Shot: the smallest “unit” of film. Shots are edited together to build sequences or scenes.
Frame / framing: the confines of what the camera captures, used to emphasize or deemphasize what is in the mise-en-scene.
Alternatively, a “frame-within-a-frame” can be used to focus our attention on a specific area within the shot (think of filming the scene through a window, or with some large geometric shape created by the set behind the characters).
How much of the frame the subject of the shot fills
The angle of the camera in relation to the subject
How the camera moves through the scene
Pan (horizontal pivot)
Tilt (vertical pivot)
Dolly/Track (movement along a track)
Boom (movement on an extendable arm)
Hand-held / steadicam
Static (no movement)
Two-shot: when two actors are on screen at the same time, often used as an establishing shot for a conversation (before over-the-shoulder shots). Example of a two-shot (the next shot is an over-the-shoulder shot.)
Objective camera angles: when the camera acts as a third-person narrator, providing a relatively objective view of the scene.
Subjective camera angles: when the camera is placed so as to provide the hint of a subjective point of view (such as a POV or over-the-shoulder shot); this allows us to see the world as the character does.
Note the difference between these two over-the-shoulder shots, one more subjective and one more objective.
Key light: the main light in a scene (fill and back lights provide more lighting)
Chiaroscuro lighting (also called low-key lighting): high contrast between light and dark areas.
This is achieved by making the key light much brighter than any other light source (counterintuitively to the name “low-key lighting”)
One Point Perspective: The creation of symmetry in a shot by ensuring all “lines” in the frame meet at one focal point. Typically, the subject will be centered. Example.
180 Degree Rule: A guideline that states that two characters in a scene should maintain the same left/right relationship to one another in each shot. (I.e., if character [A] starts on the left side of the frame, then they should be there in each subsequent shot). This “rule” helps the audience maintain spatial awareness.
Example of the first shot and second shot of a scene that breaks the 180 degree rule (note how both characters appear to “switch places”-- which is intentional in this scene).
30 Degree Rule: A guideline that states that every time the camera “cuts,” it should move at least 30 degrees. This is meant to simulate the human eye or head turning to see a new subject. If it does not move at least 30 degrees, the shot appears to “jitter” and we call it a jump cut.
Mise-en-scene: everything we can see within a shot (set, costumes, props, placement of actors, lighting, color, color again, etc.)
Blocking: the placement of actors in a scene. Discussion.
Diegetic sound: sound with a visible, realistic, or implied source (character in or out of frame, music from a radio, a door slamming, gunshots in the distance, etc.)
Non-diegetic sound: sound without a “realistic” source (narrator commentary, film score, cymbal crash, etc.)
Score: music composed for a specific use in a film (unlike a soundtrack of pre-recorded songs by outside artists).
Foley effects: Sound effects that are created by a foley artist using objects to simulate the sounds in the scene.
Cut: when one shot abruptly ends and another begins
Cross-fade or Fade-to-black: When one shot fades out as the next fades in (or fades to black)
J-Cut: when the sound cuts before the image does. (It looks like a “J” in an editor’s timeline)
L-Cut: when the image cuts before the sound does. (It looks like an “L” in an editor’s timeline)
Jump Cut: when one shot cuts to another, but the camera has not moved significantly (more than 30 degrees). This effect is jarring and often reminds the audience they are watching a movie.
Match-on-Action: when one shot cuts to another in the middle of an on-screen action (such as a character standing up or throwing something). The action helps “hide” the cut so it feels more fluid.
Graphic Match Cut: when two shots with graphical similarities (in shape, color, texture, etc.) are placed next to each other in order to imply a connection between them. Example/explanation
Glance/Object cut: when a character “glances” at something off screen. The next shot is expected to be the “object” that the character looked at.
Metrical montage: editing based on exact measurements, regardless of content, placing the meter above all else
Example: cutting to music (think: music videos) or timed action.
Rhythmic montage: editing based on the confines of the scene, placing continuity of reality above all else
Example: cutting while a character stands up so we can see where they are going next.
This is the most common style of editing and is typically meant to go unnoticed.
Tonal montage: editing based on perceived emotional engagement, placing tone above all else.
Example: cutting from someone breathing deeply to a quiet mountain range to imply serenity.
Intellectual montage: editing based on metaphorical or symbolic relationships, placing concepts above all else
Example: cutting from students walking into a school to cattle being led to slaughter. (It would be symbolic, not literal. And I know you feel this way.)
Example from The Godfather (1972). In the famous “baptism scene,” shots of Michael Corleone becoming the godfather to his sister’s child are cross-cut with a string of murders orchestrated by Michael in order to become the don. The juxtaposition of the shots communicates that this is Michael’s “baptism” in blood. (It is called “intellectual montage,” because the shots are arranged to create a metaphor, symbol, or some other “intellectual” element.)