Film,
Grip & Electric,
Measurements

°DIN
{Film Speed}		 Abbreviation For:   | film speed - DIN |
Camera,
Film,
Grip & Electric,
Measurements

°ISO
{Film Speed}		 Abbreviation For:   | film speed - ISO |
Camera,
Film,
Grip & Electric,
Measurements

°Sch.
{Film Speed}		 Abbreviation For:   | film speed - Scheiner |
Camera,
Film,
Grip & Electric,
Measurements

°W.
{Film Speed}		 Abbreviation For:   | film speed - Warnerke |
Camera,
Film,
Grip & Electric,
Measurements

°WARN.
{Film Speed}		 Abbreviation For:   | film speed - Warnerke |
Camera,
Film,
Grip & Electric,
Measurements

°Warnerke Abbreviation For:   | film speed - Warnerke |
Camera,
Film,
Grip & Electric,
Measurements

#1 wood clamp See:   | C-47 |
Grip & Electric

%ALCONS Abbreviation For:   | speech intelligibility - percentage articulation loss of consonants |
Measurements,
Science of Sound

0 dB The common reference point when discussing sound levels.  Levels above 0 dB are expressed as positive (+5 dB) and those below as negative (−20 dB).

See Also:   | decibel |
Measurements

0 dBf See In:   | decibel - 0 dBf |
Measurements

0 dBFS See In:   | decibel - 0 dBFS |
Measurements

0 dBm See In:   | decibel - 0 dBm |
Measurements

0 dBr See In:   | decibel - 0 dBr |
Measurements

0 dBSPL See In:   | decibel - 0 dBSPL |
Measurements

0 dBu See In:   | decibel - 0 dBu |
Measurements

0 dBV (upper case "V")

See In:   | decibel - 0 dBV |
Measurements

0 dBv (lower case "v")

See:   | decibel - 0 dBu |
Measurements

1:1 (Pronounced:  one to one)
In standard usage, a copy of the edited worktrack made onto another roll of stripe so that Sound Editors and Mixers working on a film will have access to the worktrack.  In general, though, it stands for any single-track-to-single track identical copy, and thus has variants such as 3:3, 4:4, etc.
Post Picture

1:1 printing (Pronounced:  one-to-one)

See In:   | film printing - 1:1 printing |
Post Lab

1/2 load
{Ammunition}		 See:   | blank (cartridge) |
General

1/3-octave See In:   | one-third octave |
Equipment & Components

1/4 load
{Ammunition}		 See:   | blank (cartridge) |
General

1/4" cable See In:   | cable - 1/4" cable |
Equipment & Components

1/4" TRS See In:   | connector - 1/4" TRS |
Equipment & Components

1/4" TS See In:   | connector - 1/4" TS |
Equipment & Components

1/8" TRS See In:   | connector - 1/8" TRS |
Equipment & Components

1/f noise See:   | flicker noise |
Science of Sound

10.2 Somewhat tongue-in-check term created by Tom Holman (of THX fame) for his experimental (but impressive) surround system based on 5.1 surround sound, but with twelve channels.

Reference(s):   | Wikipedia – 10.2 |
Presentation

10 base-T See In:   | data circuits - 10 base-T |
Equipment & Components

10 by See In:   | rags |
Grip & Electric

−10 dBV See In:   | decibel - −10 dBV |
Measurements

10 Gigabit Ethernet See In:   | data circuits - 10 gigabit ethernet |
Equipment & Components

100 base-T See In:   | data circuits - 100 base-T |
Equipment & Components

100 gigabit ethernet See In:   | data circuits - 100 gigabit ethernet |
Equipment & Components

100GigE Abbreviation For:   | data circuits - 100 gigabit ethernet |
Equipment & Components

1080i See In:   | aspect ratio {Video} - 1080i |
Presentation,
Video Camera

1080p See In:   | aspect ratio {Video} - 1080p |
Presentation,
Video Camera

10GigE Abbreviation For:   | data circuits - 10 gigabit ethernet |
Equipment & Components

10K (light) See In:   | fresnel spotlight(s) - 10K |
Grip & Electric

12 by See In:   | rags |
Grip & Electric

12K (light) See In:   | fresnel spotlight(s) - 12K |
Grip & Electric

1394 See:   | data circuits - IEEE-1394 |
Equipment & Components

16:9 Enhanced See:   | CinemaScope (Widescreen) |
Presentation

16:9 film format Shooting in the 16x9 format will allow for the project to be seen on all the new high definition TV sets without any special format changes.
Camera

16 mm film Film that is 16 mm wide.  It may have single or double perforations.

Reference(s):   | Wikipedia – 16 mm film |
Film,
Film Camera

18% assumption Light meters "expect" subjects and Scenes to reflect 18% of the incident light.  Mostly they do.

Tip:  what you do when they don′t will affect your image in more ways than one.

See Also:   | gray card | zone system |
Camera,
Grip & Electric

180° angle shot See:   | reverse angle shot |
Shots & Coverage

180° line See:   | axis of action |
Shots & Coverage

180° rule See:   | axis of action |
Shots & Coverage

18K (light) See In:   | fresnel spotlight(s) - 18K |
Grip & Electric

1AC Abbreviation For:   | First Assistant Camera (Operator) | First Assistant Cameraman |
Roles & Responsibilities

1AD Abbreviation For:   | Assistant Director - First Assistant Director |
Roles & Responsibilities

1K (light) See In:   | fresnel spotlight(s) - 1K |
Grip & Electric

1R
{Film}		 Abbreviation For:   | film perforation(s) - single perf |
Film

1S Abbreviation For:   | shot {Scale} - single shot |
Shots & Coverage

1st AD Abbreviation For:   | Assistant Director - First Assistant Director |
Roles & Responsibilities

1st Assistant Camera (Operator) See:   | Assistant Camera (Operator) - Focus Puller |
Roles & Responsibilities

1st Assistant Cameraman See:   | Assistant Camera (Operator) - Focus Puller |
Roles & Responsibilities

1st Assistant Director See:   | Assistant Director - First Assistant Director |
Roles & Responsibilities

2:3 pulldown See:   | 3:2 pulldown |
Post Picture

2,000′ reel See:   | AB reel(s) |
Post Picture

20 by See In:   | rags |
Grip & Electric

22AD Abbreviation For:   | Assistant Director - Second Second Assistant Director |
Roles & Responsibilities

232 See:   | data circuits - RS-232 |
Equipment & Components

24 frames per second (Abbreviation:   | 24FPS | )
This refers to the standard frame-rate.  In the silent era before a standard was set, many films were projected at 16 or 18 FPS, but that rate proved to be too slow when attempting to record optical film soundtracks.

Reference(s):   | Wikipedia – Frame rate |
Measurements

24FPS Abbreviation For:   | 24 frames per second |
Measurements

24K (light) See In:   | fresnel spotlight(s) - 24K |
Grip & Electric

24P See:   | frame-rate - 23.976 FPS |
Video Camera

2AC Abbreviation For:   | Second Assistant Camera (Operator) | Second Assistant Cameraman |
Roles & Responsibilities

2AD Abbreviation For:   | Assistant Director - Second Assistant Director |
Roles & Responsibilities

2K (light) See In:   | fresnel spotlight(s) - 2K |
Grip & Electric

2K DCI cinema See In:   | aspect ratio {Video} - 2K DCI cinema |
Presentation,
Video Camera

2K digital film See In:   | aspect ratio {Video} - 2K digital film |
Presentation,
Video Camera

2ND 2ND AD Abbreviation For:   | Second Second Assistant Director |
Roles & Responsibilities

2nd 2nd Assistant Director See:   | Second Second Assistant Director |
Roles & Responsibilities

2nd AD Abbreviation For:   | Assistant Director - Second Assistant Director |
Roles & Responsibilities

2nd Assistant Camera (Operator) See:   | Assistant Camera (Operator) - Slate |
Roles & Responsibilities

2nd Assistant Cameraman See:   | Assistant Camera (Operator) - Slate |
Roles & Responsibilities

2nd Assistant Director See:   | Assistant Director - Second Assistant Director |
Roles & Responsibilities

2nd Unit Abbreviation For:   | Second Unit |
Roles & Responsibilities

2nd Unit Director See:   | Second Unit Director |
Roles & Responsibilities

2-perf(s) See:   | film perforation(s) - 2-perforations |
Film

2-perforation(s) See In:   | film perforation(s) - 2-perforations |
Film

2-pop See In:   | picture & sound sync - sync pop |
Post Picture

2R
{Film}		 Abbreviation For:   | film perforation(s) - double perf |
Film

2S Abbreviation For:   | shot {Scale} - two-shot |
Shots & Coverage

2T Abbreviation For:   | two-T |
Shots & Coverage

2-wire See:   | split96 |
Equipment & Components

3:2 pulldown AKA:   | 2:3 pulldown |
A technique for converting the 24 FPS motion picture standard into a 30 FPS TV standard.  Although more than one technique is available, typically, one frame is scanned three times for the TV and the following frame is scanned twice.

Reference(s):   | Wikipedia – 3:2 pulldown – 23pulldown |
Post Picture

3% distortion of the musical twelfth See:   | maximum output level {Magnetic Tape} |
Measurements

3 dB down point See In:   | passband |

See Also:   | cutoff frequency {Filters} |
Measurements

−3 dB point See In:   | passband |

See Also:   | cutoff frequency {Filters} |
Measurements

30° rule The 30° rule is a basic film editing guideline that states the camera should move at least 30° between shots of the same subject occurring in succession.  This change of perspective makes the shots different enough to avoid a jump cut.  Too much movement around the subject may violate the 180° rule.

Reference(s):   | Wikipedia – 30 degree rule |
Shots & Coverage

35 mm film Film that is 35 mm wide with four perforations on both edges of each frame.  The image frame and sound-track areas lie inside the perforations.

Reference(s):   | Wikipedia – 35 mm film |
Film,
Film Camera

360° pan AKA:   | three hundred sixty-degree pan |
A panning shot which turns around a complete circle.
Shots & Coverage

3AD Abbreviation For:   | Assistant Director - Third Assistant Director |
Roles & Responsibilities

3-D AKA:   | Natural Vision 3D | Stereoscopic 3D | three-dimensional |
A film that has a three-dimensional, stereoscopic form or appearance, giving the life-like illusion of depth.  Often achieved by viewers donning special red/blue (or green) or polarized lens glasses.  When 3-D images are made interactive so that users feel involved with the show, the experience is called virtual reality.  3-D experienced a heyday in the early 1950s.

Reference(s):   | Wikipedia – Stereoscopy |
Presentation

3-perf(s) See:   | film perforation(s) - 3-perforations |
Film

3-perforation(s) See In:   | film perforation(s) - 3-perforations |
Film

3-pin connector See:   | connector - XLR |
Equipment & Components

3rd AD Abbreviation For:   | Assistant Director - Third Assistant Director |
Roles & Responsibilities

3rd Assistant Director See:   | Assistant Director - Third Assistant Director |
Roles & Responsibilities

3S Abbreviation For:   | shot {Scale} - three-shot |
Shots & Coverage

3-strip color See:   | Technicolor ™ |
Film

3-to-1 rule
{Microphones}		 This applies when multiple mics are mixed to the same recording channel.
(while recording 1 source with multiple mics):
Using the distance from the sound source to the closest mic, all other mics should be at least 3 times that distance to reduce/prevent phase cancellation between multiple microphones.

Example:  if the closest microphone is placed 1′ from the source then the others should be at least 3′ from the same source.

(while recording multiple sources with 1 mic per source):
Using the distance from the sound source to each mic, all of the mics should be separated by at least 3 times that distance to reduce/prevent phase cancellation between multiple microphones.

Example:  if a singer #1 is 6" from his, then singer #1′s mic should be at least 18" from singer #2′s mic.
Microphone Related

3-voucher system A way of becoming eligible to join the Screen Actors Guild (SAG) by acquiring a total of three SAG work vouchers.  These vouchers are acquired by working as a non-union performer in a SAG contract film.

Reference(s):   | Wikipedia – Screen Actors Guild rulesNew Term |
Movie Business

4:1:1 This is a set of sampling frequencies in the ratio 4:1:1, used to digitize the luminance and color difference components (Y, R-Y, B-Y) of a video signal.  The 4 represents 13.5 MHz, (74.25 MHz at HD) the sampling frequency of Y, and the 1s each 3.75 MHz (18.5625) for R-Y and B-Y (i.e., R-Y and B-Y are each sampled once for every four samples of Y).

With the color information sampled at half the rate of the 4:2:2 system, this is used as a more economic form of sampling where video data rates need to be reduced.  Both luminance and color difference are still sampled on every line but the latter has half the horizontal resolution of 4:2:2 while the vertical resolution of the color information is maintained.  4:1:1 sampling is used in DVCPRO (625 and 525 formats), DVCAM (525/NTSC) and others.
Video Camera

4:2:0 A sampling system used to digitize the luminance and color difference components (Y, R-Y, B-Y) of a video signal.  The 4 represents the 13.5 MHz (74.25 MHz at HD) sampling frequency of Y while the R-Y and B-Y are sampled at 6.75 MHz (37.125 MHz) — effectively on every other line only (i.e., one line is sampled at 4:0:0, luminance only, and the next at 4:2:2).

This is used in some 625-line systems where video data rate needs to be reduced.  It decreases the overall data by 25% against 4:2:2 sampling and the color information has a reasonably even resolution in both the vertical and horizontal directions.  4:2:0 is widely used in MPEG-2 coding meaning that the broadcast and DVD digital video seen at home is usually sampled this way.  625 DV and DVCAM coding also use 4:2:0.  However the different H and V chroma bandwidths make it inappropriate for post applications.
Video Camera

4:2:2 A ratio of sampling frequencies used to digitize the luminance and color difference components (Y, R-Y, B-Y) of an image signal.  The term 4:2:2 denotes that for every four samples of the Y luminance, there are two samples each of R-Y and B-Y, giving less chrominance (color) bandwidth in relation to luminance.  This compares with 4:4:4 sampling where full same bandwidth is given to all three channels — in this case usually sampled as RGB.

The term 4:2:2 originated from the ITU-R BT.601 digital video sampling where 4:2:2 sampling is the standard for digital studio equipment.  The terms "4:2:2" and "601" are commonly (but technically incorrectly) used synonymously in TV.  For SD, the sampling frequency of Y is 13.5 MHz and that of R-Y and B-Y is each 6.75 MHz, providing a maximum color bandwidth of 3.37 MHz — enough for high quality chroma keying.  For HD, the sampling-rates are 5.5 times greater, 74.25 MHz for Y, and 37.125 MHz for R-Y and B-Y.

The origin of the term is steeped in digital history and should strictly be used to only describe a specific format of standard definition digital television sampling.  However, it is widely used to describe the sampling frequency ratios of image components (Y, B-Y, R-Y) of HD, film and other image formats.
Video Camera

4:2:2:4 This is the same as 4:2:2 but with the key signal (alpha channel) included as the fourth component, also sampled at 13.5 MHz (74.25 MHz at HD).
Video Camera

4:2:4 (Pronounced:  Four Two Four)
Film sound slang for the act of monitoring a mix through matrix encoding (4:2) and decoding (2:4).  This means that the effect of the matrix encoding will be heard (which they would not be when monitoring discrete), and adjustments can be made accordingly.
Post General,
Sound

4:3
{Presentation}		 See:   | fullscreen |
Presentation

4:3
{Video Camera}		 The aspect ratio of PAL and NTSC traditional television pictures, originally chosen to match 35 mm film.  All broadcast television pictures were 4:3 until the introduction of high definition when a wider image was considered to be more absorbing for viewers.  For display tube manufacturers, the most efficient aspect ratio would be 1:1 "square" as this is inherently the strongest, uses less glass and weighs less.  16:9 tubes are more expensive to produce.  Such restraints do not apply to panels based on LED, Plasma or SED technologies.
Video Camera

4:4:4 One of the ratios of sampling frequencies used to digitize the luminance and color difference components (Y, B-Y, R-Y) or, more usually, the RGB components of a video signal.  In this ratio there is always an equal number of samples of all components.  RGB 4:4:4 is commonly used in standard computer platform-based equipment, when scanning film or for high-end post including that used for cinematography.

In the converged media world, big screen requirements for cinema demand a new high level of picture quality.  Film is commonly scanned in RGB for digital intermediate and effects work, and recorded directly to disk.  The signal is then kept in the RGB form all the way through the DI process to the film recorder — making the best use of the full RGB data.

For the rapidly growing market of digital cinema exhibition, the DCI has recommended X′Y′Z′chromaticity which can be derived from RGB using a 3D LUT.
Video Camera

4:4:4:4 As 4:4:4, except that the key signal (alpha channel) is included as a fourth component, also sampled at 13.5 MHz (74.25 MHz at HD).
Video Camera

4+2 (Pronounced:  Four Plus Two)
Film sound slang for a 6-track element (usually mag film) that contains a 4-track M&E, one track of material which may or may not be needed in a foreign-language mix and one track of the original dialog as a reference.
Post General

+4 dBu See In:   | decibel - +4 dBu |
Measurements

45° drop down See In:   | drop down - 45 degree drop down |
Grip & Electric

485 See:   | data circuits - RS-485 |
Equipment & Components

4AD Abbreviation For:   | Fourth Assistant Director |
Roles & Responsibilities

4As Abbreviation For:   | Associated Actors and Artistes of America |
Organizations

4K DCI cinema See In:   | aspect ratio {Video} - 4K DCI cinema |
Presentation,
Video Camera

4K digital film See In:   | aspect ratio {Video} - 4K digital film |
Presentation,
Video Camera

4-perf(s) See:   | film perforation(s) - 4-perforations |
Film

4-perforation(s) See In:   | film perforation(s) - 4-perforations |
Film

4th AD Abbreviation For:   | Fourth Assistant Director |
Roles & Responsibilities

5.1 (surround sound) (Pronounced:  five point one)
The digital audio multi-channel format developed by the Moving Picture Experts Group for digital soundtrack encoding for film, laserdiscs, videotapes, DVD and HDTV broadcast.  The designation "5" refers to the five discrete, full bandwidth (20 Hz – 20 kHz) channels:  left, center & right fronts, plus left & right surrounds, and the"1" usually refers to the limited bandwidth (20 – 120 Hz) subwoofer channel, but can also refer to a special effects/feature channel.  Terminology used by both Dolby Digital and DTS Consumer (the home version of their theater Coherent Acoustics system).

Reference(s):   | Wikipedia – 5.1 surround sound |
Presentation

5 by See In:   | rags |
Grip & Electric

50% level The standard reference level for optical sound recordings that corresponds to the width of the track at 50% modulation, or 6 dB below clipping.  In practice, there is about 2 dB of additional headroom available, assuming a perfectly aligned projector sound head.
Sound

5K (light) See In:   | fresnel spotlight(s) - 5K |
Grip & Electric

6.1 See:   | Dolby Digital (Surround) EX |
Presentation

6 by See In:   | rags |
Grip & Electric

7.1 Extended version of 5.1 surround sound with Dolby True HD (introduced in 2005), Dolby Digital Plus and Dolby Pro Logic (introduced in 1987), where left and right rear channels are added to the basic 5.1 group resulting in:  left-front, center, right-front, left-surround, right-surround, left-rear, right-rear and subwoofer.

Reference(s):   | Wikipedia – 7.1 surround sound |
Science of Sound

70 mm film The motion picture exhibition format that contains 6-track magnetic sound.  In use primarily from 1955 to 1971, it usually made use of camera equipment manufactured by Todd-AO and Panavision.  The camera negative was 65 mm wide, with the additional 5 mm outside the sprocket holes used for the magnetic stripes on release prints.

Almost all films released in 70 mm from 1971 – 1992 were originally photographed in 35 mm and then blown up primarily for the 6-track magnetic sound.  With 6-track digital sound now available in 35 mm, there is no need to do a blow-up for sound quality, and in fact almost all newly manufactured 70 mm prints in the US have no magnetic track, but instead use the DTS system in the form of two players (one as a backup) in conjunction with a wide timecode track outside of the perforations.

The image, in its standard form, has an aspect ratio of 2.20:1, which is narrower than the 2.40:1 anamorphic 35 mm format that is the source of many 70 mm prints.  However, when flat 1.85:1 films are blown up to 70 mm, they usually retain their original aspect ratio, with black borders on the side.

The IMAX/OMNIMAX special venue format also uses 70 mm film, although it runs horizontally through the camera/projector and each frame is 15 "perfs" long, as opposed to the standard five perfs.  Sound is always double-system, utilizing mag film or custom digital formats.

Reference(s):   | Wikipedia – 70 mm film |
Film,
Film Camera,
Presentation

720p See In:   | aspect ratio {Video} - 720p |
Presentation,
Video Camera

750 pigeon See:   | baby plate |
Grip & Electric

8 by See In:   | rags |
Grip & Electric

802.11 See:   | data circuits - Wi-Fi |
Equipment & Components

802.3af See:   | power over ethernet |
Equipment & Components

85 filter See In:   | filter {Camera} - 85 filter |
Camera

85 spl The sound pressure level when pink noise is sent through one speaker (left, center or right) at 0 VU bus level, which is the equivalent of −20 dBFS in digital recording.  (Measurement is at the console, with an SPL meter set to C weighting and slow response.)
Measurements

88 spl The sound pressure level for Dolby Stereo SR films.  If a film has been monitored at 85 during the final mix, the stems will be lowered 3 dB when making an SR Lt-Rt printmaster to accommodate for the increased monitor level.
Measurements

91 day out clause A contractual agreement that allows the Performer to terminate the contract if the Performer doesn′t earn a minimum amount of money within 91 days after signing the contract.  Do not sign any Agent or Manager contract that does not contain a similar out clause.
Movie Business

9-light See:   | maxi-brute |
Grip & Electric

New Term — indicates new data. Updated Term — indicates updated data. (Retained for 30 days.)

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Created:  March 27, 2009 — Last modified:  March 30, 2012
This is visit # 314 since March 27, 2009.