Last Updated 5 days ago
Filmmaking Dictionary / Number 1
Browse filmmaking terms starting with 1, including 1″-Type Sensor, 1 kHz Tone, 1K (1,000 Watt) Light. Find a quick explanation below and follow the full-definition links where a detailed guide is available.
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- 1″-Type Sensor
- 1 kHz Tone
- 1K (1,000 Watt) Light
- 1.2K HMI
- 1:1 Aspect Ratio
- 1:1 Backup / Mirror
- 1:1 Pixel Readout
- 1:1 Ratio (Lighting)
- 1:1 Reproduction (Macro)
- 1.33:1 (4:3)
- 1.37:1 Academy Ratio
- 1.43:1 IMAX (15/70)
- 1.66:1 European Widescreen
- 1.78:1 (16:9)
- 1.85:1
- 1.90:1 (IMAX Digital)
- 1-Bit Alpha
- 1-Light (One-Light) Transfer/Grade
- 1-Liner (One-Liner)
- 1-Pass Encode
- 1-Sheet (One-Sheet)
- 1-Stop
- 1-Ton Grip/Electric Package
- 1-U (Rack Unit)
- 1/r² (Inverse-Square Law)
- 1/4-20 UNC Thread
- Fractional Diffusion / Gel / Filter Strengths
- 1-1/8″ Junior (Receiver/Pin)
- 1-1/4″ Speed Rail
- 1st AC (First Assistant Camera / Focus Puller)
- 1st AD (First Assistant Director)
- 1st AE (First Assistant Editor)
- 1st Fix
- 1st Positions (“Back to One”)
- 1st Team
- 1st Unit
- 1x Net / 1x Scrim
- 1× Macro / 1:1 Macro
- 1×1 LED Panel
- 1×2 LED Panel
- 10-Bit / 12-Bit / 16-Bit
- 10-1
- 10-2
- 1080p / 1080i (Full HD)
- 120 fps / 144 fps
- 120 V (North America)
- 180-Degree Rule
- 180-Degree Shutter (≈ 1/48 at 24 fps)
1″-Type Sensor
A sensor format commonly measuring about 13.2 × 8.8 mm, with an approximately 15.9 mm diagonal. The “one-inch” name comes from historical video-tube sizing, not the sensor’s physical diagonal. Actual active dimensions and video crops depend on the camera.
1 kHz Tone
A reference audio signal completing 1,000 cycles per second, used to align and check recording or playback systems. Its level must be specified separately, such as −20 dBFS under a particular alignment convention. A tone checks signal level; it does not guarantee correct dialogue levels throughout a recording.
1K (1,000 Watt) Light
A light with a nominal 1,000-watt power rating, traditionally a tungsten Fresnel or open-face fixture in set terminology. The wattage describes power, not illuminance on the subject. Output depends on the lamp, optics, beam setting and distance.
1.2K HMI
An HMI lamphead using a nominal 1,200-watt metal-halide lamp and a compatible ballast. It provides daylight-type illumination, with actual colour and output depending on the system and operating conditions. The ballast’s input requirements must be checked separately from the lamp rating.
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1:1 Aspect Ratio
A square image whose width equals its height. Examples include 1080 × 1080 pixels and square photographic formats. Aspect ratio describes frame shape, independently of resolution; composition and delivery should be planned for that square boundary.
1:1 Backup / Mirror
A matching copy of a set of files or storage contents. Camera offloads should be verified rather than assumed correct because file names and sizes match. A live mirror can also copy accidental deletions, so mirroring and an independent backup serve different purposes.
1:1 Pixel Readout
A mode using sensor photosites without combining them through pixel binning or skipping rows. Some cameras crop the sensor for this mode, changing field of view. The phrase does not guarantee freedom from aliasing, and colour-filter-array data still requires appropriate processing.
1:1 Ratio (Lighting)
Specify the convention: equal key and fill source strengths (K:F) do not necessarily produce equal lit and shadow sides if fill reaches both sides. A total-side contrast ratio and a source-strength ratio describe different measurements.
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1:1 Reproduction (Macro)
A reproduction ratio in which the subject’s image on the sensor or film is the same physical size as the subject. A 10 mm object therefore forms a 10 mm image at the image plane. It describes optical magnification, not the displayed image’s size.
1.33:1 (4:3)
A frame approximately 1.33 times as wide as it is high, commonly written as 4:3. It is associated with silent-film framing and traditional television. It is close to, but distinct from, the approximately 1.37:1 Academy sound-film ratio.
1.37:1 Academy Ratio
The approximately 1.37:1 Academy picture ratio associated with 35mm sound film. The frame is slightly wider than 4:3. It describes the image’s shape, rather than film gauge, resolution or a required style of composition.
1.43:1 IMAX (15/70)
A tall large-format picture ratio associated with 15-perforation, horizontally transported IMAX film and compatible presentations. Capture, projected image area and theatre capabilities must be distinguished; an IMAX release does not automatically mean every scene is shown at 1.43:1.
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1.66:1 European Widescreen
A widescreen ratio approximately 1.66 times as wide as it is high, associated with many European theatrical films. It lies between Academy framing and 1.85:1. A production can choose it deliberately, with framing and delivery arranged to preserve the intended image.
1.78:1 (16:9)
The approximately 1.78:1 ratio more precisely expressed as 16:9, widely used for HDTV, UHD television and online video. Examples include 1920 × 1080 and 3840 × 2160. The ratio alone does not specify resolution, frame rate or image quality.
1.85:1
A theatrical widescreen ratio with an image 1.85 times as wide as it is high. It is slightly wider than 16:9 and is common in feature-film presentation. Captured sensor dimensions can differ from the final framed and delivered picture.
1.90:1 (IMAX Digital)
An approximately 1.90:1 picture ratio associated with many digital IMAX presentations and some digital-cinema rasters. It is wider than 16:9 and less tall than 1.43:1. Actual exhibition framing depends on the production and projection system.
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1-Bit Alpha
A transparency channel with two possible states, fully opaque or fully transparent. It cannot directly represent partially transparent edges. Higher-precision alpha channels provide intermediate values useful for antialiasing, soft edges and compositing.
1-Light (One-Light) Transfer/Grade
A basic film transfer or preliminary grade using a consistent correction for a roll or section instead of individual shot-by-shot balancing. It gives a useful first viewing reference while leaving more detailed exposure and colour matching for later work.
Read the full 1-Light (One-Light) Transfer/Grade definition →
1-Liner (One-Liner)
A condensed shooting schedule that represents each scene or scheduled item in a compact line, usually grouped by shooting day. It lets departments see the overall plan without the detail of a full breakdown or daily call sheet.
1-Pass Encode
An encoding process that analyses and compresses the source in one pass. It can save processing time compared with multipass encoding. Quality and bitrate efficiency depend on the codec, settings and material; one pass does not automatically mean visibly poor output.
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1-Sheet (One-Sheet)
A principal promotional poster for a film. A common modern US theatrical one-sheet measures 27 × 40 inches, while historical and international formats differ. Confirm the required dimensions, bleed and delivery specification before preparing print artwork.
1-Stop
A doubling or halving of exposure. Opening the lens from f/4 to f/2.8 adds approximately one stop; halving the exposure time removes one stop. A stop is a relative change, not a fixed quantity of light.
1-Ton Grip/Electric Package
A rental-house description for a compact grip and electric equipment package associated with a small truck or van. Inventory and vehicle size vary by supplier. The label does not establish the package’s exact contents or the vehicle’s legal payload.
1-U (Rack Unit)
One unit of standard rack height, equal to 1.75 inches or 44.45 mm. A 1U device occupies that nominal vertical allocation. Rack width, depth, ventilation, mounting hardware and equipment weight must also be considered when planning an installation.
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1/r² (Inverse-Square Law)
For an effectively point source, illuminance follows E = I/d²: doubling distance gives one-quarter of the illuminance. Extended/near-field sources and changing beam optics require additional qualification.
1/4-20 UNC Thread
A Unified National Coarse screw thread with a nominal quarter-inch diameter and 20 threads per inch, common on camera accessories. The correct thread does not establish a safe load by itself; screw length, engagement and the equipment’s mounting instructions also matter.
Fractional Diffusion / Gel / Filter Strengths
Product labels such as half or quarter describe a manufacturer’s strength scale, not necessarily fractions of an exposure stop. Distinguish diffusion/correction strength from measured transmission; ND optical density 0.3 is one stop.
Read the full Fractional Diffusion / Gel / Filter Strengths definition →
1-1/8″ Junior (Receiver/Pin)
The nominal 1⅛-inch mounting standard used by junior pins and compatible receivers on heavier lighting and grip equipment. It is larger than the ⅝-inch baby standard. Compatibility, securing hardware and rated loads still depend on the actual components.
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1-1/4″ Speed Rail
A nominal pipe size commonly used for grip frames and rigging with compatible fittings. Standard 1¼-inch pipe has an outside diameter of about 1.66 inches, so the name is not its measured outside diameter. Material, wall thickness and the complete rig determine suitability.
1st AC (First Assistant Camera / Focus Puller)
The first assistant camera supports the camera’s technical operation and is commonly responsible for maintaining focus during takes. Duties also include camera preparation, lens changes and equipment checks, with the division of work depending on the crew and production.
Read the full 1st AC (First Assistant Camera / Focus Puller) definition →
1st AD (First Assistant Director)
The first assistant director leads the AD team and coordinates the shooting floor, schedule and communication among departments. The role includes organising rehearsals and takes and coordinating safety procedures with the responsible departments; it does not replace specialist safety responsibilities.
Read the full 1st AD (First Assistant Director) definition →
1st AE (First Assistant Editor)
The senior assistant editor coordinating work such as media organisation, syncing, project preparation, turnovers and technical deliveries. They support the editor and may lead other assistants. The precise duties depend on the production’s post-production team and workflow.
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1st Fix
An initial stage of construction or installation before finishing work is completed. In set construction, it can include underlying structural and service work. The boundary between first and second fix depends on the trade and the production’s construction plan.
1st Positions (“Back to One”)
An instruction to return performers and other relevant moving elements to their starting positions for a rehearsal or take. The reset may include camera placement, props and background action. Each department restores its assigned elements before filming continues.
1st Team
Set shorthand for the principal performers, often contrasted with the stand-ins known as second team. Calling first team brings the required cast to set for rehearsal or filming. The production’s AD team coordinates who is needed and when.
1st Unit
The main shooting unit carrying out principal photography, usually working with the lead director and principal cast. Additional units may handle assigned action, inserts, locations or other material. The division of work is planned for each production.
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1x Net / 1x Scrim
A single net or scrim reduces light output; it is not automatically a softening diffusion material. Single/double describe construction or strength classes. Use the product’s stated or measured stop loss rather than assuming a universal density fraction.
1× Macro / 1:1 Macro
A 1× macro image, also called 1:1 reproduction, records a subject at life size on the camera’s sensor or film. A 10 mm object therefore produces an image 10 mm long at the image plane. This describes optical magnification, not the apparent size on a screen.
1×1 LED Panel
A common size category for an LED panel with a face roughly one foot square. It describes the fixture’s format, not its power, brightness or colour capabilities. Actual dimensions, modifiers and photometric performance vary by model.
1×2 LED Panel
A rectangular LED-panel size category with a face roughly one by two feet. It can provide a broad source for faces or backgrounds, depending on distance and diffusion. The size label alone does not specify softness, output, power draw or colour control.
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10-Bit / 12-Bit / 16-Bit
Bit depth describes quantization precision and available code values. It does not by itself specify the camera’s dynamic range, which also depends on the sensor, noise floor, signal encoding and processing.
10-1
10-1 is commonly used on some North American sets as a radio shorthand for a brief washroom break. Radio codes are local working conventions; use the production’s agreed terminology.
10-2
10-2 is commonly used on some North American sets for a longer washroom break. It is informal radio shorthand, not a universal code; confirm the show’s convention.
1080p / 1080i (Full HD)
Video with 1080 picture lines, commonly a 1920 × 1080 raster. Progressive scanning records complete frames; interlaced scanning divides each frame into two fields. Specify the frame or field rate as well as the resolution when setting up cameras and delivery files.
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120 fps / 144 fps
Capture rates of 120 or 144 frames per second. Played frame-for-frame at 24 fps, they produce one-fifth-speed or one-sixth-speed motion respectively. Played at the capture rate, they remain real-time; recording and playback rates must both be specified.
120 V (North America)
A nominal AC voltage common at ordinary receptacles in North America. Film productions can also use other supply voltages and distribution systems. Voltage alone does not establish available power or safe loading; the circuit, equipment and distribution design all matter.
180-Degree Rule
A continuity guideline that keeps coverage on one side of an imaginary axis to maintain consistent screen direction. Crossing the axis can reverse left-right relationships. Filmmakers can cross deliberately when camera movement, staging or an establishing view makes the new orientation clear.
180-Degree Shutter (≈ 1/48 at 24 fps)
A shutter angle that exposes each frame for half its frame interval. At true 24 fps, this is about 1/48 second. It is a common motion-blur reference, while different angles can deliberately change blur and exposure.
Read the full 180-Degree Shutter (≈ 1/48 at 24 fps) definition →