A wish — usually referring to a hoped-for new feature on a piece of equipment.
Reference(s): | Wikipedia – Halfbakery
| Terms: Wi - Wzz
| Term (optional text) {Frame of Reference} |
Definition |
| Category |
| WIBNI | (Wouldn′t It Be Nice If) A wish — usually referring to a hoped-for new feature on a piece of equipment. Reference(s): | Wikipedia – Halfbakery | |
| General |
| wide band noise | Noise that has energy over a wide range of frequencies. |
| Science of Sound |
| wide lens | See: | wide-angle lens | |
| Camera Lens |
| wide shot | See: | shot {Scale} - wide-angle shot | |
| Shots & Coverage |
| wide-angle converter | Lens attachment that gives a wider angle of view by decreasing the lens′s focal-length. |
| Camera Lens |
| wide-angle lens | AKA: | short lens | wide lens | Refers to a prime lens with a focal-length significantly less (at least 25% less) than a normal lens. For example, a lens with a focal-length smaller than 25 mm in 16 mm, or 50 mm in 35 mm, which, like looking into the wrong end of a pair of binoculars, provides an extended view of a large area. Reference(s): | Wikipedia – Wide-angle lens | |
| Camera Lens |
| wide-angle shot | See In: | shot {Scale} - wide-angle shot | |
| Shots & Coverage |
| wideband | See: | broadband | |
| Sound |
| widen-out (shot) | See: | dolly shot - dolly out shot | |
| Shots & Coverage |
| wide-range curve | See: | room curves - extended curve | |
| Presentation |
| wide-range monitoring | See: | room curves - extended curve | |
| Presentation |
| widescreen | A general term for film presentation in which a film is shown in an aspect ratio of greater than 1.33 to 1. In today′s terms, this now means an aspect ratio of greater than 1.85 to 1. Reference(s): | Wikipedia – List of film formats | | Wikipedia – Widescreen | |
| Presentation |
| width | Another term for depth (the amount of change in the controlled signal by the control signal). |
| Equipment & Components |
| Wi-Fi | See In: | data circuits - Wi-Fi | |
| Equipment & Components |
wig-wag  |
Hollywood slang for the red light outside each sound stage door, used to indicate when shooting is taking place. Reference(s): | Wikipedia – Wig-wag {sound stage} | |
| Set/Location Related |
| wild {Picture} |
Picture shot without synchronous relationship to sound. |
| Shots & Coverage |
| wild {Sound} |
See: | wild track | |
| Sound |
| wild effect(s) | See: | soundtrack elements - soft effect | |
| Sound |
| wild line(s) | See In: | soundtrack elements - wild lines | See Also: | wild track | |
| Sound |
| wild narration | See In: | soundtrack elements - wild narration | |
| Sound |
| wild sound | See: | wild track | |
| Sound |
| wild track | AKA: | wild | wild sound | A recording of dialog or sound effects on the Set of a film but without the camera running. Wild tracks are frequently used to get a clean recording of dialog that was otherwise unobtainable because of noise producing devices (e.g., wind machines) that have to be on during filming. Reference(s): | Wikipedia – Wild track | |
| Sound |
| wild wall | See In: | flat(s) {Set} - wild wall | |
| Set/Location Related |
| Wilhelm Scream | Originally recorded as a sound effect for the film Distant Drums (1951) and named after the character who yelped it out. This distinctive scream was archived in Warner Brother′s sound effects library, and was subsequently used in countless films, first simply as a generic stock scream, and later because sound supervisors and Directors used it in their films (including Star Wars (1977), Indiana Jones (1981), Toy Story (1995) and Pirates of the Caribbean (2003)) as a sort of touchstone or homage to earlier films. Though no specific documentation lists the identity of the screamer, Sound designer Ben Burtt′s research of Warner Brother′s recording logs indicates that singer/actor Sheb Wooley is likely the source, as he was one of the bit Actors contracted to record sound effects for Distant Drums (1951), and was known to specialize in yells, laughs and screams. Reference(s): | Wikipedia – Wilhelm scream | |
| Sound |
| wind | On some tape machines, the wind control moves the tape to the take-up reel faster than the play mode but slow enough to give the tape a smooth packing onto the reel. |
| Equipment & Components |
| wind machine | An excellent way to introduce atmosphere and drama — power and budget permitting. |
| Grip & Electric |
| window | A portion of a file shown on a screen, usually appearing as a menu on top of the current page of data. |
| Equipment & Components |
| window burn | See: | window dub | |
| Post General |
| window dub | AKA: | window burn | "Burned-in windows", usually on a video workprint, displaying KeyKode numbers and timecode, footage count, audio timecode, Scene #, Take #, etc. (May also be burned in.) Reference(s): | Wikipedia – Burnt-in timecode | |
| Post General |
| window gel | Gels for color conversion (such as 5,500°K to 3,200°K) are available in wide rolls to cover windows. Tip: If you can see through them, wrinkles and reflections can be a problem. |
| Grip & Electric |
| windscreen {Sound} |
AKA: | blimp | A housing to protect a microphone from wind and rain while being used outside. It is designed to reduce or eliminate wind noise and water impact noise from being recorded. Reference(s): | Wikipedia – Microphone – Microphone windscreens | |
| Microphone Related |
| windup | The concluding action in movie. Reference(s): | Wikipedia – Dramatic structure | |
| Film Theory |
| wipe {Editing} |
AKA: | flip(-over) wipe | push-over | A transitional technique or optical effect/device in which one shot appears to be "pushed off" or "wiped off" the screen by another shot replacing it and moving across the existing image. Wipes were very commonly used in the 1930s. Reference(s): | Wikipedia – Wipe {transition} |
flip(-over) wipe: is when one Scene rotates or flips-over to the new Scene. |
| Post Picture |
| wipe {Movement} |
See: | foreground cross {Movement} | |
| Talent |
| wire | See: | cable | |
| Equipment & Components |
| wired hop | A cable used to feed an audio signal from a mixer/recorder to a video camera. Contrast With: | wireless hop | |
| Equipment & Components |
| wireless hop | A wireless kit used to feed an audio signal from a mixer/recorder to a video camera. Reference(s): | Wikipedia – Wireless microphone | Contrast With: | wired hop | |
| Wireless |
| wireless kit | AKA: | radio kit | Consists of a transmitter pack (with batteries and antenna) and receiver unit (with antenna{s}, power source and audio cable to connect it to the mixer/recorder/camera). Depending on the situation, there will be a lavalier mic or an adapter cable or box (for connecting the transmitter to a line/mic-level 3-pin XLR connector). Reference(s): | Wikipedia – Wireless microphone | |
| Wireless |
| wireless mic(rophone) | A microphone with a radio transmitter inside of its case that transmits a signal to a receiver in another location. Reference(s): | Wikipedia – Wireless microphone | |
| Microphone Related, Wireless |
| woofer |
See In: | loudspeaker - woofer | |
| Speaker |
| word | See: | digital word | |
| Equipment & Components |
| word clock | The synchronizing signal that indicates the sampling frequency or rate of sample words over a digital audio interface. Reference(s): | Wikipedia – Word clock | |
| Equipment & Components |
| word of mouth | A term referring to the public discussion or buzz that a film can acquire, fueled by sneak previews and advance advertising. Word of mouth is an important marketing element in a film′s success or failure. Positive word of mouth gives a film legs, while negative word of mouth may prematurely close it down. Reference(s): | Wikipedia – Word of mouth | |
| Film Theory |
| work permit | A legal document required to allow a child to work, issued by various state or local agencies. Reference(s): | Wikipedia – Work permit | |
| Talent |
| working aperture | See In: | aperture (setting) - working aperture | |
| Camera Lens |
| working distance | The distance from the front of the lens surface to the subject. Contrast With: | shooting distance | |
| Camera, Camera Lens |
| working title | The name by which a movie is known while it is being made. This is sometimes different from the title with which it is released. Reference(s): | Wikipedia – Working title | |
| Movie Business |
| workprint | A positive copy of the original negative that is cut during the editing process. At the end of editing, the original negative is then cut by the negative cutter to match the workprint shot for shot, and an answer print struck from the cut negative. A workprint can also be made from reversal original. Reference(s): | Wikipedia – Workprint | |
| Post Lab |
| workprint/worktrack | The edited picture elements and sound that the Picture Editor cuts together during editing. Both elements have Acmade edge numbers (placed by the Editorial Department on both sound and picture to guide in synchronization) and the film has key numbers (placed on the film negative by the manufacturer). |
| Post Picture |
| workstation | This term generally refers to a disk-based audio recording and editing system. Reference(s): | Wikipedia – Workstation | |
| Post Editing |
| worldize | To re-record sound through a channel that includes a loudspeaker and microphone, generally in an acoustic space. The purpose is to make the sound seem as though it came from the space in question, rather than being a direct electrical recording. |
| Sound |
| wow | A form of distortion due to very slow (~ 1 Hz) variations in rotational speed common to turntables and analog tape recorders. Heard as a slow variation in the pitch when played back. Reference(s): | Wikipedia – Wow {recording} | Contrast With: | flutter {Sound} | |
| Sound |
| wow and flutter | The deviation of frequency resulting from irregular motion in the recording or from deformation of the recording medium. Reference(s): | Wikipedia – Flutter {electronics and communication} | | Wikipedia – Wow {recording} | |
| Sound |
| WQSXGA | See In: | aspect ratio {Video} - WQSXGA | |
| Presentation, Video Camera |
| Wrangler | AKA: | Animal Handler | Vehicle Wrangler | A person who is responsible for the care and control of entities used on a Set that can′t be spoken with. This person is typically a professional, certainly with expertise in handling the item, often with expertise in handling the item on a movie Set. Reference(s): | Wikipedia – Wrangler {profession} | |
| Roles & Responsibilities |
| WRAP | See In: | IT′S A WRAP (FOR TODAY)! | |
| Film Theory |
| wrap {Electronics} |
The span of the tape path along which the tape and head are in contact. |
| Equipment & Components |
| wrap {Light} |
Large, close, soft sources tend to envelop small subjects with light that falls off gradually on the curves. |
| Grip & Electric |
| wrap party | The party at the end of Production. Reference(s): | Wikipedia – Wrap {filmmaking} | |
| Set/Location Related |
| WRAP THE LOCATION! | What the AD says when shooting is complete for the current location. Reference(s): | Wikipedia – Wrap {filmmaking} | |
| On-set Calls |
| WRAP THE SET! | What the AD says when shooting is complete for the current Set. Reference(s): | Wikipedia – Wrap {filmmaking} | |
| On-set Calls |
| write | To record digital data onto a digital recording or into computer memory. |
| Equipment & Components |
| write mode | A mode of operation of an automated console where the Engineer is in control of channel gain and the computer is storing changes in gain caused by the Engineer over time. |
| Equipment & Components |
| write protect | A tab on a floppy disk or a function in a unit which protects recorded or stored data from being damaged or erased by writing over it. |
| Equipment & Components |
| Writer | Creates and shapes an original story, or adapts a book, play or other work for use on the big screen. A script may go through many writers, so the Writer′s Guild of America must often determine who gets screen credit as the Writer. Reference(s): | Wikipedia – Writer | See Also: | Writers Guild of America | |
| Roles & Responsibilities |
| Writers Guild of America | (Abbreviation: | WGA | ) The sole collective bargaining representative for Writers in the motion picture, broadcast, cable, interactive and new media industries. It has numerous affiliation agreements with other US and international writing organizations and is in the forefront of the debates concerning economic and creative rights for Writers. Website(s): | Writers Guild of America | |
| Organizations |
| Writers Guild of Canada |
(Abbreviation: | WGC | ) Who We Are WGC represents more than 2,000 professional English-language screenwriters across Canada. These are the creators who write the distinctly Canadian entertainment we enjoy on our televisions, movie screens and digital platforms. What we do The prime occupation of the Guild is to negotiate, enforce, and administer collective agreements setting out the minimum terms and conditions of work in the Guild′s jurisdiction – independent English-language production in Canada. The central collective agreement, Independent Production Agreement, is negotiated between the Guild and the associations representing independent producers – the Canadian Media Production Association (CMPA) and the Association des Producteurs de Films et de Télévision du Québec (APFTQ). Agreements have also been negotiated with the CBC, NFB, TVOntario, CTV, Global and ACCESS (Alberta). We also provide industry standard writing contracts, ensure contracts comply with the collective agreements, pursue royalties and resolve disputes on working conditions, payments and writing credits. As the voice of Canadian screenwriters, the Guild works to raise the profile of writers through a number of marketing and lobbying initiatives. The Guild actively promotes writers and their craft by publishing Canadian Screenwriter Magazine and a Directory of Members, holding the annual WGC Screenwriting Awards, and organizing training seminars and networking opportunities. The Guild also undertakes extensive lobbying and policy projects, working closely with government agencies to promote Canada′s indigenous film and television industry. How we′re connected The Guild works closely with other screenwriters′ organizations around the world and is a member of the International Affiliation of Writers Guilds (IAWG), the body representing guilds of professional screenwriters. Agreements are in place allowing members of the WGC working in most other guilds′ jurisdictions to have their initiation fees waived when joining. Several years ago, the Guild established Canadian Screenwriters Collection Society (CSCS) to collect and distribute foreign authors′ levies legislated for screenwriters from secondary uses in Europe and other jurisdictions. Membership in CSCS is free for all WGC members. How we work The Guild is governed by a seven-member council, which sets policies and oversees Guild activities. Additional advice and input is received from a fifteen-member national forum who meet annually with council and staff. Both bodies are composed of Guild members elected for two-year terms from Canada′s five regions (Atlantic, Quebec, Central, Prairies and Pacific). The executive director and staff manage the Guild′s day-to-day operations. Website(s): | Writers Guild of Canada | |
| Organizations |
| WS | Abbreviation For: | shot {Scale} - wide-angle shot | |
| Shots & Coverage |
| WUXGA | See In: | aspect ratio {Video} - WUXGA | |
| Presentation, Video Camera |
| WYSIWYG | (Pronounced: wizzy-wig) (What You See Is What You Get) Usually, but not always, referring to the accuracy of a screen display in showing how the final result will look. For example, a word processor screen showing the final layout and typeface that will appear from the printer. Or in an edit suite, does the monitor show exactly what will be placed on the master recording? This subject requires more attention as edited masters are now commonly output to a wide variety of "deliverables" such as SD video, HD video, DVD, VHS, digital projection and film. Issues such as color, gamma and display aspect ratio may need consideration. |
| General |
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