Encyclopedia

2106 entries · Page 30 of 36

• Single-system sound

  Picture and primary production sound recorded together by the same camera or recording system.

• Site Coordinator

  A Site Coordinator manages an assigned filming property or operational zone, coordinating access, schedules, vendors, protection, facilities, owner requirements, crew movement, and restoration. The title varies, but the role generally keeps one site functioning within the Location Manager’s plan.

• Site emergency action plan

  A location-specific written plan assigning alarms, reporting, evacuation, shelter, accountability, and response responsibilities.

• Site safety orientation

  An introduction to location-specific hazards, controls, emergency arrangements, and reporting expectations.

• Sizzle reel

  A short promotional edit created to demonstrate a project, concept, talent package, or market proposition.

• Slate

  A board or electronic device that identifies a shot and helps synchronize picture and sound.

• Slate number

  The identifier connecting a photographed setup to the script, reports, and synchronized sound.

• Slide edit

  An edit that moves a clip earlier or later while preserving its duration and adjusting neighboring clip edges.

• Slider stand

  A low or wide stand designed to support the ends or center of a camera slider.

• Sling angle

  The angle of a sling leg that determines tension developed from a supported load.

• Slip edit

  An edit that changes a clip’s source in and out points while preserving its timeline position and duration.

• Smash cut

  An abrupt edit designed to create strong contrast in image, sound, time, scale, or emotional tone.

• Smoke effect

  A practical atmospheric effect creating visible smoke or haze for story or lighting.

• Snap zoom

  A deliberately fast zoom creating an abrupt change in image size and optical perspective.

• Snoot

  A tube or cone fitted to a luminaire to narrow spill and reduce off-axis light.

• Socapex cable

  A multicore cable assembly commonly used to carry several lighting circuits between dimmers and fixtures.

• Soft light

  Light from a relatively large apparent source that produces broad transitions and less-defined shadows.

• Soft mark

  A non-rigid or unobtrusive positional reference used where ordinary floor tape is unsuitable.

• Soft sticks

  A slating instruction to close the clapper gently near a performer or sensitive microphone.

• Softbox

  A fabric modifier with diffusion material that enlarges an apparent light source and softens shadows.

• Sound bag

  A wearable equipment bag organizing a field mixer, recorder, receivers, batteries, and cabling.

• Sound bridge

  Audio that continues across or begins before a picture transition to connect shots or scenes.

• Sound cart

  A mobile workstation carrying production sound recorders, mixers, receivers, power, and monitoring.

• Sound design

  The creative and technical shaping of sound to support story, space, emotion, and rhythm.

• Sound Designer

  A Sound Designer develops the sonic language of a film, series, game, or experience by deciding how environments, objects, creatures, technology, transitions, and subjective moments should sound. They record, synthesize, layer, process, edit, and prototype original material, collaborate with the Director and sound team, and build motifs that support story, scale, emotion, and point of view.

• Sound edit

  The selection, cleanup, organization, and timing of dialogue, effects, ambience, and production sound.

• Sound Editor

  A Sound Editor prepares, repairs, organizes, selects, creates, and synchronizes audio elements for picture after production. Depending on the assignment, they may edit dialogue, backgrounds, hard effects, Foley, ADR, or designed sounds; conform work to picture changes; manage tracks and versions; and deliver clean, intentional material for the final re-recording mix.

• Sound Effects Editor

  A Sound Effects Editor builds and edits synchronized effects for actions, objects, vehicles, weapons, technology, environments, transitions, and off-screen events. They search libraries, record or create elements, layer and process sounds, shape perspective and continuity, conform to picture changes, coordinate with Foley and design, and deliver organized tracks that give the final mixer creative control.

• Sound Engineer

  A Sound Engineer designs, configures, operates, and troubleshoots audio systems for recording, playback, reinforcement, broadcast, communications, or production. They manage signal flow, microphones, consoles, interfaces, routing, networks, monitoring, synchronization, power, and technical quality for the assigned format.

• Sound library

  An organized collection of recorded or synthesized audio assets and associated metadata.

• Sound Mixer

  A Sound Mixer combines and controls microphone and playback signals so dialogue, music, effects, ambience, or program audio can be recorded or delivered at useful levels. In narrative production the title may mean Production Sound Mixer; in broadcast, live, documentary, or smaller crews the signal flow and responsibilities differ.

• Sound pressure level

  A logarithmic measure of acoustic pressure, normally expressed in decibels relative to a reference pressure.

• Sound Recordist

  A Sound Recordist captures dialogue, ambience, effects, interviews, performances, or reference audio on location or in the field. They choose microphones, place or operate them, set recording levels and formats, monitor quality, manage files and metadata, and deliver organized recordings suitable for editorial or archive use.

• Sound report

  A record of sound rolls, scenes, takes, microphones, timecode, and production-audio notes.

• Sound speed

  The sound department confirmation that the required recorder is running correctly.

• Sound Utility

  A Sound Utility supports the production sound team by managing wireless microphones, batteries, timecode, cables, listening devices, carts, equipment, noise control, cast wiring, second-boom work, records, and rapid troubleshooting. They keep the Mixer and Boom Operator ready while anticipating the next setup.

• Sound workflow plan

  A document defining production recording, metadata, synchronization, editorial exchange, ADR, mixing, and audio deliverables.

• Sound-effects edit

  The selection, creation, placement, and organization of sound effects to support picture and story.

• Sound-system tuning

  The measurement-guided alignment and adjustment of a reinforcement system for coverage, timing, level, spectrum, and consistency.

• Soundcheck

  A rehearsal or test used to set and verify live audio inputs, monitors, system coverage, balance, and show operation.

• Source clip

  A clip representing source media or a defined portion of it within an editing project.

• Source media

  Picture, sound, graphics, or other files from which an edit or master is built.

• Source monitor

  An editing viewer used to inspect and mark source material before placing it into a sequence.

• Source patching

  The mapping of source clip tracks to destination sequence tracks for an edit.

• Source timecode

  The timecode recorded with or assigned to original media and used to identify source frames.

• Space light

  A cylindrical multi-lamp fixture designed to provide broad ambient illumination over a stage or location.

• Spanset

  A trademark often used generically on sets for a synthetic round sling.

• Speaker level

  An amplified audio signal carrying enough power to drive a passive loudspeaker.

• Spec script

  A screenplay written without a prior commission or production assignment, usually to be sold or used as a sample.

• Special effects

  Physical effects such as atmosphere, breakaway action, mechanical motion, or controlled pyrotechnics.

• Special Effects Supervisor

  A Special Effects Supervisor leads the practical-effects department responsible for controlled physical effects photographed on set, such as atmosphere, wind, rain, breakaways, mechanical action, fire-related work, debris, fluids, or other approved gags. They design methods, budget and staff the work, coordinate engineering and permits, test and rehearse systems, lead safety communication, and supervise execution and strike.

• Special Effects Technician

  A Special Effects Technician fabricates, installs, tests, operates, resets, maintains, and removes practical-effects equipment under the Special Effects Supervisor’s approved plan. They may work with mechanical rigs, atmosphere, wind, rain, breakaways, fluids, pneumatics, controls, or other assigned systems while following task-specific procedures, inspection requirements, exclusion zones, and communication protocols.

• Special-effects permit

  Authorization required by an authority having jurisdiction for specified hazardous production effects or materials.

• Spectral repair

  Audio restoration targeting localized unwanted events in a time-frequency display.

• Speed rail

  Aluminum pipe in standard outside diameters used with purpose-built fittings for temporary camera and grip structures.

• Speed ramp

  A timed transition between different playback speeds within an individual shot.

• Spike mark

  A taped or painted floor mark identifying a repeatable position for scenery, equipment, or performers.

• Spill response

  A planned method for isolating, identifying, containing, cleaning, and reporting a material release.

• Splinter unit

  A small temporary unit split from the principal company to capture limited material concurrently or nearby.

• Split edit

  An edit in which the picture and corresponding audio change at different times.

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