Encyclopedia

2106 entries · Page 2 of 36

• Amplifier rack

  A rack containing power amplifiers and associated distribution, processing, networking, and monitoring.

• Anamorphic format

  An image system that uses different horizontal and vertical magnification, traditionally squeezing a wide field onto film and unsqueezing it for projection.

• Anamorphic lens

  A lens that compresses the horizontal image for capture and expands it during viewing or finishing.

• Anemometer

  An instrument measuring wind speed at a defined location and exposure.

• Animal-handling safety

  Controls for working with animals while protecting performers, crew, handlers, the public, and animal welfare.

• Animation Director

  An Animation Director leads the performance, staging, timing, movement, and visual consistency of animated work. They interpret the script and boards, guide animators and supervisors, review blocking and finished shots, coordinate with design, layout, editorial, voice, and production teams, and keep the animation serving the project’s story, tone, schedule, and technical method.

• Animation Editor

  An Animation Editor builds and continually revises the project from storyboards, dialogue, temporary sound, layout, work-in-progress animation, and final shots. They shape timing, performance, comedy, action, and structure before material is fully animated, maintain current frame ranges and versions, and help Directors evaluate story choices while changes are still practical.

• Animation Layout Artist

  An Animation Layout Artist translates storyboards into production-ready scenes by establishing cameras, composition, lens or perspective, character and prop placement, environment scale, staging, screen direction, and movement paths. In 3D they block virtual sets and cameras; in 2D they prepare perspective and field guides that animators and background teams follow.

• Animation Production Assistant

  An Animation Production Assistant supports the team’s reviews, records, files, calendars, meetings, supplies, communication, and delivery logistics while learning the animation pipeline. They prepare dailies materials, update assigned status fields, organize reference, distribute notes, check naming and version information, and complete reliable follow-ups under a Coordinator or Production Manager.

• Animation Production Coordinator

  An Animation Production Coordinator maintains the daily shot, asset, schedule, note, meeting, review, and delivery records for an animation team. They prepare dailies, distribute current notes, follow up on assignments, verify handoffs, organize files and calendars, and make sure artists and supervisors know the correct priorities, versions, deadlines, and dependencies.

• Animation Production Manager

  An Animation Production Manager plans and controls the schedule, staffing, capacity, priorities, dependencies, approvals, and delivery flow for an animated production or department. They work with creative and technical supervisors to convert shot and asset scope into realistic plans, identify bottlenecks, rebalance resources, and keep teams moving without losing version accuracy or final-delivery requirements.

• Animation Supervisor

  An Animation Supervisor leads animators assigned to a character, sequence, discipline, or production area. They translate the Animation Director’s goals into shot-specific guidance, set performance and quality expectations, assign and review work, solve rig or workflow issues, mentor artists, and maintain continuity of movement, personality, timing, and polish across many shots.

• Animator

  An Animator creates the illusion of life by designing poses, movement, timing, weight, expression, and performance across a sequence of images or three-dimensional frames. They interpret storyboards, dialogue, reference, character rules, camera staging, and direction, then refine blocking through polished motion that communicates clear thought, emotion, action, and physical cause.

• Animatronic effect

  A mechanized puppet, creature, prop, or body element producing controlled physical movement.

• Animatronics Technician

  An Animatronics Technician builds, assembles, cables, programs, operates, maintains, and repairs mechanical characters, creatures, props, or body parts that move for camera. They translate performance cues into reliable motion, coordinate shells and finishes with creature or art teams, manage power and control systems, rehearse with performers and camera, and complete fast resets without exposing cast or crew to moving mechanisms.

• Answer print

  The first release-form laboratory print combining approved picture and sound that is presented to the producer for acceptance.

• Antenna distribution system

  An active or passive system that shares receive antennas among multiple compatible wireless receivers.

• Appearance release

  Permission from a person for the recorded use of their image, voice, name, or performance under stated terms.

• Apple box

  A standardized wooden riser used to change an actor, camera, prop, furniture, or support height in repeatable increments. Full apples are commonly about 8 × 12 × 20 inches and can be placed in New York, Chicago, or Los Angeles orientations; they are not substitutes for rated access equipment or engineered support.

• Apple ProRes

  A family of intraframe video codecs used for acquisition, editing, mastering, and interchange.

• Arc-flash boundary

  A calculated approach distance associated with potential thermal energy from an electrical arc.

• Archival master

  A preservation-oriented master retained to support long-term access, migration, and future remastering.

• Arm up

  A crane or jib instruction to raise the camera arm while preserving the planned move and clearances.

• Armorer safety briefing

  A task-specific meeting led by the weapons professional before performers or crew work with production firearms.

• ARRI-style rosette

  A toothed circular interface used to position and lock handgrips or camera accessories at repeatable angles.

• Art Department Coordinator

  An Art Department Coordinator runs the department’s information and logistics systems. They organize crew, calendars, meetings, drawings, vendors, purchase records, files, deliveries, clearances, travel, and communication so Designers and Art Directors can move work from concept through build, shooting, and wrap.

• Art Director

  A film Art Director turns the Production Designer’s visual concept into buildable, scheduled, budget-aware work. They coordinate drawings, sets, construction, scenic, graphics, locations, approvals, and art-department labor so each environment is designed, built, dressed, and ready for photography.

• Art-Net

  An Ethernet protocol used to transport DMX-style lighting control and related data across IP networks.

• Artificial snow effect

  A practical atmospheric or surface treatment used to simulate falling or accumulated snow.

• Artist guarantee

  A contracted minimum performance payment, sometimes combined with a share of defined event receipts.

• Artwork clearance

  The review and permission process for recognizable art, photographs, graphics, trademarks, or other protected visual material.

• As-broadcast script

  A timed or final script reflecting the program as actually delivered rather than the shooting draft.

• Asbestos awareness

  Recognition and control of potential asbestos-containing materials before disturbance in older locations.

• Assembly cut

  An early edit that places the available material in script or story order before detailed refinement.

• Assembly Editor

  An Assembly Editor builds an initial continuous version of scenes or episodes from incoming dailies, often while production is still shooting. They organize coverage, follow the script and continuity information, choose workable takes, lay in basic sound and temporary elements, identify missing material, and create a clear starting cut that the Picture Editor, Director, and Producers can evaluate and reshape.

• ASSETMAP

  A DCP XML document locating package assets across one or more storage volumes.

• Assigned protection factor

  The workplace respiratory-protection level expected from a properly selected and used respirator class.

• Assistant Art Director

  An Assistant Art Director supports Art Directors with script breakdowns, drawings, research, surveys, schedules, purchase tracking, approvals, set readiness, and communication. They may own smaller sets or workstreams while coordinating designers, graphics, construction, scenic, and production information.

• Assistant Camera

  An Assistant Camera supports camera preparation, operation, equipment handling, records, batteries, media, lenses, builds, carts, and troubleshooting. The title may describe a general assistant on a small crew or a position whose duties are divided into First AC, Second AC, loader, and digital utility roles on larger productions.

• Assistant Costume Designer

  An Assistant Costume Designer extends the Costume Designer’s creative work across research, character boards, sourcing, fittings, fabric, custom builds, background, scheduling, communication, and approvals. They may own assigned characters or units while keeping every decision aligned with the Designer’s overall concept.

• Assistant Editor

  An Assistant Editor builds and protects the technical workflow around the Editor. They ingest and organize media, sync picture and sound, prepare dailies and projects, track versions, create review exports, troubleshoot editorial systems, and assemble accurate turnovers for sound, music, visual effects, color, and delivery.

• Assistant Hair Stylist

  An Assistant Hair Stylist supports the hair department with station setup, sanitation, tools, products, wig and extension preparation, performer processing, continuity reference, touch-ups, resets, cleanup, and inventory. They work under department leadership, follow approved designs and product restrictions, protect performers’ hair and scalp, and communicate changes or concerns rather than independently altering established looks.

• Assistant Location Manager

  An Assistant Location Manager supports scouting, site preparation, permits, owner and neighborhood communication, parking, access, protection, field operations, restoration, and paperwork. They may own specific sites or tasks under the Location Manager or Key Assistant Location Manager.

• Assistant Makeup Department Head

  An Assistant Makeup Department Head helps the department head plan and execute makeup staffing, schedules, stations, products, continuity, tests, crowd work, sanitation, and daily performer coverage. They may lead assigned artists or units, translate approved designs into clear assignments, solve timing and supply problems, review continuity, and keep leadership informed without replacing the department head’s final creative and managerial authority.

• Assistant Production Manager

  An Assistant Production Manager supports the Production Manager with schedules, crew and vendor logistics, orders, locations, travel, transportation, facilities, approvals, and daily problem solving. They own delegated operational work while keeping decisions, costs, and changes visible to production leadership.

• Assistant Prop Master

  An Assistant Prop Master is the Prop Master’s senior deputy, organizing assigned crew, purchases, pickups, returns, fabrication, paperwork, carts, trucks, continuity, repairs, and on-set prop execution. They take ownership of delegated props or units, keep current information moving between shop and set, and help ensure that performers receive the correct safe, functional, camera-ready object for every take.

• Assistant Stunt Coordinator

  An Assistant Stunt Coordinator supports the Stunt Coordinator with breakdowns, performer and equipment logistics, rehearsals, documentation, department communication, site preparation, briefings, resets, and delegated supervision. They help maintain a consistent plan across simultaneous tasks or units while promptly reporting changes, hazards, readiness, and performer concerns to the department head.

• Assistive listening system

  A venue system transmitting program audio directly to compatible audience receivers or hearing devices.

• Associate Casting Director

  An Associate Casting Director is a senior casting team member who performs substantial creative and supervisory work under the Casting Director. They may lead searches, conduct auditions, evaluate performances, prepare select lists, manage staff, coordinate stakeholders, and run assigned roles, episodes, or sessions.

• Associate Producer

  An Associate Producer performs a defined portion of the producing work under senior Producers. Depending on the format, that may include research, development, casting, logistics, field production, post-production, clearances, talent coordination, or managing a specific workstream from planning through delivery.

• Associated alpha

  An alpha convention in which stored color channels have already been multiplied by opacity.

• ATA Carnet

  An international customs document facilitating temporary import and re-export of eligible professional equipment.

• Atmospheric smoke

  A controlled airborne effect used to make light, depth, weather, or fire atmosphere visible on camera or stage.

• Atmospheric testing

  Measurement of oxygen, flammable, and toxic conditions before and during hazardous-space work.

• Attachment plug

  The cord-end device whose contacts connect equipment conductors to a compatible receptacle.

• Audience ambience microphone

  A microphone capturing room or audience sound for in-ear monitoring, recording, broadcast, or effects.

• Audience barricade

  A purpose-built barrier used to separate, guide, or protect audiences and working areas at an event.

• Audience bowl

  The venue area containing the audience seating or standing configuration facing the performance.

• Audio denoise

  Processing intended to reduce steady or changing unwanted noise in an audio recording.

• Audio Describer

  An Audio Describer writes or performs concise narration that communicates essential visual information to blind and low-vision audiences during natural gaps in dialogue and important sound. They identify story-relevant action, appearance, setting, text, gesture, and visual change; choose neutral precise language; time descriptions carefully; avoid duplicating audible information; and collaborate through recording, editorial, review, and accessibility quality control.

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