Glossary

There are a lot of terms surrounding video and photography. The terms below mostly relate to mostly a video context, but there is too much of a crossover between photography and video to provide two separate lists. After all, a film is just a series of photographs played quickly enough to fool our brain into thinking there is movement. 

A separate list (found on a sub page) has been created for screenwriting. There has also been a series of glossary terms lifted directly from the CAIE 2026 specification, found separately to the main glossary.

Some of these were taken from a Vimeo article (corrections made where spotted), and the original links have been left in. This list will continue being added to over time. I have also tried, where possible, to reference images

There is also a Word document that has far more information on common terms 'video and picture terminology guide'. It can be found in useful files as well as below.

Do not forget to use the site search (magnifying glass in top right) to search for particular terms throughout the site.

CAIE Glossary (taken from 2026> specification)

There are some words in this syllabus that are specific to Digital Media and Design. Below are some of these with their definitions. 

Audience The group of people who read or watch your work. 

Concept artwork A rendering of an element or elements in a creative project, as part of the visual development of characters, costumes, environments, etc. 

Critical understanding Active engagement in analytical and independent thought. An ability to express an informed response. 

Digital outcome A work or product which is hosted in a digital environment. 

Digital photography Photography, where images are captured, digitised, and stored as a computer file. 

Game design and mobile and multimedia applications Digital applications which combine media, are accessed through mobile devices, or are designed for entertainment or educational purposes. 

Ideas Thoughts or concepts. Plans or creative intentions. Imagined images, experiences or memories. 

Moving image An area of creative practice which includes video, animation and documentary film-making. 

Skills An ability or accomplishment. 

Pitch/presentation Conveys information from a speaker to an audience. They are typically demonstrations of an idea or product. 

Proposal An act of putting forward or stating something for consideration. Design ideas of what a final outcome might look like. 

Prototype An early sample, model, or release of a product built to test a concept or process. 

Realise Produce work that successfully communicates or demonstrates the candidates’ ideas and intentions. 

Reference An author that is mentioned in a piece of research. 

Screenshots A digital image that shows the contents of a computer display. 

Storyboard A graphic organiser that consists of illustrations or images displayed in sequence for the purpose of pre-visualising a motion picture, animation, motion graphic or interactive media sequence. 

Thumbnails Reduced-size versions of pictures or videos, used to help recognise and organise them, serving the same role for images as a normal text index does for words. 

Visual language Visual elements used to communicate ideas. For example, line, colour, shape, form, texture, scale etc. 

After Effects

After Effects is a software primarily used for creating motion graphics and visual effects. It is a compositing software, meaning it allows you to mix different elements in the sequence of frames. Used heavily for VFX.

Aperture

Aperture refers to the opening in the lens through which light passes to reach the camera sensor. It is denoted by an "f-number" (e.g., f/1.8, f/2.8). Smaller f-numbers indicate larger apertures, allowing more light. Aperture is inversely proportional to lens size – larger lenses can accommodate wider apertures, providing better low-light performance and depth of field control. One main effect of your aperture is how much is focused in front and behind the focal point. A wide aperture produces a shallow depth of field. This makes only the main subject sharp. And the area in front and behind the subject is out of focus. This can be a problem when you need to open up your aperture due to low lighting levels.  Also see depth of field, focal length.

Artefact, Digital

In digital imagery, an artefact is an unwanted, undesired or unintended alteration in data introduced in a digital process by an involved technique and/or technology. In laymans terms, it is something left in the image that could be the result of a software or hardware glitch, issue of compression (known as a compression artefact), etc. 

A common type of artefact is colour banding. This links with compression artefacts but is where the colours are overly compressed (to save storage space), and they appear as blocks rather than seamlessly blending together. This is common on social media platforms such as YouTube and TikTok, where they heavily compress the videos to make them quicker to stream and to save storage, etc. 

Aspect Ratio

Aspect ratio is the relationship between the width and the height of your video dimensions expressed as a ratio. The most common aspect ratios for video are 4:3, 16:9 and 1.85:1.

Bit rate

Bit rate (also known as data rate) is the amount of data used for each second of video. In the world of video, this is generally measured in kilobits per second (kbps), and can be constant and variable.

Blending Styles (modes)

Blending style typically refers to a concept in fashion, design, or art. It refers to a particular style of combining elements from different sources or influences. For instance, in the context of fashion, a blending style could describe an outfit that incorporates elements from various fashion trends or cultural influences, creating a unique and eclectic look.

In video editing, it refers to blending options. Blending modes are techniques used in video editing, graphic design, and image editing software to combine two or more layers, effects or clips together. 

Each blending mode uses different algorithms to determine how the colours of the layers interact. For example, some blending modes create an additive effect, making the colours brighter, while others create a subtractive effect, making the colours darker. There are blending modes that enhance contrast, create a sepia tone, or make one layer appear as if it's shining through the other.

Blending modes are commonly used to create various visual effects in video editing, such as transparency, shadows, and glows. Different video editing software packages might have their own set of blending modes, but the basic principles remain similar across various programs. By adjusting blending modes, video editors can achieve a wide range of creative effects in their projects.

There is a comprehensive list of Adobe Premier's blending styles in the software section for Adobe Premiere. There's also videos in the video library too.

Bokeh

Bokeh describes the character of the blur in an image, often used to specifically refer to points of light rendered as fuzzy circles. It is the effect of a soft out-of-focus background that you get when shooting a subject, using a fast lens, at the widest aperture, such as f/2.8 or wider. 

Boom

Boom microphones are long, highly directional microphones. They are normally attached to boom poles to capture dialogue in a scene. They also can be mounted directly on cameras to capture long distance sound.

B-roll

B-roll is supplemental footage that provides supporting details and greater flexibility when editing video. Common examples include the footage used to cut away from an interview or news report to help tell the story.

Bounce

A bounce refers to material used to literally bounce or reflect light onto your subject. Handy for evening out harsh shadows and dispersing light so it doesn’t appear to be coming from a single source. Especially useful when shooting outside in the harsh sun and indoors with artificial light.

Chromatic Aberration

Chromatic aberration, also known as colour fringing, is a colour distortion that creates an outline of unwanted colour along the edges of objects in a photograph. Often, it appears along metallic surfaces or where there's a high contrast between light and dark objects, such as a black wall in front of a bright blue sky.

Circle of Confusion

See focal length and depth of field

Clipping

This is where audio, highlights or colour is oversaturated. For example, clipped audio sounds distorted on the peaks of a waveform. With highlights, it can be washed out and has lost the detail. With colour, clipping means hues appear outside of the colour space. 

In most cases, clipping cannot be recovered and the media will need to be re-recorded.

To avoid clipping, use waveform meters or audio waveforms to monitor. Audio usually has a VU (volume unit) meter and if this goes into the red, this is a good indication of clipping.

Close up

A close-up is a shot composition where the frame is filled almost entirely with the subject’s face.

Codec

Codec is a portmanteau of coder/decoder. Codecs are used to store and stream data, especially for media compression. They can be lossy or lossless, depending on how much data is preserved or discarded in the encoding process. Some common codecs are MP3, MP4, FLAC, H.264, and H.2652.

Codecs are essential for transmitting and storing data in a compressed form, but they also require compatible decoders to play back the data. In the past, codecs were often hardware-based, but now they are mostly software-based. Some codecs may require special software or hardware to encode or decode the data.

Colour Banding

See artefact.

Colour Theory

Let's explore the comprehensive aspects of colour theory in both filmmaking and photography, including concepts like negative colour, complementary colours, monochrome, and more.

Colour Theory in Filmmaking and Photography: An In-Depth Explanation

1. Negative Colour:

Negative colours in the context of visual arts represent the psychological and emotional impact of colours on viewers. Warm hues, including reds, oranges, and yellows, evoke feelings of energy and warmth, often symbolising urgency or intensity. Conversely, cool tones like blues, greens, and purples instil calmness and stability, representing tranquillity. Understanding the psychological impact of colours aids filmmakers and photographers in eliciting specific emotions and responses from their audience.

2. Complementary Colours:

Complementary colours are pairs of colours positioned opposite each other on the colour wheel, such as red and green, blue and orange, or yellow and purple. When used together, they create a strong visual contrast, making each colour appear more vibrant and intense. In both filmmaking and photography, employing complementary colours enhances visual interest and can be an effective technique to draw attention to specific elements within a frame.

3. Monochrome:

Monochrome refers to the use of a single colour or shades of a single colour in an image. Monochromatic imagery can be powerful, evoking a specific mood or theme. For example, a scene dominated by varying shades of blue might convey a sense of coldness or melancholy, while warm monochromatic tones can evoke feelings of nostalgia or intimacy. Monochrome techniques are frequently used to emphasise specific emotions or ideas in visual storytelling.

4. Colour Harmony:

Colour harmony involves combining colours in a way that is visually pleasing. Filmmakers and photographers use harmonious colour combinations to create balanced and aesthetically appealing compositions. Common harmonious schemes include analogous colours (neighbouring colours on the colour wheel) and triadic colours (equally spaced colours on the wheel). Mastering colour harmony is fundamental to creating visually engaging and harmonious images.

5. Symbolism of Colour:

Different colours carry symbolic and cultural meanings. For instance, red often symbolises passion, love, or danger, while green may represent nature, growth, or envy. Understanding these cultural connotations enables filmmakers and photographers to convey subtle messages and add depth to characters or scenes. Careful selection of colours for costumes, props, and backgrounds can enhance the narrative and audience connection.

6. Colour Temperature:

Colour temperature, measured in Kelvin, defines the warmth or coolness of light sources. Warm colours (lower Kelvin values) create a cosy, intimate atmosphere, while cool colours (higher Kelvin values) convey a sense of detachment or clinical precision. In filmmaking and photography, controlling colour temperature is crucial for setting the desired mood and ambiance, particularly when working with natural and artificial lighting sources.

In summary, mastery of colour theory in filmmaking and photography empowers artists to create visually stunning and emotionally resonant work. By understanding concepts like negative colour, complementary colours, monochrome, colour harmony, colour symbolism, and colour temperature, filmmakers and photographers can craft compelling narratives, evoke specific emotions, and engage their audience on a profound level.

Colour Correction

Colour correction is when an editor digitally manipulates colours in post-production.

Colour Temperature

Colour temperature is a fundamental characteristic of visible light used to describe the colour emitted by a light source, such as a light bulb or the sun. It is quantified in units called Kelvin (K). The concept of colour temperature arises from the principle that when an object is heated, it emits light, and the hue of that light changes as the temperature rises or falls.

Here's how colour temperature functions:

Kelvin Scale: The Kelvin scale starts from absolute zero, where all molecular motion ceases (-273.15°C or -459.67°F). As the temperature rises, light colours change. Lower colour temperatures, approximately 2000K to 3500K, exhibit a more reddish-yellow tone (similar to candlelight). Higher colour temperatures, ranging from 5000K to 6500K, have a bluish-white appearance (akin to daylight).

Warm and Cool Colours: Light sources with lower colour temperatures (2000K to 4000K) are often termed warm colours. They emit a warm, yellowish, or reddish light. Light sources with higher colour temperatures (5000K and above) are considered cool colours, emitting a blue-white light.

Application in Photography: Photographers utilise colour temperature to adjust their camera settings according to the lighting conditions. For instance, light during sunset or sunrise has a warm, reddish hue (around 2000K to 3000K), whereas daylight typically has a colour temperature of approximately 5500K. Fluorescent lights often cast a cooler, bluish tone (around 4000K to 5000K).

White Balance: Cameras and certain lighting equipment feature white balance adjustments. These compensations account for different light sources, ensuring that white objects appear genuinely white in photos. For instance, when photographing indoors under warm tungsten lighting, one might set the camera's white balance to a lower Kelvin value to counterbalance the warm tone. See white balance.

In summary, understanding colour temperature is vital for achieving precise and natural-looking colours in photography, videography, and various lighting applications. It is instrumental in setting the desired mood or ambience in images and guarantees faithful colour reproduction under diverse lighting conditions.

Compositing

Compositing is the process of combining multiple images using post-production software. Most often found in the domain of CGI.

Compression

Compression, as it relates to video or sound, refers to reducing the amount of data in a file. While it can take time to compress a video, it will upload faster, and also download quicker for anyone you choose to share the original file with.  File compression can happen in two ways: lossy and lossless. As you can imagine, lossy means that once you compress your file, some data is permanently removed. Good compression will often work to make this removed data unnoticeable to the listener/viewer. This is fine until you need to re-edit the file, and without the original data (quality, etc), it will be much harder. A better solution is lossless compression, such as a ZIP file. Data is compressed, but when uncompressed, you have the original data back. However, lossless compression is never as good as lossy for reducing file size.

Lossy compression can result in reducing the number of colours, reducing the resolution, etc.

Compression Artefact

See artefact

Contact Sheet

Film (as in the medium, not filmmaking) set the photographic standard in more ways than one. The contact sheet, for example, once an essential aspect of the film process, has survived the transition to digital. Although it serves a slightly different purpose these days, the contact sheet can help you see the results of a shoot and make your best photos easier to share.

The contact sheet also provides an overview of a shoot, a succession of photos from frame to frame. This helps inform photographers (and other viewers) of the creative process and provides perspective on the craft.

See the research and analysis page for suggestions in making a contact sheet.

Crane

A crane is a device used to capture moving shots with height, comprised of an arm with a camera attached to one end and a counterweight attached to the other. Often called a jib.

Crop factor

Crop factor is a number, generally in the range of 1.3 to 2.0, that indicates the ratio of a sensor’s imaging area to that of a full-frame sensor. Multiplying a lens’ focal length by a sensor’s crop factor gives the actual focal length for that sensor/lens combination. Not only that, but you also need to multiply the aperture (e.g. f1.8) by the crop factor too. A device called a speed booster is a type of camera lens adapter that is designed to increase the effective aperture and field of view of a lens when it is mounted on a camera body. It works by compressing the image circle produced by the lens, which allows more light to reach the camera's sensor and increases the angle of view.

Field of View: The crop factor affects how much of the scene your camera can capture. A smaller sensor (higher crop factor) crops out the edges of the image compared to a full-frame camera, effectively zooming in the view.

Depth of Field: Crop factor also affects depth of field. A smaller sensor camera (with a higher crop factor) will have a deeper depth of field compared to a full-frame camera at the same aperture and distance. This can impact how your background appears in your photos.

Lens Compatibility: When considering lenses, especially if you're switching from a film camera to a digital camera, understanding crop factor helps in selecting lenses suitable for your camera's sensor size.

In summary, crop factor is a crucial factor to consider when purchasing lenses, as it directly influences how your lenses will perform on your specific camera, affecting your composition, perspective, and depth of field.

C-stand

A C-stand is essentially a heavy-duty tripod. C-stands are used by the grip department to execute various lighting and rigging tasks on a set.

Cut-in

Cut-ins are also known as insert shots, typically show objects or props that a character is manipulating.

Depth of field

Depth of field (DOF) refers to the part of your image that is in focus. A deep DOF will show nearly everything in the frame sharply in focus. If you have a shallow DOF, a narrow range within your video image will be in focus. A shallow depth of field allows for greater emphasis to be placed on your main subject. For more information, check out our lesson on Depth of Field.

Diegetic sound

Diegetic sound refers to the sound that is present and/or captured during the recording of the video. That is, sound that can be heard by the characters. Non-diegetic sound is what the audience can hear, but not the characters.

Diffusion

Diffusion simply refers to material used on lights to reduce harsh shadows by softening light.

Digital Zoom

This is a method of giving an appearance of zooming without an actual optical lens change. This is accomplished by cropping the image to a centered area while maintaining the same aspect ratio.

Digital Light Projection (DLP)

Digital Light Projection, or DLP is a type of projector technology that uses a Digital Micromirror Device (DMD). A DMD consists of thousands of tiny computer-controlled mirrors, that together with a fast-spinning Color Filter (or Color Wheel) forms a moving image.

Dolly

A dolly is a piece of film equipment that runs on a track to create smooth camera movements.

Digital Single Lens Reflex (DSLR)

DSLR is a type of camera that uses a mirror to reflect the light coming through the lens onto the viewfinder. When you press the shutter button on the camera, this mirror swings out of the way to allow light to reach the image sensor.

DPI

DPI stands for "dots per inch." It is a measure of the resolution of a printed document or an image. Specifically, it refers to the number of dots that can be placed in a line within one inch (2.54 cm - 1 inch) on a printed page. In the context of digital images, a higher DPI means that the image will have more dots per inch, resulting in a finer level of detail and higher quality when printed. For example, a printer with a resolution of 300 DPI can print 300 dots horizontally and 300 dots vertically within one inch, resulting in a total of 90,000 dots per square inch. Higher DPI settings are generally used for printing high-quality images and photographs, while lower DPI settings are suitable for draft prints or documents where high detail is not necessary. See also PPI

DVI

DVI is the digital connector successor to VGA. DVI plugs are often colored white.

Dynamic range

Dynamic range is the range of which a camera can successfully capture the lightest and darkest areas of an image without losing detail.

Export

Exporting refers to the process of assembling your edited video project into a single file that can then be played back on it’s own, shared, or uploaded.

Exposition

An exposition is a comprehensive description or explanation to get across an idea. Exposition is a device used in television, films, poetry, literature, music, and plays. It is the writer's way to give background information to the audience about the characters and setting of the story.

Exposure

Exposure is the amount of time light is allowed to hit the sensor. The longer your exposure, the more light will get in and the brighter your image will be.

Exposure Triangle

The exposure triangle comprises aperture, shutter speed, and ISO. These three camera and lens controls work together to regulate the amount of light that makes it to the light-sensitive surface (aperture and shutter speed) and the sensitivity of that surface (film or digital ISO).

The exposure triangle is a fundamental concept in photography that describes the relationship between three key elements: aperture, shutter speed, and ISO sensitivity. These factors work together to determine the overall exposure, or brightness, of a photograph.

1. Aperture: Aperture refers to the size of the opening in the lens through which light enters the camera. It is measured in f-stops, such as f/1.8, f/4, f/5.6, etc. A lower f-stop number (e.g., f/1.8) represents a larger aperture opening, allowing more light to enter the camera. Conversely, a higher f-stop number (e.g., f/16) represents a smaller aperture, letting in less light. Aperture also affects the depth of field, or how much of the image is in focus. A lower f-stop (larger aperture) creates a shallower depth of field, ideal for portraits where the background is blurred, while a higher f-stop (smaller aperture) results in a deeper depth of field, keeping more of the scene in focus.

2. Shutter Speed: Shutter speed refers to the amount of time the camera's shutter is open when capturing a frame, allowing light to hit the sensor. It is measured in seconds or fractions of a second, such as 1/1000, 1/250, 1/30, etc. A faster shutter speed (like 1/1000) lets in less light and is suitable for capturing fast-moving subjects without blur, such as sports or wildlife photography. A slower shutter speed (like 1/30) allows more light and is often used in low-light conditions or for creative effects like capturing the motion blur of moving objects.

3. ISO Sensitivity: ISO measures the camera sensor's sensitivity to light. A lower ISO number (e.g., ISO 100) indicates low sensitivity and is suitable for well-lit conditions. A higher ISO number (e.g., ISO 1600 or higher) represents higher sensitivity, making the camera more capable of capturing images in low-light situations. However, increasing the ISO can introduce digital noise, affecting the image quality.

The triangle is important because once you have adjusted your settings, a change in one requires a change in another. We talk about a "stop" of light, referring to a doubling or halving of the amount of light that reaches the camera sensor or film. It is a unit of measurement used to quantify changes in exposure settings, such as aperture, shutter speed, and ISO sensitivity.

1. Aperture Stops: When you adjust the aperture of a camera lens, changing it from, for example, f/4 to f/2.8, you are increasing the size of the aperture. This change allows twice as much light to enter the lens, so it's considered a one-stop increase in exposure. Conversely, if you change the aperture from f/2.8 to f/4, you are reducing the amount of light by half, which is a decrease of one stop.

2. Shutter Speed Stops: Similarly, when you adjust the shutter speed, moving from, for instance, 1/500 seconds to 1/1000 seconds, you are decreasing the time the shutter is open, allowing half as much light to hit the sensor. This change represents a decrease of one stop. If you move from 1/500 seconds to 1/250 seconds, you are allowing double the amount of light, which is an increase of one stop.

3. ISO Stops: In the case of ISO sensitivity, if you increase the ISO setting from 200 to 400, you are doubling the sensor's sensitivity to light, which is an increase of one stop. Conversely, if you decrease the ISO setting from 400 to 200, you are halving the sensitivity, resulting in a decrease of one stop.

Therefore, each time you increase the aperture, ISO or shutter speed by 1 stop, you need to decrease one of the other two by 1 stop to compensate. This ensures your exposure is kept consistent.

In summary, the exposure triangle involves balancing these three elements to achieve a well-exposed photograph. You can adjust one of these settings while compensating with the others to maintain the desired level of brightness and other creative effects in your photos. Understanding how aperture, shutter speed, and ISO work together empowers photographers to take control of their camera settings and capture stunning images in various situations.

Fade

The fade is the dissolve transition between a normal image and a black screen. When you dissolve from an image to black, it’s a fade out. When you dissolve from black to an image it’s called a fade in.

Field Recording

This is the audio that is captured on set 

Flag

The term "flags" in filmmaking refers to a category of light modifiers or control devices used on film sets and in photography studios. Flags are essential tools for shaping and controlling the direction, intensity, and quality of light. They are primarily used to block, shape, or diffuse light, allowing filmmakers and photographers to create specific lighting effects and control the exposure of the camera. Negative lighting.

Here are the most common types of flags used in filmmaking and their purposes:

Flag: A flag is a flat, opaque fabric stretched over a metal frame. It is used to block light from reaching certain areas of the scene. Flags are often used to create shadows, control spill light, or prevent unwanted light from hitting specific subjects or backgrounds.

Cucoloris (Cookie): A cucoloris, often referred to as a cookie, is a device with irregularly shaped holes or patterns. When placed in front of a light source, it creates dappled or patterned light and shadow effects on the scene. This can simulate the look of light filtering through trees or blinds, adding visual interest to the background.

Scrim: A scrim is a translucent fabric mounted on a frame. It is used to diffuse and soften harsh light sources. By placing a scrim between the light source and the subject, filmmakers can create a more flattering and even illumination, reducing harsh shadows.

Silk: Silk flags are larger diffusion panels made from translucent fabric. They are used to soften and diffuse natural or artificial light over a broader area, providing a soft and flattering light source for scenes, especially in outdoor or daylight setups.

Net: Nets are similar to silks but have a coarser texture. They are used to diffuse light more subtly, creating a slightly edgier and textured quality of light compared to silk diffusion.

Flags and their variations are indispensable tools in the toolkit of cinematographers and photographers, allowing them to exercise precise control over lighting conditions and achieve the desired mood and atmosphere for a scene.

Fauxtograph

A fauxtograph involves using a camera (that records video but isn’t specifically a video camera) and telling your subject you’re taking a photo, but secretly taking a video!

Five-by-five (5×5)

A 5×5 is a video composed of five 5-second clips and using original sound.

Fluorescent lights

Fluorescent lights emit light via mercury vapor and phosphor, they produce a soft, even light. The color temperature of fluorescent light depends on the lamp being used, and it can also be completely color-corrected in post.

Focal length & focal point

The two terms are strongly related, although are separate parts of the same result.

To start, a focal point is the sharpest part of the image. A long depth of field has almost all of the image in focus, whereas a short depth of field only has the subject in focus. It happens when the light entering the lens converges into a point - the point of convergence. There is a small area around this point called the circle of confusion, where these light rays still appear to be in focus. Indeed, as we increase the circle of confusion, we increase the depth of field.

Focal length is the distance from the lens to the image focus point (inside the lens). A high focal length makes distant objects appear magnified, while a low focal length gives a wide view of the scenery facing the lens. This is what a zoom does on a camera. It alters the focal length. The focal length is given by the mm in a given lens. E.g. a 50mm lens has 50mm focal length when used on a full-frame camera. See crop factor.

Foley

Foley is the art of reproducing and creating sounds for film.

Follow focus

Follow focus is a control mechanism that allows you to easily make changes on the focus ring of your camera lens.

FoNTs & Typeface

A font is implemented as a digital data file containing a set of graphically related glyphs. A glyph being a symbol recognisable in a given language's alphabet, etc.

Both font and typeface are terms often used interchangeably, but they have distinct meanings in the world of typography.

Typeface

A typeface refers to the design of a set of characters, including letters, numbers, and symbols, that share a consistent and cohesive visual style. It encompasses various styles, weights (such as bold or italic), and variations within a particular design. For example, Arial, Times New Roman, and Helvetica are all different typefaces. Each typeface has its own unique characteristics, giving it a specific appearance and style.

Font

A font, on the other hand, is a specific instance of a typeface at a particular size and weight. In the era of metal type, a font referred to a complete set of characters in a specific size and style. In the digital age, a font refers to the digital file that contains a specific style, size, and weight of a typeface. For example, Arial 12pt bold is a specific font, where "Arial" is the typeface, "12pt" indicates the size, and "bold" specifies the weight.

In summary, a typeface is the overall design of a set of characters, while a font is a specific version of that design in a particular size and style. The typeface is the creative concept, and the font is the practical implementation of that concept in digital or printed form.

F-stop

F-stop is a term used to describe the size of the aperture opening. The lower the F-stop number, the bigger the aperture. If the aperture is low, more light is able reach the image sensor. F-stop settings are normally displayed with a forward slash. Common f-stops are: f/1.4, f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16, and f/22. A low f-stop number (large aperture) results in a shallow depth of field and a high f-stop (smaller aperture) gives a deep depth of field.

Fresnel

A fresnel (pron. fr-en-el) is a type of lens placed in front of lamps (such as tungsten sources) in order to focus the light given off into a controllable beam.

Gaff/gaffer tape

Gaff tape (or gaffer tape) is a type of non-damaging, super durable tape used on film sets, most often by the gaffer and grip department. It is made from cloth and, unlike duct tape, can be removed without leaving a sticky residue. Duct tape, however, is stronger and bonds to more surfaces.

Gels

Gels are pieces of coloured plastic used on lights. Gels allow light to pass through while changing the colour tone of the light itself.

High-definition media interface (HDMI)

HDMI is a digital connector prevalent across both consumer electronics and modern computers. HDMI carries both HD video and the audio signal to the TV.

High dynamic range

HDR (high dynamic range) is the compositing of two images, one that properly exposes the highlights and another that properly exposes the dark areas. When composited together, you get a properly exposed image.

Hydrargyrum medium-arc Iodide (HMI)

HMI lights emit light via pressurized mercury vapour and metal halides. Ideal for imitating daylight, they keep cooler and have a very high light output. HMI light has a colour temperature of around 5600K.

Hot shoe

A hot shoe is a mounting point at the top of some cameras that allows you to attach a flash unit, microphones, or other accessories.

image circle

The image circle is the cross-section of the cone of light transmitted by a lens or series of lenses onto the image plane (e.g. your camera's sensor). When this light strikes a perpendicular target such as photographic film or a digital camera sensor, it forms a circle of light – the image circle. Various sensor aspect ratios may be used which all fit inside the same image circle, 3:2, 4:3, 16:9, etc.

Image sensor

The image sensor is what your digital camera uses to convert an optical image into an electric signal that your camera interprets to produce the image you see. Common types of sensors are Super-35, APS-C, micro four-thirds (MFT), and full-frame.

Importing

Importing refers to the process of transferring videos from your camera onto your computer or into a piece of editing software.

ISO

What does ISO stand for? Well, ISO is a camera setting in the digital cameras that changes how sensitive the sensor is to light. The higher the ISO, the more sensitive the sensor is to light, allowing you to shoot video in low light conditions. Low ISOs are used to shoot video in daylight and bright light conditions and provide more detail in the image.

J-cut

A J-cut is a type of cut in which the sound of the next scene precedes the picture. The name comes from the shape these clips make in the timeline of an editing program.

Jump cut

Jump cut is an abrupt transition, typically in a sequential clip that makes the subject appear to jump from one spot to the other, without continuity.

Latitude

Latitude is the exposure flexibility of your captured image (how much you can alter it in post to attain the correct exposure). Latitude is dependent upon dynamic range. While dynamic range refers to a camera, latitude refers to the image it captures.

Lavalier microphone

Lavalier microphone is a small clip-on microphone that attaches to the subject’s clothing. Normally used on TV newscasts or sitcoms that require sound to be captured from the subject without it being obvious that there is a microphone attached.

Lens

A camera without a lens is useless to a photographer. The lens is what focuses light from what you see through the viewfinder into a tiny, (typically) 35mm spot on the back of your film, DSLR, or mirrorless camera. If you remove the lens from your camera, the only kind of image you can produce is white light. We measure lenses in mm, which describes the focal length.

The millimeters (mm) on a photographic lens refer to the focal length of the lens. Focal length determines the lens's field of view and magnification. A smaller focal length (e.g., 24mm) captures a wider area, ideal for landscapes and group shots, while a larger focal length (e.g., 200mm) magnifies distant subjects, suitable for portraits and wildlife photography.

Lens size, or more accurately, the diameter of the lens, affects the amount of light entering the lens (see aperture) and, consequently, the quality of the photograph. A larger lens can capture more light, enabling better performance in low-light conditions and creating a shallower depth of field for artistic effects.

• Wide-Angle Lenses (10-35mm): Ideal for landscapes, architecture, and group photos due to their wide field of view.

• Standard Lenses (35-85mm): Versatile lenses suitable for various photography styles, including portraits and street photography.

• Telephoto Lenses (85-300mm+): Excellent for capturing distant subjects, such as wildlife, sports, and detailed portraits.

• Zoom Lenses (e.g., 24-70mm, 70-200mm): Offer a range of focal lengths within one lens, providing flexibility in different shooting situations.

For historical reasons, the mm of a lens relates to a full-frame camera sensor, If the camera's sensor is not full frame, then a crop factor needs to be applied to equate to the full-frame. For example, the BMPCC 6k Pro has a super-35 sensor, which has a crop factor of 1.5. Therefore, a 35mm lens on this camera would act like a ~52.5mm lens on a full-frame due to the cropping. See crop factor.

Light (types of)

When it comes to light, there is so many different types. The lighting section gives a detailed rundown of the common types.

Sure, here is a detailed rundown of the types of lighting in film. This was generated from GPT4, with source links (underlined) intact for further exploration.

1. Key Lighting: This is also known as the main film light of a scene or subject. It’s the primary source of illumination and is typically the brightest light. It sets the overall look and feel of the scene.

2. Fill Lighting: This is used to fill in the shadows created by the key light. It’s usually softer and less bright than the key light.

3. Back Lighting: This is placed behind the subject and can create a silhouette effect. It helps separate the subject from the background.

4. Side Lighting: This is used to light a subject from the side, which can create dramatic shadows and depth1.

5. Practical Light: This refers to any light source that appears in the frame of a shot. It could be a lamp, a candle, or any other visible source of light.

6. Hard Lighting: This creates strong, well-defined shadows. It’s often used to create a dramatic or intense mood.

7. Soft Lighting: This creates softer shadows and is often used for a more flattering or gentle mood.

8. Bounce Lighting: This involves reflecting light off a surface (like a wall or a reflector) to diffuse it and create a softer effect.

9. High Key and Low Key: High key lighting uses a lot of light and minimal shadows, often creating a more upbeat or positive mood. Low key lighting, on the other hand, uses a lot of shadows and minimal light to create a more dramatic or moody atmosphere.

10. Motivated Lighting: This refers to a lighting approach rather than a source. It’s filmmaking lighting which has motivation.

11. Ambient Light: This refers to any light on set which the crew didn’t bring. Ambient light can be either artificial or natural.

Remember, these techniques are not clear-cut, so many of them can actually take the form of several other film lighting techniques. What matters is that you learn what each is good for and are able to make the best use of them for achieving your cinematic goals.

Liquid crystal display

LCD (liquid crystal display) screens are similar to Plasma screens, and comprised of a thin layer of special liquid crystals sandwiched between sheets of polarized glass or plastic. Unlike a Plasma screen however, the liquid crystals don’t emit light. A backlight lies behind the liquid crystal sandwich to illuminate the image.

L-cut

An L-cut is a type of cut in which the picture changes but the audio continues. The name comes from the shape these clips make in the timeline of an editing program.

Long portrait

A long portrait is similar to a fauxtograph, except this time your subject is in on it. Takes portraiture photography and transfers it to video form, revealing a subject’s subtle expressions, mannerisms, and gestures.

Lithium

Lithium ion batteries are the preferred type of battery for use in high-end film equipment. Most cameras are designed to use lithium ion batteries, which are proprietary (meaning they are made for a specific camera model).

Macro

Macro is a lens that uses a long barrel for close focusing. Typically, a macro lens is capable of creating a reproduction ratio greater than 1:1. The reproduction ratio is the size of your subject on your image sensor to the size of your actual subject.

Matte box

A matte box is a box that sits on the front of the camera lens to block and absorb light, usually held up by a set of rails attached to the bottom of the camera. They’re used mainly to hold lens filters and to reduce lens flares by controlling the light coming into the camera. For more information, check out our lesson on Matte Boxes.

Memory bank

A memory bank is a video that documents certain time periods or events in someone’s life. It can be set to music, make use of natural sound, record vacations, or just capture moments in everyday life.

Memory card

Memory card is a data storage device used to store the digital information of your photos and videos on your camera. The two main types of memory cards are Secure Digital (SD) and Compact Flash (CF).

Mise-En-Scene

Mise-en-scène is the staging, design and arrangement of actors in scenes for a film production (or theatre), both in the visual arts through storyboarding, visual theme, and cinematography and in narrative storytelling through direction. StudioBinder has a good video on this topic here, as well as in the video library.

Monopod

A monopod is similar to a tripod, but with only one ‘foot.’ It provides support but also mobility, and is handy in situations where bringing a tripod would be too cumbersome.

motivated Light

See light.

Mood Board

A mood board is a collection of visual materials that evoke a particular theme, style or concept. Designers, illustrators, photographers, filmmakers and all types of creative professionals create mood boards to communicate their vision for a project. There is a page dedicated to both mood and storyboards.

Neutral density filter (ND Filter)

Neutral density filter is a piece of glass that fits over the front end of a lens to reduce the amount of light entering the camera. These are measured in stops and allow you to set your aperture wider (e.g. to get a shallower depth of field) in bright light without over exposure. 

Nickel metal hydride batteries (NiMH)

NiMH (nickel metal hydride) batteries are a type of battery used in some lower-end cameras. Although cheaper than Lithium ion batteries, they tend to lose charge when not in use and don’t provide as much overall power.

One-minute video

A one-minute video is a video exactly one minute in length, containing no camera movements (panning, tilting, etc.) or editing, and making use of original sound.

Optical zoom

Optical zoom is the lens’ ability to change the focal length either closer to or further from a central subject.

Over-the-shoulder (OTS)

Over-the-shoulder shots are framed with an emphasis on a particular character’s perspective. This shot is used in dialogue scenes to show conversations between two people.

Pans

Pans are fixed, lateral movements made with the camera.

Pickups

Pickup shots are shots filmed after principal photography has ended. Pickup shots, also called pickups or reshoots, are shot for a variety of reasons, both logistical and creative. The extent of this additional shooting can range from a couple of days to multiple weeks.

Principal Photography (Cinematography)

Principal photography is the creative execution phase of film production, sandwiched between pre-production and post-production. It's when the actors are on set, the call sheets have been handed out, the lights are in place, and the cameras are ready to roll.

Profile picture

Picture profile refers to the four dimensions of in-camera picture settings: sharpness, contrast, saturation, and color tone. You can create a custom picture style, or use an already established picture style, like one of the six Canon presets, or download one from a third party, such as Cinestyle from Technicolor, or Cine from Marvel.

Pixel

Pixel is short for picture element and is the smallest unit of detail in an image. See PPI.

Plasma

Plasma screens are comprised of hundreds of thousands of tiny gas-filled cells sandwiched between two sheets of glass. When an electric charge is applied to one of these gas-filled cells, it emits light, making up one of the thousands of pixels on-screen.

Polarising filter

Polarising filter is a piece of glass that fits over the front end of a lens to change the way that your camera sees and treats light, while ultimately cutting down on glare.

Point-of-view

Point of view shot is a shooting technique that shows the perspective of a scene literally from a character or object’s position in the setting.

PPI

"pixels per inch" (PPI) refers to a measurement used to describe the resolution of a digital image or display. It indicates how many individual pixels are packed into one inch of a screen or printed image.

The term "pixel" stands for "picture element," which is the smallest unit of a digital image. PPI is a crucial metric, especially in printing and graphic design, as it determines the quality and clarity of an image when it is displayed on a screen or printed on paper.

A higher PPI means that more pixels are packed into each inch, resulting in a sharper and more detailed image. On the other hand, a lower PPI indicates a coarser image with less detail. When discussing the quality of digital images or the specifications of displays and printers, PPI is an essential factor to consider. See also DPI

Practical

A practical refers to any light source that is part of the scene itself and does not need to be hidden from the camera.

Press kit

A press kit provides background information on your film for members of the press for promotional purposes. It can include an in-depth synopsis, cast and crew bios, interesting anecdotes or a Q&A with the director, reviews of the film, and production stills.

Prime lens

A prime lens is a lens with a fixed focal length. Although less versatile than a zoom, prime lenses often provide superior optical quality and wider apertures (often down to 1.2 or 1.4), and are lighter weight and less bulky.

Punctum

Coined by Roland Barthes' work in photography and derived from Latin. The punctum is the little, unexpected extra in a photo. It is the face or the hand or the expression or the animal that you did not notice as you took the picture. Often linked with studium. Studium denotes the cultural, linguistic, and political interpretation of a photograph, and punctum denotes the wounding, personally touching detail which establishes a direct relationship with the object or person within it.

Room tone (AKA presence or background noise)

Room tone is the presence or sound in a room. It is recorded and later intercut with dialogue to smooth out any rough or jarring editing points.

Every location has a distinct presence created by the position of the microphone in relation to the space boundaries. A microphone placed in two different parts of the same room will record two distinct presences. This is because of the unique spatial relationship between the microphone and boundaries, such as walls, ceilings, floors, and other objects in a room.

Presence is recorded during the production stage of filmmaking. It is used to help create the film soundtrack, where presence may be intercut with dialogue to smooth out any sound edit points. The soundtrack "going dead" would be perceived by the audience not as silence but as a failure of the sound system. For this reason, presence is normally recorded—like dialogue—in mono, with the microphone in the same position and orientation as the original dialogue recording. In the sound edit, presence occupies the same track as the dialogue to which it applies.

Resolution

Resolution is a measure of the number of pixels a video contains both horizontally and vertically. Some common resolutions are 640×480 (SD) 1280×720 (HD), 1920×1080 (HD). Sometimes these are referred to just by their vertical dimension such as, 480p, 720p or 1080p. Resolution can also apply to the depth of data within a unit of measurement. For example, 300DPI is 300 ink dots per inch. 1200PPI is 1200 pixels per inch. 

Rule of thirds

The rule of thirds is a method of composing your shots in an aesthetically pleasing way. Like all rules, it shouldn't always be followed because sometimes you do not want pleasing shots, or for the audience to feel comfortable.

Screener

A screener is a version of a film for sending to film festivals and press. Often requested as a DVD, but sometimes accepted online, screeners should be formatted correctly and marked with the appropriate information requested by the festival.

Screenplay

Screenplay is a formatted written work that includes stage direction, action, character names and dialogue.

Shot list

Shot list is a full log of all the shots you want to include in your film; essentially it is a checklist filled with minute details that will give your film a sense of direction and efficiency.

Shoulder rig

Shoulder rig is a piece of equipment used to help stabilize a handheld camera.

Shutter speed

Shutter speed is the amount of time that each individual frame is exposed for when shooting video on a DSLR. For example, if you set your camera’s shutter speed to 60, each frame is being exposed for 1/60th of a second.

Slate

A slate is a rectangular board and clapstick that produces a sharp ‘clap’ sound. Used for capturing and organizing sound during production, making the job of the editor easier when syncing picture and sound in post.

Slider

A slider is a device that uses a track to allow smooth camera movements laterally, front to back, or even diagonally.

Slow motion

Slow motion is the action of slowing down pre-recorded footage to a different speed.

Snorricam

A snorricam is a camera rig attached to the body of an actor to create the effect of a background that moves dynamically around a subject that remains stationary. Also known as a chestcam or bodymount camera.

Split screen

Split screen incorporates more than one simultaneous image in the screen. Usually it’s divided in two, but there can be many more.

Steadicam

A steadicam is a flying camera stabilizer (often comprised of an arm, vest, and sled) that enables cinematographers to get smooth moving shots.

STOP

See exposure triangle

Stop motion

Stop motion is an animation technique used to make objects appear as if they were moving freely.

Storyboards

Storyboards are drawings that show each scene of your film, creating a blueprint for your movie. Storyboards provide a clear and concise visual plan for what you need to shoot or animate.

Studium

Coined by Roland Barthes' work in photography and derived from Latin. Studium indicates the factor that initially draws the viewer to a photograph. It refers to the intention of the photographer; the viewer can determine the studium of a photograph with their logical, intellectual mind. Studium describes elements of an image rather than the sum of the image's information and meaning. Linked with punctum. Studium denotes the cultural, linguistic, and political interpretation of a photograph, and punctum denotes the wounding, personally touching detail that establishes a direct relationship with the object or person within it. While applied to photographic works, the term does not preclude other mediums.

Sync

Sync or synchronization refers to the sound lining up properly with the image.

Telephoto

Telephoto is a lens that uses a telephoto group to enable a longer focal length than the physical body of the lens would normally permit. This allows the lens to magnify images, while maintaining its small size.

Three-point lighting

Three-point lighting is a common type of lighting setup that lights a subject from three different sources in order to control shadows and balance contrast. The three lights are typically called back, key, fill lights.

Tilts

Tilts are fixed up and down, or vertical, movements made with the camera.

Timecode

Timecode is a signal, often recorded on an audio channel, that enables different devices to synchronise to a single time pulse. For example, if you have 3 cameras and an audio recorder, all four would keep the same precise time (down to the frame) making for far easier editing.

Timelapse

Timelapse is a technique where each frame in a video is captured at a much slower rate than normal. When played back at normal speed, time appears to go by faster. This can also be achieved by fast-forwarding or increasing the speed of your video in an editing program.

Tracking

A tracking (or dolly) shot physically advances or changes the position of the camera relative to the subject, changing the spatial relations between a subject and its surroundings. These shots are often captured using a dolly or slider.

Tungsten

Tungsten lights emit light using a filament of tungsten wire, and are larger versions of the everyday lighting found in your home. Tungsten light has a color temperature of around 3200K.

Typeface

See Font

Typography

Typography is the art of arranging letters and text in a way that makes the copy legible, clear, and visually appealing to the reader. Typography involves font style, appearance, and structure, which aims to elicit certain emotions and convey specific messages. In short, typography is what brings the text to life.

There's a section on typography on the design theory page.

VGA

VGA is a type of analogue connector found on older flat-panel TVs and computers. VGA connectors and plugs are commonly colored blue.

Viewfinder

Viewfinder is the part of the camera you look through to see the image from your lens’ field of view. A DVF is a digital viewfinder, where you are looking at a live digital feed of what the camera is seeing(on a screen), rather than a actual analogue image.

Walk Cycle

In animation, a walk cycle is a series of frames or illustrations drawn in sequence that loop to create an animation of a walking character. The walk cycle is looped over and over, thus having to avoid animating each step again.

Wide angle

Wide angle is a lens that uses a grouping of glass to enable a shorter focal length than the physical body of the lens would normally permit. In doing so, the wide-angle lens can capture more of a subject from an equal distance when compared to a normal lens of the same size. A wide-angle lens is generally considered lower than 35mm on a full-frame lens. Below 24mm is usually considered ultra-wide and around 10mm becomes fisheye.  

White balance

White balance is the process of capturing the correct colours for the type of available light. Think of it as making sure the color white is always white, and doesn’t have blue or red tints. Many cameras come with a white balance menu, as well as an auto white balance feature. For alanlogue film, this was taken care of in the development labs, shifting CMY values to expose the negatives in the best way.

The longer answer:

Different types of light have different temperatures and thus give off a different colour. For example, light from an open window is often cooler or more blue than light from an incandescent bulb. Lights in a high school gym can run toward green or even pink, depending on the style of bulb used. Street lamps give off an orange hue.

Our eyes do a pretty good job of adjusting for this colour, so most of the time, we don’t even notice. But the colour of the light affects how our subjects look on camera.

White balance is how photographers and filmmakers attempt to correct or remove that colour cast from different types of light in a scene. Basically, when an image is correctly white-balanced, white is true white or neutral white because the colour cast from your light source has been eliminated. The RGB values of the sensor are correctly balanced, so one particular colour, such as blue, isn't losing precision because it is overly offset towards a certain hue.

If an incorrect white balance setting is used in a camera, images turn out unnatural, with bad skin tones and color shifts. Here is an example of both correct and incorrect White Balance:

As you can see, the image on the left feels more natural and the skin tones look good, while the image on the right is way too orange. The second image clearly needs its white balance adjusted to eliminate the orange tones.

One of the great things about digital cameras is that we no longer have to use white cards. If you shoot in RAW format, you can easily adjust the white balance in post-processing software later (that’s because the original RAW image does not contain any colours – they get added during the RAW conversion process). The original image stays untouched and unprocessed by the camera. This means that as long as you shoot in RAW, you can simply ignore the white balance setting.

Zoom lens

A Zoom lens is a lens with a ring that allows for zooming in and out between a range of focal lengths within the single lens.

Zoom shot

A zoom shot makes the subject larger or smaller within the frame simply by shifting the lens elements inside to change focal lengths. This magnifies the view of the subject while the camera itself remains stationary.