Basic definitions of terms
Aerial shot
A shot taken from an airborne device, generally while moving.
Backlighting (lighting design)
The main source of light is behind the subject, silhouetting it, and directed toward the camera.
Bridging shot
A shot used to cover a jump in time or place or other discontinuity. Examples are falling calendar pages, railroad wheels, newspaper
headlines and seasonal changes.
Camera angle
The point of view or viewing position adopted by the camera with respect to its subject. Most common types are


High-angle shot (the camera is higher than its subject)
Low-angle shot (the camera is lower than its subject)
Close-up
a framing depicting the human head or an object no larger than the human head.
Cut
An editorial transition signified by the immediate replacement of one shot with another.
Cross-cutting
Cutting between different events occurring simultaneously in different locations. Especially in narrative filmmaking, cross-cutting is
traditionally used to build suspense or to suggest a thematic relationship between two sets of actions.
Continuity editing
An editorial style that preserves the illusion of undisrupted time and space across editorial transitions (especially cuts).
Deep focus
A technique in which objects in the extreme foreground and objects in the extreme background are kept equally in focus.
Dissolve
An editorial transition overlapping a fade in and a fade out in such a way that one image gradually disappears while another
simultaneously emerges. This transition generally suggest a longer period of narrative ellipsis than is suggested by cuts.
Camera Dolly
A wheeled cart or similar device upon which a movie camera is mounted to give it smooth, horizontal mobility.
Dollying or Dolly shot
A shot in which the camera moves toward or away from its subject while filming. Traditionally dolly shots are filmed from a camera
dolly but the same motion may also be performed with a Steadicam, gimbal, etc. A dolly shot is generally described in terms of "dollying
in" or "dollying out". Trucking in and out is also a common synonym.
Editing
The selection and organization of shots into a series, usually in the interest of creating larger cinematic units.
Ellipsis (linguistics)
A term referring to "chunks" of time left out of a narrative, signaled in filmmaking by editorial transitions
Eyeline match
a type of editorial match involving two, subsequent shots in which shot 1 contains an agent (a person, animal, etc.) gazing in the direction
of some unseen, off-screen vision, and shot 2 contains an image presumed by the spectator to be the object of the agent's gaze.
Extreme close-up
A shot depicting on a portion of the face or of some object or detail smaller than the face.
Extreme long shot
A shot in which the human figure would be extremely insignificant compared to its surroundings.
A panoramic view photographed from a considerable distance and made up essentially of landscape or distant background.
Fade in/out
An editorial transition in which the image either gradually appears out of ("fade in") or gradually fades into ("fade out") a black screen.
Fill light
An auxiliary light placed to the side of the subject that softens shadows and illuminates areas not lit by the key light (see "key light").
Flashback
A scene or sequence inserted into a scene set in the narrative present that images some event set in the past.
Flashforward
A scene or sequence inserted into a scene set in the narrative present that images some event set in the future.
Focus
The optical clarity or precision of an image relative to normal human vision. Focus in photographic images is usually expressed in terms
of depth.
Framing
The organization of visible phenomena with respect to the boundaries of the image.
Intertitle
A piece of filmed, printed text edited into the midst of (i.e. inter-) the photographed action at various points. Most commonly used in
silent movies to convey elements of dialgue and other commentary.
Iris in/out
An editorial transition popular during the silent period utilizing a diaphragm placed in front of the lens and which, when opened (iris in)
or closed (iris out), functions like a fade in or fade out. A partially opened iris can also be used to focus attention on a detail of the scene
in the manner of vignetting.
Jump cut
An editorial transition between two shots in which the illusion of temporal continuity is radically disrupted.
Key light
The main light on a subject, usually placed at a 45 degree angle to the camera-subject axis. In high-key lighting, the key light provides all
or most of the light in the scene. In low-key lighting, the key light provides much less of the total illumination.
Long shot
A shot in which the human figure would be relatively insignificant compared to its surroundings.
Master shot
A shot, often a long shot, usually placed at the beginning of a scene to establish the general location of the action to follow.
Match cut
One of various editorial devices used to preserve a sense of spatio-temporal integrity or continuity between cuts.
Medium close-up
A shot depicting the human figure from approximately the chest up.
Medium shot
A shot depicting the human figure from approximately the waist up.
Mise en scène
Everything that has been placed in front of or is revealed by the camera while shooting.
Pan
A shot in which the camera is made to pivot left or right on its horizontal axis while filming. Pans are always described in terms of
"panning left" or "panning right". It is incorrect to discuss pans in terms of the vertical, "up"/"down" axis, which is properly called tilting
Point of view shot
(Often abbreviated as 'pov'). A shot which shows an image from the specific point of view of a character in the film.
Racking focus
A shot employing shallow focus in which the depth of field is altered so that the background is gradually brought into focus while the
foreground is gradually taken out of focus or visa versa.
Reverse angle
In a dialogue scene, a shot of the second participant understood as the opposing or "reverse" view of the shot showing the first
participant.
Scene
A unit of narration generally composed of a series of shots that takes place in a single location and concerns a central action.
Shot


1.) The image produced by a motion picture camera from the time it begins shooting until the time is stops shooting
2.) (in an edited film) the uninterrupted record of time and space depicted between editorial transitions.
Steadicam
A lightweight, highly-mobile camera transportation and stabilization device developed by inventor / cinematographer Garrett Brown
which permits hand-held filming with an image steadiness comparable to tracking or dolly shots. The device involves 1.) a vest
redistributing the weight of the camera to the hips of the cameraman and, 2.) a spring-loaded arm working to minimize the effects of
camera movement. A video tap simultaneously frees the camera operator from the eyepiece, who is then free to travel through any
walkable terrain while filming.
Story board
A series of drawings and captions (sometimes resembling a comic strip) that shows the planned shot divisions and camera movements of
the film.
Tilt
A shot in which the camera is made to pivot up or down on its vertical axis while filming.
Tracking shot/traveling shot
A shot in which the camera moves alongside or parallel to its subject while filming. Traditionally tracking shots are filmed while the
camera is mounted on a track dolly and rolled on dedicated tracks comparable to railroad tracks, In recent years, however, parallel
camera moves performed with a Steadicam, gimbal, etc. may also be called a tracking shot. Tracking shots often "follow" a subject while
it is in motion: for instance, a person walking on a sidewalk seen from the perspective of somebody walking on a parallel path several
feet away. Shots taken from moving vehicles that run parallel to another moving object are also referred to as tracking or traveling shots.
A tracking shot may also be curved, moving around its subject in a semi-circular rotation.
Two shot
A shot in which the frame encompasses two people, typically but not exclusively a medium shot.
Whip pan
A type of pan shot in which the camera pans so quickly that the resulting image is badly blurred. It is sometimes used as an editorial
transition and is also known as a swish pan or "flash pan."
Wipe
An optical editorial transition in which an image appears to be pushed or "wiped" to one aside of the screen to make way for the next.
Zoom
A shot taken from a stationary position using a special zoom lens that magnifies or de-magnifies the center of the image. This creates an
illusion that the camera is moving toward or away from its subject by making the subject more or less prominent in the frame. Not to be
confused with dollying in which the camera itself actually physically moves closer to or further away from its subject.
Cinematography
Main article: Cinematography
Movement and expression[edit]
Movement can be used extensively by film makers to make meaning. It is how a scene is put together to
produce an image. A famous example of this, which uses "dance" extensively to communicate meaning
and emotion, is the film, West Side Story.
Provided in this alphabetised list of film techniques used in motion picture filmmaking. There are a
variety of expressions:









Aerial perspective
Aerial shot
American shot
Angle of view
Bird's eye shot
Bird's-eye view
Boom shot
B-roll
Camera angle




























Crane shot
Dolly zoom
Dutch angle
Establishing shot
Film frame
Filmmaking
Follow shot
Forced perspective
Freeze-frame shot
Full frame
Full shot
Hanging miniature
Head shot
High-angle shot
Long shot
Long take
Low-angle shot
Master shot
Medium shot
Money shot
Multiple-camera setup
One shot (music video)
Over the shoulder shot
Panning (camera)
Point of view shot
Rack focusing
Reaction shot
Shot (filmmaking)
C1-P1-1-T&C
TERMS AND CONDITIONS: FILMING AND PHOTOGRAPHY LICENCE
2 The Licensor and Licensee agree that the Location may be used for the purposes as set out in this Licence and the accompanying top sheet and the “Film
Office: Terms & Conditions: Street Filming”, subject to the following terms and conditions.
3 PAYMENT TERMS/LICENCE PERIOD
3.1 The Licensee shall pay Film Office the Location Hire Fee prior to the start of the Licence Period.
3.2 Unless agreed otherwise in advance, the Licensee agrees that an additional charge of 50% of the Location Hire Fee will be levied on all late payments.
3.3 The Location Hire Fee and any other charges under this Licence are subject to VAT.
3.4 Other charges and fees will be invoiced after the end of the Licence Period and payment terms on such invoices are 14 days from the date of the
invoice.
3.5 The Licensee agrees to pay for all outgoings such as gas, electricity or water charges which are in addition to those typically used by the Licensor during
the Licence Period. All such charges are subject to VAT at the appropriate rate.
3.6 If requested, the Licensee must pay a security deposit to Film Office prior to the start of the Licence Period: this will be returned in full within seven days
of the end of the Licence Period, provided that the Licensee has complied with all of its obligations under the terms and conditions of this Licence. Film
Office will confirm the amount required for a security deposit with the Licensee prior to the Licence Period after confirmation of Licensee’s requirements.
3.7 The Licensee may give Film Office notice of cancellation of this Licence at any time prior to the start of the Licence Period in accordance with the
provisions of this clause. If the Licensee cancels the Filming more than 48 hours prior to the start of the Licence Period, the Licensee shall pay 50% of the
Location Hire Fee and if the Licensee cancels the Filming less than 48 hours prior to the start of the Licence Period, the Licensee shall pay 100% of the
Location Hire Fee. The Licensee also agrees to pay for any work carried out by the Licensor’s employees, contractors or agents in preparation for the use by
the Licensee of the Location up to the date of cancellation.
3.8 The Licensee agrees to pay for any additional time to that normally utilised by employees, contractors or agents of the Licensor as a direct result of their
Filming.
3.9 Should the Licensee’s occupation of the Location exceed the agreed Licence Period, the Licensee shall become liable for an additional charge for every
additional hour or part thereof that they remain at the Location on a pro rata basis plus 50% or £100 per hour, whichever is the greater.
3.10 Film Office may terminate the Licence at any time upon notice to the Licensee if it appears that the Licensee or its employees, contractors or agents
(“Third Parties”) have breached any of the terms and conditions of this Licence. Such termination is
2
without prejudice to any right of action or remedy by Film Office or the Licensor in respect of any breach of the terms and conditions of this Licence by the
Licensee.
3.11 The Licensor and Film Office reserves the right to immediately stop, prevent or restrict the Filming carried out by the Licensee or Third Parties which in
the opinion of the Licensor or its employees, contractors or agents or Film Office endangers the safety of personnel at the Location, the integrity of the
Location or the Location’s contents or structure.
3.12 The Licensor agrees that the Licensee shall have the right to represent the Location as any real or fictional place according to the requirements of the
Filming provided that neither the Licensor nor the Location are identified, unless permission is expressly given in writing.
4 OBLIGATIONS OF THE LICENSEE
4.1 The Licensee agrees to ensure that all necessary permissions and consents are in place to use the Location for Filming prior to the start of the Licence
Period. The Licensee agrees to comply with all requirements of any local or other authority under the provisions of any statute, statutory instrument,
byelaw, regulation or order.
4.2 The Licensee agrees not to use the Location in such way as to cause any nuisance, damage, disturbance, annoyance, inconvenience or interference to
other occupiers of the Location or adjoining neighbouring premises.
4.3 It is the Licensee’s responsibility to make all Third Parties entering into the Location aware of the terms and conditions of this Licence and the Licensee
shall ensure the Third Parties’ compliance with such terms and conditions.
4.4 The Licensor gives no warranty to insure the premises legally or physically fit for any specific purpose.
4.5 The Licensor shall not be liable for damage to any property or for any losses claims demands actions, proceedings damages, costs, or expenses or other
liability incurred by the Licensee or Third Parties in the exercise or purported exercise of the rights granted by this Licence.
4.6 The Licensee agrees to indemnify and keep indemnified the Licensor and Film Office from and against all loss, damage, injury, liability, costs (including
reasonable legal costs), claims or demands or proceedings arising out of or in connection with the use of the Location by the Licensee.
4.7 The Licensee confirms that it will take out a comprehensive insurance policy for the Filming at the Location, including adequate public liability insurance
for injury or death of any individual. The Licensee shall, if so requested by Film Office or the Licensor, note the interest of the Licensor on any policy and
shall produce upon reasonable demand documentary evidence showing the required insurance cover and proof of payment for the premiums for that
insurance.
4.8 The Licensee agrees that neither the payment of the Location Hire Fee nor any demand for payment of it, nor the fact that the amount of the Location
Hire Fee is calculated by reference to a period shall create or cause the Licence Period to become a periodic tenancy.
4.9 The Licensee agrees not to sell or allow any intoxicating liquor at the Location.
4.10 The Licensee or Third Parties must recognise and comply with their duties under health and safety law. The Licensee or Third Parties must ensure that
they comply with their legal duties to eliminate or reduce the risk from their work. The Licensee or Third
3
Parties must define responsibilities and duties, have a system for managing health and safety and provide a risk assessment on request to Film Office. The
Licensee or Third Parties must assess and manage risks. The Licensee or Third Parties must regularly review the process and procedures for managing risk.
Health and safety legislation applies to all work activities in the UK, whether conducted by UK nationals or foreigners, even if they are not being paid. Legal
duties under health and safety law cannot be delegated.
Statutory Obligations of the Licensee or Third Parties: • Health and Safety at Work Act 1974 • Management of Health and Safety at Work Regulations 1999
• Management of Health and Safety at Work (Amendment) 2006 • Fire Precaution (Workplace) Regulations 1999 • The Corporate Manslaughter and
Corporate Homicide Act 2007
4.11 The Licensee and the Third Parties using temporary electrical systems over 6kVA are required to complete a BS 7909 certificate on the day of the
shoot. The certification must be carried out by a qualified and competent electrician. A Senior Person Responsible (SPR, as defined in BS 7909) must be
appointed by the Licensee to oversee and manage all electrical safety during the shoot. The contact details of the SPR must be made available to Film
Office prior to Filming taking place.
In signing this agreement, The Licensee and the Third Parties take responsibility for following BS 7909 guidelines and carrying out BS 7909 certification. Film
Office may request a copy of the completion certificates for their own records.
The Licensee and the Third Parties must ensure that they are working electrically safe (Electricity at Work Regulations 1989; ‘EaWR’). The Licensee and the
Third Parties must ensure that the equipment used at the Location is electrically safe (Provision and Use of Work Equipment Regulations 1998, ‘PUWER’).
The Licensee and the Third Parties are responsible for ensuring that all electrical equipment will conform to Portable Appliance Testing (PAT) Regulations
and electrical work complies with British Standard BS 7671 & BS 7909.
5 CARE OF THE LOCATION
5.1 The Licensee and the Third Parties shall not make any structural or non structural alterations to the Location nor attach fixtures and fittings to the
Location which may cause damage, other than as expressly approved in writing by Film Office or the Licensor.
5.2 The Licensee agrees to keep the Location in a clean and tidy condition and not to block any access to any part of the Location and shall remove all of the
Licensee’s and Third Parties’ furniture, equipment, goods and chattels at the end of the Licence Period.
5.3 The Licensee will be responsible for:
i Making good any damage arising from the use of the Location at their own expense. Should this not be carried out within seven days of the end of the
Licence Period and to the Licensor’s and Film Office’s complete satisfaction, the Licensor / Film Office reserves the right to carry out the required works
themselves and charge the Licensee in full for this accordingly.
ii Leaving the Location in a clean and tidy condition: a penalty of the cost of the cleaning will be charged should the Licensee fail to clean up the Location to
a satisfactory standard.
4
iii Ensuring that the Location is left safe and secure at all time during the Licence Period.
iv Removing all items and equipment of whatever nature brought into the Location by the Licensee or the Third Parties: storage or disposal charges will be
charged where the Licensee or the Third Parties leaves equipment and/or rubbish behind without prior arrangement.
5.4 All set-building is to be expressly agreed in writing prior to the start of the Licence Period with Film Office. No sets are to interfere with the structure of
the Location. A programme of re-instatement after the Filming is to be agreed with Film Office prior to the start of the Licence Period. Should the Licensee
not carry out this programme of reinstatement, or make arrangements for it to be done, the Licensor / Film Office will carry out the work and the Licensee
will be liable for the full cost thereof.
5.5 If required an inventory of all objects belonging to the Licensor at the Location will be taken before and after the Licence Period and their condition
noted. In addition, a schedule of condition of the Location will be prepared prior to access of the Licensee and signed by the Licensee. Any items belonging
to the Licensor which are not required for the Licence Period will be removed by the Licensee and stored safely in an agreed place.
5.6 Any items requiring specialist handling may only be removed by nominated qualified personnel and the same personnel will also carry out any reinstatement of such items.
5.7 Any alarm system may not be turned off or in any way disabled by the Licensee or the Third Parties unless there is a permanent security appropriate
presence at the Location while it is out of action and with express written permission from the Licensor / Film Office. If the security system is to be disabled
a qualified specialist must be used both to achieve this and to re-instate afterwards.
5.8 The Licensor will allow the Licensee to use the accesses of the Location for the purpose of bringing equipment to the Location on condition that these
accesses are kept locked at all other times to ensure security of the Location.
5.9 No objects belonging to the Licensor are to be used on set without the Licensor’s / Film Office’s express written permission. Any items borrowed are for
set dressing only: they must not be used e.g. filled with liquid or food, treated with surface substances or placed near heat or steam, without the Licensor’s
/ Film Office’s express permission.
5.10 No narrow or spike heeled shoes are to be worn at any time on wooden floors at the Location. The floors are to be adequately protected at all times.
Boards should be used under camera dollies and tripod feet to spread the weight.
5.11 There is to be an absolute NO SMOKING rule at the Location at all times unless this forms part of the action of the Filming, in which case cigarettes etc
are to be extinguished between takes. The use of smoke machines must be cleared with the Licensor / Film Office in advance of their use at the Location.
5.12 Eating and drinking at the Location must be confined to designated areas agreed with the Licensor / Film Office. No food and drink will be consumed
elsewhere at the Location save that required by the action of the Filming.
5.13 All litter is to be bagged, removed from the Location and disposed of responsibly at the end of the Licence Period or on a daily basis if the shoot is to be
longer than two days. The cost of this will be borne by the Licensee.
5.14 The Licensee will return all keys to the Location that may have been issued to their nominated representative at the expiry of the Licence Period or
sooner if it is terminated.
5
5.15 The Licensee and the Third Parties shall not interfere with any rights of access or entry or the free right of passage of the Licensor or its employees,
contractors, agents or members of the public on any part of the Location, other than is specifically permitted in writing by the Licensor. The Licensee and
the Third Parties shall behave in a polite and considerate manner at all times. The Licensee will inform residents and businesses in the immediate vicinity of
their intentions and shall inconvenience them as little as possible. Necessary consultation processes will be confirmed by Film Office prior to the Licence
Period.
5.16 The Licensee is responsible for the insurance and security of all their cameras, equipment and vehicles etc and those of the Third Parties. The Licensor
/ Film Office will accept no liability of any kind in respect of any loss or damage.
5.17 Parking at the Location may only be used by the Licensee upon express prior written agreement of the Licensor / Film Office.
5.18 The Licensee agrees that:
i In the event that sound playback is required to be used, permission from the Licensor / Film Office must be given prior to the Licence Period.
ii If exterior lighting is being directed at the Location, this will be done so as to prevent any bounce back of light that would disturb the local residents or
businesses and this may be subject to planning permission.
5.19 The Licensee agrees to permit the Licensor / Film Office to take film or photographs for internal and promotional purposes. The Licensee may use any
Filming in accordance with this Licence and for the purposes of the Production and for no other purpose whatsoever.
6 RELEASE
Subject to full performance by the Licensee of its obligations under this Licence, the Licensor and Film Office agrees that the Licensee shall own exclusively
the copyright and all other rights in the Filming at the Location (“Recordings”) and (without prejudice to the generality of the foregoing) the Licensee shall
be entitled to include or not to include the Recordings (or any part of them) in any film, television programme or other broadcast, any publicity, advertising,
book publishing, merchandise or other works (“Works”) and to exhibit, broadcast, exploit, market, publicise, advertise and distribute the Works by any and
all means and in any and all media (whether now known or hereafter invented) throughout the world for the full period of copyright including any
extensions, revivals, reversions or renewals thereof and thereafter, in so far as possible, in perpetuity. The Licensee shall not use the Filming from or
connected to the Location for any product endorsement, nor for any illegal purpose or in any way that would bring the Licensor or Film Office into
disrepute.
7 GENERAL
7.1 This Licence shall terminate (without prejudice to the Licensor’s or Film Office’s rights and remedies) immediately upon notice given by the Licensor or
Film Office at any time following a breach by the Licensee of any term of this Licence.
7.2 The Licensee may not assign this Licence or the rights granted under it in whole or in part.
7.3 Neither the Licensor nor Film Office shall be liable for any damage to any property or equipment or for any losses, claims, demands, actions,
proceedings, damages, costs,
6
or expenses or other liability incurred by the Licensee or the Third Parties arising from their use of the Location for the Filming.
7.4 This Licence constitutes the entire agreement between the parties and supersedes and extinguishes all previous drafts, agreements, arrangements and
understandings between them, whether written or oral, relating to its subject matter.
7.5 No one other than a party to this Licence and the Licensor, their successors and permitted assignees, shall have any right to enforce any of its terms.
7.6 If any dispute arises in connection with this Licence, the parties will attempt to settle it by mediation in accordance with the Centre for Effective Dispute
Resolution Model Mediation Procedure. This Licence shall be construed in accordance with and governed by the laws of England and Wales and the parties
irrevocably submit to the exclusive jurisdiction of the English Courts.
..