Last Updated 3 days ago
Filmmaking Dictionary / Letter A
Browse filmmaking terms starting with A, from A-camera and ADR to aperture, apple boxes and aspect ratio. Find a quick definition below, then open the full entry for a closer look at how the term is used.
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Jump to an A term · 47 entries
- Abby Singer
- Abramsian (J.J. Abrams Style)
- Academy Ratio
- A-Camera
- Ace
- ACES (Academy Color Encoding System)
- Action
- Action Cut (Cutting on Action)
- ACTRA
- Actuality
- AD Box
- Ad Lib
- ADR (Automated Dialogue Replacement)
- Advance
- Aerial Shot
- Agent
- Alan Smithee
- Ambient Light
- Ambient Noise and Room Tone
- Analog Editing Suite
- Anamorphic Lens
- Andersonian (Wes Anderson Style)
- Anechoic Chamber
- Animatronics
- Answer Print
- Anti-Hero
- Aperture
- Apple Box
- Aputure
- Archival Footage
- A-Roll
- ARRI
- Art Director
- Art House
- ASC (American Society of Cinematographers)
- Aspect Ratio
- Assembly Cut
- Assistant Director (AD)
- Assistant Editor
- Assistant Locations Manager (ALM)
- Associate Producer
- Asynchronous Sound
- Audio Bridge
- Audition
- Auteur
- Available Light
- Axis of Action (180-Degree Rule)
Abby Singer
Set slang for the second-to-last shot or setup before wrap, and sometimes before a company move. The call lets departments prepare for the end of that block of work while keeping the equipment needed for the remaining shots available.
Abramsian (J.J. Abrams Style)
A description of filmmaking associated with J.J. Abrams, often combining energetic pacing, mystery-driven storytelling, emotionally direct characters and polished spectacle. Visually, the term may refer to active camerawork, bright backlight and prominent lens flares.
Academy Ratio
A motion-picture aspect ratio of approximately 1.37:1, associated with 35mm sound film. Its nearly square frame is slightly wider than 4:3 and is distinct from widescreen formats such as 1.85:1 and 2.39:1.
A-Camera
The camera designated “A” on a production, usually its primary camera. On a shoot with several cameras, letters identify the equipment, camera teams and recorded footage. A-camera may cover the main angle, but the designation does not automatically make every A-camera shot more important than the others.
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Ace
Set slang for a 1K, or 1,000-watt, tungsten Fresnel light. Its beam can be adjusted from spot to flood. The 1K rating describes electrical power consumption, not a fixed light-output value or a guaranteed LED equivalent. The nickname’s use varies between crews.
ACES (Academy Color Encoding System)
An open colour-management and image-interchange system used across production, visual effects, grading and delivery. It brings camera images into a common colour framework, then uses output transforms to prepare them for different displays. Correct input settings and creative grading still matter; ACES is not simply a look applied to footage.
Action
The cue to begin the performance or action in a take, usually called by the director. It is separate from the commands to roll camera and sound, which normally happen first so the recording is underway before the performance begins.
Action Cut (Cutting on Action)
Usually described as cutting on action: an edit made during a movement to connect two shots smoothly. For example, a hand begins reaching for a door handle in a wide shot and completes the movement in a close-up. Matching the movement’s timing and position helps maintain continuity.
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ACTRA
The Alliance of Canadian Cinema, Television and Radio Artists, a national union representing professional performers in English-language recorded media in Canada. Its members include actors, voice performers, background performers and stunt performers. ACTRA negotiates and administers agreements covering work in film, television, radio and digital media.
Actuality
Footage of real events or activity recorded as they happen, rather than performed from a script. The term is used in documentary and news production, and also for early nonfiction films showing everyday life and public events.
AD Box
A kit used by the assistant director department to keep the supplies needed during a shooting day close at hand. Also called a set box, it may contain paperwork, pens, tape and other items chosen for the production.
Ad Lib
Dialogue or action improvised by a performer rather than taken directly from the script. An ad lib may be encouraged by the director or arise during a take; useful variations still need to work with the scene and its continuity.
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ADR (Automated Dialogue Replacement)
Dialogue recorded after filming to replace or supplement production sound. Performers usually match their delivery to the picture, and the new recording is edited and mixed into the scene. ADR can address unusable audio or changes to dialogue.
Advance
Money paid before the work or service it covers is completed. In production, an advance may help cover agreed expenses or form part of a performer’s, crew member’s or supplier’s payment. Its purpose and accounting depend on the agreement.
Aerial Shot
A shot filmed from an airborne camera, commonly carried by a drone, helicopter or aircraft. Aerial shots can establish geography, follow movement or reveal the scale of a location from a viewpoint above the ground.
Agent
A representative who helps performers, writers, directors or other creative professionals find work and negotiate engagements. Agents usually earn a commission on covered earnings; the services and representation arrangements depend on the agreement and market.
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Alan Smithee
A pseudonym historically used by directors removing their names from films after creative disputes. It is no longer the DGA’s standard replacement credit.
Ambient Light
The general illumination present in a space or scene. It can come from daylight, practical fixtures, reflected light or lighting added by the crew. Available light describes sources already at the location; ambient light describes the surrounding illumination.
Ambient Noise and Room Tone
Ambient noise is the background sound of a location, such as ventilation, traffic or distant activity. Room tone captures that background with dialogue and intentional action paused, ideally using the same microphone position and recording setup as the take. Sound editors use it to bridge cuts without abrupt changes in the background sound.
Analog Editing Suite
An editing workspace built around physical film or analog videotape rather than a digital timeline. Film workflows use viewing, cutting and splicing equipment; tape-based systems assemble sequences by recording material from source tapes onto an edit master.
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Anamorphic Lens
A lens that squeezes the image horizontally during capture. The image is then desqueezed for viewing or finishing. The lens’s squeeze factor, the recording area and the chosen crop determine the final aspect ratio; anamorphic capture does not automatically eliminate cropping.
Andersonian (Wes Anderson Style)
A description of the carefully arranged images and restrained comic tone associated with Wes Anderson. Centred compositions, coordinated colour palettes, detailed sets and deadpan performances often give the films a storybook quality.
Anechoic Chamber
A room designed to absorb sound reflections so that echoes and reverberation are greatly reduced. Anechoic chambers are used for acoustic testing and measurement; their controlled conditions are different from the natural ambience usually wanted in a filmed location.
Animatronics
Mechanically controlled characters, creatures or props that move during filming. Motors, cables, pneumatics or hydraulics can animate features such as eyes, jaws and limbs, allowing physical effects to interact with performers and the set.
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Answer Print
A film print submitted by a laboratory for approval before release printing. Its colour timing adjusts the colour and density from shot to shot. The filmmakers review the result and request corrections if needed, so several answer prints may be made before the final version is approved.
Anti-Hero
A central character who lacks some of the qualities traditionally associated with a hero. An anti-hero may be selfish, morally compromised or reluctant to act, while still being the character whose choices drive the story.
Aperture
The opening in a lens that controls how much light reaches the film or sensor. A lower f-number, such as f/2.8, means a wider opening than f/8. With the other shooting conditions unchanged, opening the aperture increases exposure and reduces depth of field. Cinema lenses often use T-stops, which account for light transmission.
Apple Box
A reinforced wooden box used on set to raise a performer, support equipment, level a platform or provide a seat. Common sizes are full, half, quarter and pancake. A standard full apple box is approximately 20 × 12 × 8 inches; turning it onto a different face changes the height it provides.
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Aputure
A manufacturer of LED lighting, modifiers and control tools for film and video production. Its product families include Light Storm and STORM point-source lights and NOVA panels. Sidus Link and Sidus Link Pro provide wireless control of compatible fixtures, allowing crews to adjust lighting settings remotely.
Archival Footage
Previously recorded images reused in a new production. It may include news coverage, historical film, home movies or material from an earlier shoot, providing context or showing events the current production cannot record itself.
A-Roll
The main footage carrying a scene or story, such as an interview, a presenter speaking to camera or the principal action. Editors often combine it with B-roll to show details, establish context or cover a cut.
ARRI
A motion-picture equipment manufacturer whose name comes from founders August Arnold and Robert Richter. Known products include ALEXA digital cameras and SkyPanel LED lights, alongside cinema lenses, camera accessories and other lighting systems. The brand spans both the camera and lighting departments.
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Art Director
An art-department role responsible for turning the production designer’s plans into workable sets and environments. Depending on the production, the art director coordinates design work, construction, departmental resources and schedules, working with other art-department heads.
Art House
A cinema or category of filmmaking associated with independent, experimental and artistically focused work. Art-house films may use unconventional narrative, visual or performance choices, while art-house venues often programme films outside mainstream commercial releases.
ASC (American Society of Cinematographers)
A professional society dedicated to the art and craft of cinematography. The letters ASC after a cinematographer’s name indicate membership in the society; they are not a camera-department job title or a trade-union designation.
Aspect Ratio
The relationship between an image’s width and height, usually written as a ratio such as 16:9, 1.85:1 or 2.39:1. Aspect ratio describes the shape of the frame, while resolution describes the number of pixels used to represent it.
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Assembly Cut
An early version of an edit that brings the selected material together in a working sequence. It helps the filmmakers assess the story, coverage and overall structure before the editor refines timing, performance choices, transitions and pacing.
Assistant Director (AD)
A member of the department that organises filming and coordinates cast, crew and the shooting schedule. The first AD helps break down the script and plan the schedule during prep, then runs the set during production. Other AD positions handle assigned cast, paperwork, communication and logistical duties.
Assistant Editor
A post-production crew member who prepares and organises material for the editor. Tasks can include syncing sound, managing media and project files, creating turnovers and preparing exports, with responsibilities varying by the production and editing workflow.
Assistant Locations Manager (ALM)
A locations-department role supporting the location manager and coordinating practical arrangements at filming sites. Duties may include access, parking, liaison with property owners and keeping location operations organised as the crew works.
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Associate Producer
A production credit for someone who makes a defined contribution to a project, which may involve creative, financial or logistical work. The title alone does not establish a universal set of duties; its meaning depends on the production.
Asynchronous Sound
Sound that does not directly match an action seen at the same moment on screen. It can be used deliberately to connect scenes or create meaning. An accidental timing mismatch between recorded picture and sound is usually described as a sync problem.
Audio Bridge
Sound that carries across a picture cut to connect two shots or scenes. An L-cut keeps the outgoing sound after the image changes; a J-cut introduces the incoming sound before its image appears.
Audition
A performance used to assess an actor’s suitability for a role. Auditions may involve prepared scenes, a cold read, improvisation or a self-tape, with the casting team and filmmakers considering how the performer fits the character and production.
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Auteur
A filmmaker, usually a director, whose work shows a recognisable personal style or recurring concerns. Auteur theory examines that creative signature across films, while the finished work still depends on the contributions of the wider cast and crew.
Available Light
Light already present at a location before the crew adds lighting for the shot. It includes daylight and existing artificial sources such as household lamps or streetlights. The crew may still shape or reduce it with grip equipment.
Axis of Action (180-Degree Rule)
An imaginary line used to organise screen direction, often between characters or along a subject’s movement. Keeping coverage on one side helps maintain consistent left-right relationships across cuts. Crossing the line can reverse those relationships; filmmakers can cross deliberately when the staging or camera movement makes the new orientation clear.
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