Video Production Industry Terminology

We still need to lock the above-the-line deals before we crew up. Above-the-line costs spiked when we upgraded our director and lead talent. The ATL budget is separate from equipment and post.

Book the ADR stage to fix the noisy café scene. We’ll ADR that last line to match the new edit. The actor is traveling; can we do remote ADR?

Stop down to f/8 to get more of the product in focus. Shoot wide open at f/1.4 for a dreamy background. The DP wants consistent T-stops across lenses.

Deliver a 16:9 master and a 9:16 cutdown for social. We framed for 2.39:1 but protected for 1.78:1. Client requested a 1:1 teaser for Instagram.

Grab some B-roll of the factory floor between setups. We’ll cover the interview edit with relevant B-roll. Shoot atmospheric B-roll for transitions.

Our below-the-line costs increased due to additional crew and gear. We need to trim BTL expenses to stay on budget. BTL includes camera, grip, electric, art, and post.

The client wants a global, perpetual buyout for all media. We priced a one-year web buyout with an option to renew. Talent requested a higher fee for a full buyout.

The call sheet goes out by 7 p.m. with tomorrow’s schedule. What’s my call time and parking on the call sheet? Add the weather note and VFX plate reminder to the call sheet.

Avoid green wardrobe; we’re shooting on green screen. We’ll key the background and composite a CG set. Light the screen evenly for a clean key.

Transcode everything to ProRes 422 for offline. Deliver H.264 in an .mp4 wrapper at 20 Mbps. The camera records HEVC (H.265) internally.

Send the locked cut to color next week. Please match the two camera angles and cool the highlights. We’ll build a hero look, then trim notes.

We’re mastering in P3 D65 for the theatrical DCP. Grade in Rec.709 for broadcast and SDR streaming. The client wants a Rec.2020 HDR pass too.

Please sign the deal memo with your rate and kit fee. Our deal memos specify OT after 10 hours and net 30 terms. The memo includes NDA and credit language.

My day rate is $750/10, with OT after 10 hours. We budgeted the DP at a two-day day rate plus prep. Is your quoted day a 10 or 12?

Deliverables include a 4K ProRes master, captions, and audio stems. QC flagged a peak; fix before delivery. Provide a 1080p social cut with burnt-in timecode for review.

We need shallow DoF for a cinematic interview. Stop down to increase DoF on the product macro. Switching to a wider lens will increase DoF.

The DIT will back up mags and apply the show LUT. Live-grade on set to match cameras. DIT will generate editorial proxies overnight.

The DP prefers primes for this spot. DP and gaffer are planning a soft toplight. Hire a DP with tabletop experience.

The streamer requires E&O before delivery. Clear all music and logos to satisfy E&O. Our broker quoted E&O covering defamation claims.

Shoot 23.976 for a cinematic cadence. Overcrank to 120 fps for slow motion. Broadcast spot needs 29.97 drop-frame.

Ask the gaffer for a larger soft source. The gaffer will power the practicals through dimmers. Gaffer and key grip will pre-rig tomorrow.

The key grip will handle the dolly and rigging. Flag that spill; ask grip for a 4x4 solid. Grips will secure the car mount.

Deliver HDR10 with SDR trims. Grade HDR on a 1,000-nit monitor using PQ. We shot log to support an HDR master.

Use native ISO 800 for optimal dynamic range. We can push to ISO 3200 but expect more noise. Dual-native ISO helps in low light.

We need a sync and master license for that track. The stock clip license is web-only for two years. Add trademark clearance to the licensing plan.

We can’t shoot until the location release is signed. The mall requires its own release on top of the permit. Get the owner’s name correct on the release.

Expose S-Log3 one stop over for cleaner shadows. Convert log to Rec.709 with a LUT on set. We’ll keep it in log until the final grade.

Apply the show LUT for client monitors. Use a technical LUT to convert log to Rec.709. Export the grading LUT for dailies.

Sign the NDA before the creative brief. Crew NDAs cover set photos and social posts. Vendor access requires an NDA on file.

Our invoices are net 30; late fees apply. The network pays on net 60 after acceptance. Clarify net terms in the deal memo.

Submit the city film permit by Friday. The park requires a permit and insurance COI. No drone flights without an FAA waiver and permit.

Picture lock before sending to sound and color. Conform the online from the offline edit. QC the final master before delivery.

Let’s lock casting and locations in pre-pro. PPM with the client is Tuesday. Build the shot list and storyboard during pre-production.

I’ll send our rate card with kit options. The rate card lists OT and cancellation terms. Add a drone line item to the rate card.

Talent releases must be signed before we roll. Post a crowd release at the event entrance. Minors require a guardian’s signature on releases.

The RFP asks for timeline, budget, and creative approach. We’ll submit treatment options in our RFP response. Shortlist vendors based on RFP criteria.

We’ll share RC1 on Thursday for feedback. Rough cut runs long; trim two minutes. Don’t color until after the rough cut is approved.

This spot is a SAG commercial; budget for fringes. We must follow SAG turnaround and meal rules. Submit the cast list to SAG-AFTRA.

Adding three locations is scope creep. Issue a change order to manage scope creep. Lock the brief to prevent creep.

Build a detailed shot list per scene. AD uses the shot list to schedule the day. The shot list ensures we have cutaways for edit.

Soft sticks; talent is close to the mic. Tail slate the pickup shot. Sync slates to the timecode feed.

The mixer will lav the CEO and boom the interviewer. Please jam timecode to the mixer and cameras. Record iso tracks for each mic.

Jam-sync all cameras at call. Use LTC into the audio channel for TC. The slate provides a sync reference for double-system sound.

Submit a two-page treatment with visual references. The director’s treatment sold the concept. Revise the treatment to address the RFP notes.

Maintain a 12-hour turnaround between days. Violating turnaround triggers penalties. Talent has an 11-hour turnaround per contract.

We’re crewed as non-union; adjust rates accordingly. Union shoots must observe meal penalties and turnarounds. Decide early if the show will be union signatory.

Send plates and tracking data to VFX. We’ll paint out the boom and add set extensions. Budget for roto and compositing on 20 shots.

Set WB to 5600K for daylight. Use a gray card to custom white balance. Mixed lighting may require a WB compromise.

Define an ACES workflow from camera to delivery. We’ll use proxies for offline, then conform to RAW. Document naming conventions in the workflow.

That’s a wrap; return gear and back up media. We wrapped by 7 p.m. to avoid OT. Plan a wrap day for pickups and returns.