As a follow up to our last blog about Crew Roles, this week we want to demystify some of the filmmaking jargon you'll hear on set as a Supporting Artiste.
This isn't an exhaustive list, which would be quite the momentous task; the camera and lighting departments especially dominate their communication with technical slang that isn't relevant to Supporting Artists.
That said, when SAs are on the same wavelength as the crew, everyone's day becomes easier. A savvy SA can often determine when and where they are needed before they are officially told.
‘A’ Camera, ‘B’ Camera & ‘C’ Camera
To maximise efficiency during the shoot, there will often be multiple cameras rolling at once during each take and their importance will be in alphabetical order. ‘A’ Camera will always be the main priority with ‘B’, ‘C’ and maybe even ‘D’ camera rolling for coverage. That’s why it’s essential that you don’t stop your action just because the main camera has swept past you - you could still be visible from other angles.
“Hold the roll, we have a technical on ‘C’ Camera.”
ADR - Additional Dialogue Recording
Dialogue that is recorded after filming and dubbed over the footage.
B-roll
Shots that will be used for cutaways to add detail, emotion or tension to a scene.
“Let’s grab b-roll of our background before our talent arrives.”
Background / Crowd
You guys! Officially you’re Supporting Artists, but more commonly on set you’ll be collectively referred to as the Background or Crowd.
Background Action
Called by the First Assistant Director to cue the Supporting Artists to start their action. This ensures that the world is brought to life before the principal cast begin their action.
Backlot
The area behind or adjoining a movie studio for outdoor scenes and space for temporary set construction.
"We'll be on the backlot at Shepperton."
Balls and Charts
The cue for the Visual Effects (VFX) Department to come onto set with the metallic ball and colour charts. These provide vital information for lighting and colour-correcting the scene for the computer generated imagery that will be added in post-production. Since “Balls and Charts” almost always takes place once the principal filming of the scene has concluded, this is a great indicator to the Supporting Artists that they’re about to be stepped off set to relax.
Base
Where the trailers, trucks and catering are stationed which functions as the crew’s headquarters away from the actual set. Sometimes the location logistics or the size of the scene demands that Supporting Artists have a separate '“Crowd Base” to sign in, get ready and eat meals, while the other departments operate from the main “Unit Base”. There may also be a “Tech Base” which is where all the filmmaking equipment is stored.
“There are minibuses ready to take us back to base.”
Blocking
Very similar to rehearsing, but with a focus on how people will move in the scene. Blocking is the art of figuring out where people will stand, how they will move, and what they will do. A 3rd AD may take you to set before filming starts in order to assign actions and understand how the space works once populated with Supporting Artists. Good blocking can make a shoot seem effortless.
“Where were you stood when we blocked the scene earlier?”
Buying That
The crew have completed that shot and are now moving on to the next one.
Buyout
In the world of commercials, a buyout is an additional payment for actors and SAs that purchases the right to use an artist's performance for a period of time and across certain territories and media platforms. You’ll only be due a buyout fee if you’re featured and therefore highly recognisable in the finished broadcast.
“The basic fee is £350, but the buyout is £4,000 for global usage per year”.
Call sheet
A list of the day’s work schedule and what time everyone is needed on set. Supporting Artists are rarely given the call sheet.
Cheat
To falsify the actors’ or SA’s movements intentionally to best suit the camera.
“We’ll cheat you over here otherwise your action won’t read on camera.”
Checks! / Checks to Shoot / Final Checks
An instruction for the Costume and Hair & Make-Up teams to step on set to check the actors and supporting artists before filming begins.
Check the Gate
Traditionally for cameras that shoot on film, the “gate” is the window on the camera body where light from the lens passes through to expose the film. To check the film gate is to check for any scratches, dust or other debris that could ruin the take. The term lives on despite most Film & TV being shot on digital cameras; these days when someone says “check the gate”, what they really mean is playback the media from the card to make sure it recorded properly. This phrase is a good sign that the director is happy to move on.
Coverage
After the wide shot of the entire scene has been shot, coverage is where the camera generally gets closer to the actors to capture each moment of the scene from all desired angles. Coverage can be shorthand for differentiating what has been shot and what hasn’t.
“Have we got coverage of that from this angle?”
”No, we’ll need to do a pick-up.”
Continuity
The goal to keep the illusion of time and space in the film intact. Continuity grounds audiences in the reality of the film while establishing a clear and structured narrative. If Continuity is broken, it can be distracting to an audience so it’s essential that you replicate your action identically for each take. It’s the job of the 3rd Assistant Director and Crowd PAs to have a good sense of background continuity, so help them out by committing your action to memory.
“You can relax back to holding, we can’t use you in this next set-up due to continuity.”
Craft / Crafty
The van that offers specialty coffee and treats, usually exclusive to crew but can also be available to SAs on the small days with fewer crowd.
"Did you hear? SA's have access to Craft!"
Cut!
To end the take - the cameras have stopped rolling. Stop performing and reset back to first positions.
Dailies
Confusingly, Dailies has two meanings. It is a synonym for Rushes (defined further down), but more commonly on UK Film & TV sets, it describes a crew member that isn’t contracted on the production for long, usually just a day - hence the term. Often hired at short notice to meet demand, a Dailie probably won’t be that well-informed.
"Sorry I don't know that, I'm just a Dailie."
Day Player
An actor that has only been hired for that one scene, effectively making a cameo or minor supporting role.
“I thought I’d be interacting with the lead, but it turned out to just be a day player.”
Don't break it up
Called by the Director when they would like everyone (including SAs) to reset as quickly as possible to grab another take without cutting the camera.
Easy-Up
A small pop-up gazebo.
End Board
The call to ‘slate’ the end of shot with the clapperboard.
Eyes on…
When someone or something is spotted.
“Has anyone got eyes on Spielberg?”
First Team & Second Team
The first team describes the principal actors and the second team refers the actors’ Stand-Ins. A second team rehearsal is where the Stand-ins go through the scene for the benefit of the Camera, Lighting and Sound departments. If you hear “First teams!”, that’s the cue for the Stand-Ins to step off and the main actors to step on - i.e. filming will begin shortly.
First Unit & Second Unit
First unit will be made up of the ‘main’ crew and talent including the Director, 1st AD and principal actors. The second unit will busy themselves with capturing B-roll, wide establishing shots, body-double shots and action & stunt sequences. Second unit will have their own crew team, including a ‘Second Unit Director’ and ‘Second Unit Camera Operator’' etc.
Usually only large productions have two units, and the very biggest TV Shows will have two units of equal importance filming different episodes simultaneously.
First Positions / From the Top / Back to Ones! / Number Ones!
Head back to your starting position you had at the beginning of the take or scene.
Going Tight
An instruction to repeat the previous take but with the cameras closer to the action or principal actors.
"We need to go tighter on our talent with ‘B’ Camera."
Green Room
The holding area for the main cast. Rarely, you may hear the Crowd Holding be described as the ‘SA Green Room’.
”Don’t go in there; that’s the green room.”
Hold the Roll / Hold the Red
The cameras are already rolling but a crew member is just fixing something. Instead of calling cut and losing momentum, the director or 1st AD will call to hold the roll. A common cause of holding the roll is waiting for a noisy airplane to pass overhead so sound can be recorded cleanly. Simply pause and wait for further instruction. If you’re in the studios, an alternative is “Hold the Red” which refers to the red light outside soundstages.
Holding
Where you can relax when you’re not on set. Usually stocked with a water station and a tea & coffee table, holdings come in all shapes and sizes but their most common form is a large white marquee. ‘On-Set Holding’ describes a separate holding area that is very close to set, usually just next door. On-Set holding will have fewer amenities and you may not be allowed to bring any personal belongings with you.
Honey Wagon
The bathroom, specifically denoting the portable toilets that productions hire for location shoots.
"Our nearest Honey Wagon is over at Tech base."
Hot Set
A set that should not be touched, usually for continuity purposes but sometimes because it has been set up with special effects that can’t be disturbed. Signs and/or police tape are generally used to denote a hot set.
“Everyone should know this is now a hot set and no one should be on it except props and special effects.”
Kill
When something needs to be turned off.
“Kill the fog machine.”
Line-Up
For the benefit of the Costume and Hair & Make-Up departments to check your look. All SA’s will be instructed to form a line before you head to set. This happens at least twice on every shoot, once in the morning and again after lunch has concluded.
“Don’t go anywhere, they’re about to call a line-up.”
Location Shoot / On Location
Shorthand to say that filming will not be at the studios, or when the crew will be filming at the literal location where the scene is set in the narrative.
”They’ll be filming on location for the exteriors and then we’ll move to Pinewood for the rest of the scene.”
”We’ve got 3 weeks here and then the production heads off to Peru to film on location.”
Lock Up / Lock it Up / Lock Off
An instruction to a production assistant to block a door or area during filming.
“Sorry, guys. I can’t let anyone through, it’s all locked off”.
Mark
A blocking term that tells the actors where they need to land in order to be in focus for the camera, usually marked by a ”T” or “X” on the floor with coloured gaffer tape. Different colours for different characters.
Mark it
Once the camera operator starts filming, they will ask the Clapper Loader to mark it. The clapperboard should already be in frame and once the slate and take number are announced, (e.g. “16 take 3”), the board is clapped nice and cleanly to produce a sharp click on the soundtrack. This is used to later synchronise the footage and audio.
Master Shot / Establishing Shot / Wide Shot
Usually a big sweeping shot that establishes the setting of the scene before moving in closer to the action with tighter angles. Increasingly common nowadays, this shot can be achieved with a remote-controlled Drone that flys over the set, for which you will be given a safety briefing.
Monitor
The screens that display previous takes, often watched in real-time by several departments. These could be anything from a handheld iPad to a huge TV screen.
On the Day
When things were/are actually done during the filming.
“Where were you on the day?”
“We will rehearse this now with a stunt double but on the day the actor will jump off the ledge.”
Oner / Long Take / Continuous Shot
When an entire scene is played in a single unbroken shot, or simply to describe a really long take. These shots are logistically demanding and will require lots of rehearsals. Often the production will only hire experienced Supporting Artists for these since filming a oner demands a lot of attention and patience.
Pick-Up / Picking-Up
Similar to ‘Coverage’, a Pick-Up describes a shot that isolates a specific moment in the scene. Pick-ups are often cutaways or small shots.
”Don’t reset to number ones, they’re picking-up from this moment here.”
Principals / Talent
The lead actors or main cast members.
Print It
Similar to Check the Gate, this dated instruction describes sending off the film negative to create a workprint to view and edit. Since you would only print the good takes, directors still say it on occasion to mark that last take as a good one.
Reccies
Slang for ‘Reconnoiter’ or ‘Reconnaissance’ - the first time crew members scout a filming location before the filming dates.
“Why didn’t Locations flag this during the Reccie?!”
Red Light and Bell
An instruction for the production assistant at the soundstage doors to flip the light above the door from green to red and ring the bell. This little red light indicates that cameras are rolling inside the stage and no one should enter or exit the stage for any reason, and all people and vehicles outside should remain quiet. The ‘bell’ will be one long buzzer when the cameras start rolling, and two shorter buzzers when cameras stop rolling.
Rehearsing
Practising the scene so the filming goes smoother. If the scene is really complex, you may be booked to attend separate rehearsal dates before the filming starts.
Reset
Return to the first position you had at the start of the take.
Rolling!
Cameras are filming and you are about to start your action.
Rushes / Dailies
The raw, unedited footage shot during the previous day. Crew members review the Rushes at the start of each day to be familiar with continuity and to determine what is left to shoot. A Crowd 2nd AD may need to review the rushes to determine which Supporting Artistes are owed supplementary fees.
Scanning (VFX Scanning)
The act of digitally scanning an actor, supporting artiste or prop to digitally manipulate it in post-production, or to replicate your body to create a much larger crowd in the final edit.
“Raise your hands if you have yet to be scanned.”
Set-Up
The camera set-up, i.e. the configuration of the shot. A new set-up doesn't necessarily mean a new scene, more often it means that the same action will be captured differently from a new angle. Each scene will have several set-ups.
"The next set-up will be a tracking shot, so we will see the whole world."
Sides
Script pages of today’s scenes to be shot, in shooting order, usually printed onto A5 paper. Often for self-tape requests, the dialogue you are given can be referred to as a “Side”.
Soundstage
A large, soundproof structure with large doors and high ceilings that resembles an aircraft hanger, usually located on studio property.
SPACTS
Trained performers that are hired exclusively for higher-intensity action or a specialist skill. ‘SPACT’ is an abbreviation of ‘Special Action‘. Think of SPACTS as a halfway house between Supporting Artists and fully-fledged Stunt Performers.
Speed
A way to announce that the camera is running/recording (literally that the film is up to speed). You’ll similarly hear “Sound Speed” from a member of the Sound Department before action is called.
Stand-in
A person who substitutes for the actor before filming, for technical purposes such as lighting and camera setup. This enables the crew to get their equipment set-up for the shot while the actor practices lines or rehearses with the director.
Steadicam
A brand of camera stabilizer mounts for cameras, but similar to how ‘Hoover’ became synonymous with vacuum cleaners, Steadicam has become slang for any handheld shot where the camera operator will be wearing a camera rig attached to their body so they can move fluidly around the scene. Since the camera operator will be weaving amongst the crowd with large equipment, all supporting artists need to be on high alert.
Step-Off / Relax
To clear the set.
Stop the work! / Hold the work!
An instruction to other crew members near the set to cease working so sound can be recorded cleanly during the take. This is not an instruction to supporting artists.
Strike
When something needs to be removed.
“Strike those C-stands.”
Technical
An issue that needs to be fixed before work can resume.
“30 seconds, we’ve got a technical with the steadicam.”
Ten One (Going 10:1)
Slang for nipping to the bathroom. The origin of this is quite obscure, but it's believed that film crews burrowed from US Police radio code "10:100" and overtime this became "10:1". While literally meaning you need to pee, using this as a catch-all saves the film crew from too much information. "10:2" will certainly draw concerning looks from those around you.
”Now is a great time to go 10:1 if you need to.”
The Whole World
The entire set. Essentially, this is shorthand to bring all cast members and supporting artists to set because the camera is going to capture everyone.
”We’ll be seeing the whole world on this one, folks, so no slacking until you hear ‘cut’!”
Tracking Shot
Any shot where the camera follows backward, forward or moves alongside the subject being recorded. Tracking shots are often achieved by mounting the camera on a wheeled cart (known as a Dolly) which rides on a rail track - hence you may hear the phrase “Dolly Shot” instead. Rail tracks are often very precisely laid so be very careful not to knock or trip over them, especially during a take.
Turn Around!
This cues the crew to get ready for the Reverse Shot; the camera will rotate 180 degrees to capture the other side of the scene. Think of two characters having a conversation - once they've captured all of one actor's performance, they will now need “turn around” to capture the other. For the SAs, this can mean that half of you will need to be swapped out with the other half not on set.
”We’re about to turn around so you’ll be able to step off shortly.”
Wild Track
When the Sound departments records ambience of the environment without the cameras rolling to provide the editor with background atmosphere in post production. Sometimes you’ll be instructed to make noise for the wild track, and other times they’ll want complete silence to simply record the ambient noise. Usually the wild track is the very last thing to be recorded once filming of the scene has concluded.
“Background, don’t break it up, we just need to do a wild track!”
Video Village
A configuration of monitors and seats where the director, script supervisor and producers will be watching the monitors during filming.
"We need to move video village to this corner.”
How did we do? Did we miss lingo that Supporting Artists should be familiar with?
Let us know in the comments below!
Many Thanks,
The Extra People Team.
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