1

Cinema
Post-production
Glossary
Introduccin a la interpretacin
Prof. Victoria Massa
Leonel Livchits
Julio de 2001

Index
Cinema post-production glossary.............................................................................3
Spanish-English list ................................................................................................20
Bibliography............................................................................................................24
2

A
1. A/B rolls
he negati!e o" an edited "ilm# cut to correspond to picture# built into 2 rolls# A and B# to allo$
"or in!isible splices# instant changes o" the timing lights and "ades and dissol!es $ithout the
need "or opticals.
rollos A y B
2. acetone
An organic li%uid chemical used in the manu"acture o" some types o" "ilm cement. Also used
to clean "ilm splicing e%uipment.
acetona
3. animation
he process o" photographing dra$ings or ob&ects a "rame at a time' by changing a dra$ing or
mo!ing an ob&ect slightly be"ore each "rame is ta(en# the illusion o" motion is reali)ed.
animacin
4. A.S.A.
his is the sensiti!ity to light o" a particular type o" "ilm. A.S.A. stands "or American
Standards Association# the organi)ation that standardi)ed the scale o" measurement o" "ilm
speed.
A.S.A
5. aspect ratio
he proportion o" picture $idth to height *1.33+1# 1.,,+1# 1.-.+1 or 2.3.+1/.
ormato
!. assem"le
he $or( o" organi)ing and &oining the shots o" a "ilm in the se%uence in $hich they $ill
appear in the "inished print.
premonta#e
$. A%&'
0anu"acturer o" a popular o""line editing system. 1"ten used to re"er to the system itsel"# as
2A345 editor2.
A%&'
3

B
(. "lip tone
A sync pop. his is usually done by placing a piece o" 6toned6 tape on a particular "rame o" "ilm
to establish a 6synch6 point.
se)al de sincro
*. "leac+
Chemical used to con!ert a metallic sil!er image to a halide or other salt $hich can be
remo!ed "rom the "ilm $ith hypo.
"lan,ueador
1-. "lo.-up
An optical enlargement o" a "ilm "rom one gauge to another# such as 1,mm up to 3.mm.
ampliacin
11. "rea/do.n
he separation o" a roll o" camera original negati!e into its indi!idual scenes.
des0lose
C
12. camera lo0
A "orm o" paper$or( used to log shots and ta(es and put do$n any notes either to the lab or
"or "uture organi)ation in the editing stage. here is generally one camera report per camera
roll.
planilla de c1mara
13. c+roma /ey
An electronic special-e""ects system "or combining a desired bac(ground $ith li!e
"oreground action.
c+roma /ey
14. clapper
A board $ith t$o hinged stic(s attached. he clapper is used to record a scene number and
sync point *!ia the clapstic(/ at the beginning o" a shot.
cla,ueta
4

15. composition
A harmonious arrangement o" t$o or more elements# one o" $hich dominates all others in
interest.
composicin
1!. contact printin0
he method used by the lab to copy "ilm. A contact print is made on a machine called a
contact printer# in $hich the original "ilm and une7posed print stoc( are sand$iched together#
emulsion against emulsion# and are run at a constant speed past a light $hich shines through
the original# e7posing the print stoc( $ith the same image.
copiado por contacto
1$. continuity
he seamlessness o" detail "rom one shot to another $ithin a scene. Continuity re"ers
particularly to the physical elements# including any actions o" the actor# the placement o"
props# the lighting# the costumes# and so on.
continuidad
1(. cut
he cutting apart o" t$o shots at the "rameline or the point $here the shots ha!e been cut
apart.
corte
c. in insert2 plano detalle
A close-up o" some detail in the scene.
#ump c. salto de ima0en
$o similar shots cut together $ith a &ump in continuity# camera position or time.
rou0+ c. copia sin ainar
he edited "ilm# bet$een the stages o" being an assembly and a "ine cut.
1*. cuttin0
he selection and assembly o" the !arious scenes or se%uences o" a reel o" "ilm.
edicin/monta#e
c. room sala de edicin
A "ilm-editing room.
.

action c. corte en mo3imiento
he cutting o" "ilm "rom one shot to another in a $ay yielding the impression that action
is continuous and uninterrupted.
cross c. monta#e paralelo
See parallel editing
5
2-. '12 '22 '32 '5
5igital !ideotape "ormats# $hich are capable o" being dubbed many times# $ithout sustaining
any signi"icant 8generation loss6 o" picture or sound %uality.
'12 '22 '32 '5
21. dailies
he "irst positi!e prints made by the laboratory "rom the negati!e photographed on the
pre!ious day.
copin
22. de3elopin0
he chemical process $hich con!erts a photographic e7posure into a !isible image.
re3elado
23. dissol3e
A transition bet$een t$o shots# $here one shot "ades a$ay and simultaneously another shot
"ades in. 5issol!es are done at the lab in the printing phase# but prepared by the negati!e
cutter# $ho cuts in an o!erlap o" the t$o shots into the A9B rolls.
undido
24. dou"le e4posure
A double e7posure occurs $hen *prior to de!elopment/ an e7posed piece o" "ilm is reshot $ith
a second image on top o" the "irst.
do"le e4posicin
25. du""in0
he recording o" dialogue in a sound studio# a"ter the "ootage is shot# $here the actors $atch
the "ilm and match the lip mo!ements.
do"la#e
,

2!. dupe
A duplicate negati!e# made "rom a master positi!e by printing and de!elopment or "rom an
original negati!e by printing "ollo$ed by re!ersal de!elopment.
interne0ati3o
E
2$. editin0
he cutting and arranging o" shots
edicin
e. console mo3iola
A $or(bench $ith re$inds attached# and sometimes a built-in light table in the center.
insert e. insert
See cut-in.
parallel e. monta#e paralelo
A method o" editing in $hich the point o" !ie$ s$itches alternately "rom e!ents at one
location to those o" another related action.
2(. editor
he person responsible "or assembling the !arious !isual and audial components o" a "ilm into
a coherent and e""ecti!e $hole.
editor
2*. emulsion
he thin layer o" sil!er attached to the base $hich# $hen e7posed and de!eloped# creates the
"ilm image through the areas o" sil!er# $hich bloc( light# and the clear areas $hich allo$ light
to pass through.
emulsin
3-. eye line
Eye line is the direction an actor should loo( o""-screen to match a re!erse angle or a :.1.3.
shot.
e#e de la mirada
;

<
31. ade in
A shot $hich begins in total dar(ness and gradually lightens to "ull brightness.
undido de ne0ro
32. ade out
An optical e""ect in $hich the image o" a scene is gradually replaced by a uni"orm dar( area.
undido a ne0ro
33. ast motion
0o!ements on the screen appearing more rapid than they $ould in actual li"e. A "ilmma(er
achie!es "ast motion by running "ilm through his camera at a speed slo$er than the standard
24 "rames per second' subse%uent pro&ection o" 24 "rames per second speeds up the action.
c1mara r1pida
34. ilm
A strip o" transparent material# usually cellulose triacetate# co!ered $ith a photographic
emulsion and per"orated along one or both edges# intended "or either the recording and
reproduction o" images or both images and sound.
pel5cula
. cement pe0amento
A li%uid that is actually not a glue# but a chemical that melts and "uses t$o pieces o" "ilm
together
ma06netic7 . cinta ma0n8tica
0ag "ilm is a piece o" "ilm that is coated $ith an emulsion o" magnetic o7ide instead o"
sil!er halides. Basically# it is sound recording tape that is the same si)e as "ilm# complete
$ith per"orations. <or editing# all the sound# location sound and additional sound# is
trans"erred to mag "ilm# $here it is run on an editing machine in tandem $ith picture#
one "rame o" picture e%ualing one "rame o" sound.
re3ersal . pel5cula re3ersi"le
A "ilm that is manu"actured and processed in such a $ay as to produce a positi!e image
a"ter e7posure.
35. lare
4t is caused $hen light stri(es the lens and either causes the entire image to be "ogged in
appearance# or "or a little ro$ o" polygons *the silhouette o" the iris/ to appear "rom the light
hitting the sur"aces o" the many elements in the lens.
-

rele#o/lare
=
3!. las+"ac/
A segment o" "ilm that brea(s normal chronological order by shi"ting directly to time past.
las+"ac/
3$. las+or.ard
A segment o" "ilm that brea(s normal chronological order by shi"ting directly to a "uture time.
las+or.ard
3(. o0
5ar(ening o" photographic "ilm by its e7posure to undesirable light# or by poor emulsion or
improper de!elopment
3eladura
3*. rame
A single photographic image imprinted on a length o" "ilm. here are 24 "rames per second.
oto0rama/cuadro
. line ner3io
he small sli!er o" space bet$een "rames. his is $here t$o shots are cut apart and
&oined.
ree9e . cuadro con0elado
A single "rame repeated "or an e7tended time# conse%uently loo(ing li(e a still
photograph.
>
4-. 0au0e
he si)e# speci"ically the $idth# o" a "ilm "ormat+ 1,mm# 3.mm# Super-- are gauges.
anc+o de pel5cula
41. 0eneration
he distance in duplicating steps that a copy is "rom the original $or(
0eneracin
42. 0rain
he tiny particles o" light-sensiti!e material on "ilm stoc( that record images. <iner grains gi!e
higher image %uality# but coarser grains allo$ a "aster shutter speed.
0rano
?
43. +a9eltine
A machine $hich a color time at a lab or optical house uses to determine ho$ to 6time6 a "ilm
print "or the proper amounts o" red# blue# and green light. Also called a color analy)er.
anali9ador de color
44. +ead room
he space bet$een the top o" a sub&ect@s head and the top o" the "rame. ?eadroom must be
care"ully apportioned so that there is not too much or too little.
aire
45. +i-con
>enerally a high contrast "ilm print $hich pro!ides the ma7imum contrast bet$een the light
and dar( elements.
alto contraste
4
4!. interne0ati3e
An intermediate copy o" a "ilm# made on a !ery "ine-grained stoc(# and used to ma(e a greater
number o" prints than it is practical to ma(e "rom the A9B Aolls.
interne0ati3o
4$. interpositi3e
An intermediate copy o" a "ilm# made on a !ery "ine-grained stoc(# usually re%uired as an
intermediate step to ma(ing an internegati!e.
interpositi3o
4(. intertitles
A title card appearing intercut $ith a scene# commonly used $ith silent "ilms.
intert5tulos
B
4*. /ey num"ers
Cumbers printed along one edge o" a motion picture "ilm outside the per"orations to designate
the "ootage *3.mm - e!ery 1, "rames+ 1,mm - e!ery 20 "rames/.
n:meros de identiicacin
5-. /eycode
An e7tension o" the latent (ey numbers $hereby each "rame is gi!en a number. hese numbers
are recorded as a barcode on the negati!e and can be read by a special reader in the lab or
trans"er house.
/eycode
51. ;ules+o3 eect
A system o" montage de!eloped by De! Bulesho! and his students in 0osco$ during the
1=20s that emphasi)ed a conte7t and meaning deri!ed "rom the &u7taposition o" indi!idual
shots themsel!es and not any consistent relationship bet$een the shots.
eecto ;ulec+o3
D
52. latitude
he range bet$een o!ere7posure and undere7posure in $hich a "ilm $ill still produce usable
images.
tolerancia
53. leader
A length o" nonimage "ilm $hich is used "or threading# identi"ication# or "ill-in purposes.
cola
academy leader cola de operador
Standard countdo$n leader# counting do$n - to 3 and then $ith one "rame o" 2# at $hich
point there is a single "rame beep on the sound trac(. 4t is used at the beginning o" a "ilm
"or the lab to line up sound and later "or the pro&ectionist to (no$ $hen to turn on the
lamp and not miss the opening o" the "ilm.
0
54. mi4
his is the process o" combining all the soundtrac(s into one# $ith all the sounds blended
together at their correct !olumes# together $ith any e%uali)ation# "iltering# and e""ecting o" the
sound to gi!e you the desired end result.
me9cla
55. mi4er
he person $ho sits at the mi7ing console during the mi7# $ho decides initially on ho$ the
sounds are to be combined# and operates the "aders and other audio controls.
me9clador/editor de sonido
5!. monta0e
he &u7taposition o" seemingly unrelated shots or scenes $hich# $hen combined# achie!e
meaning or a series o" related shots $hich lead the !ie$er to a desired conclusion.
monta#e
5$. <.=.S.
A shot or scene that is shot $ithout sound# $hich is added later. 0.1.S. stands "or E0it 1ut
Sound#F and deri!es "rom an old ?olly$ood story about a >erman director as(ing "or a shot to
be "ilmed Emit out sound#F and the camera assistant complying $ith this re%uest by $riting
E0.1.S.F on the slate.
toma sin sonido
5(. mo3iola
An upright "ilm editing machine that holds se!eral reels o" "ilm simultaneously and can run at
!ariable speeds# bac($ard or "or$ard# and stop at any "rame. 0o!iola $as originally a brand
name but no$ re"ers only to a type o" editing machine.
mo3iola
C
5*. ne0ati3e
he original "ilm that is used in the camera# "rom $hich a positi!e print is made "or editing.
he negati!e is assembled to match the edited $or(print# and an ans$er print# "or pro&ection
o" the completed "ilm# is struc( "rom the negati!e.
ne0ati3o
n. cutter/n. matc+er cortador de ne0ati3o
he person $ho cuts and assembles the original negati!e to match the edited $or(print#
$hich then goes to the lab "or the ans$er print.
!-. noise
4n audio systems# noise is the electrical inter"erence or other un$anted sound introduced into
the system *i.e. hiss# hum# rumble# crosstal(# etc/.
ruido
1
!1. oline
he !ideotape editing process $hereby the "inal edit list is compiled# usually in a more
ine7pensi!e edit room# in preparation "or the online edit.
no lineal
!2. online
he !ideotape editing process that creates the "inal !ideo edit master# including e""ects# "rom
the o""line edit list.
lineal
!3. optical eects/opticals
E""ects produced through optical printing# including dissol!es# $ipes# "ades# superimposed
titles# etc.
truca/truca#e ptico
!4. optical printin0
Aephotographying "ilm "rame by "rame. his is a $ay to ma(e a copy o" a "ilm $ith many
more possibilities than contact printing
positi3ado ptico
!5. optical sound
1ptical sound is the system used by a pro&ector to play bac( sound "rom a "ilm print. he
pro&ector reads the trac( by passing it bet$een the e7citer lamp# a light-sensiti!e photo-electric
cell $hich generates a !oltage that is ampli"ied and "ed into a spea(er.
sonido ptico
!!. outdated stoc/
<ilm is perishable. Ghen it starts getting stale the dyes $ill shi"t color and the grain $ill build
up# gi!ing a generally "ogged# muddy and desaturated e""ect. 4t is only a"ter about 2 or 3 years
that this $ill start to happen# pro!ided the "ilm is re"rigerated.
pel5cula 3encida
!$. o3ere4posure
<ilming a scene $ith more light than the emulsion o" the "ilm can easily tollerate. he image
$ill be too light and there $ill be less depth o" "ield than i" the lens had been set correctly. 4"
compensated "or in printing# the image $ill appear contrasty.
so"ree4posicin
:
!(. peroration
Aegularly spaced and accurately shaped holes $hich are punched throughout the length o" a
motion picture "ilm. hese holes engage the teeth o" !arious sproc(ets and pins by $hich the
"ilm is ad!anced and positioned as it tra!els through cameras# processing machines# and
pro&ectors.
peroracin
!*. pitc+
5istance "rom the center o" one per"oration on a "ilm to the ne7t.
paso
$-. pi4ilation
A techni%ue using cartoon methods to create mo!ement by ob&ects or people. <or e7ample# a
man $ill stand $ith "eet together and be photographed# then he $ill repeat this action o!er and
o!er# but mo!e slightly "or$ard each time' the result $ill sho$ the man apparently mo!ing
"or$ard *usually rapidly/ $ithout mo!ing any part o" his body.
animacin de persona#es reales
$1. print
A copy o" a piece o" "ilm# typically made by contact printing.
copia
ans.er p. primer copia
he "irst print combining picture and sound $hich is submitted by the laboratory "or the
customer6s appro!al. 4t is intended to gi!e the cinematographer and director an 8ans$er6
to their %uestions about ho$ certain scenes are to be timed.
c+ec/ p. copia control
A chec( print is the "irst print made "rom an internegati!e# to ensure that all o" the
elements are lined up properly# and that the sound- trac( is in sync $ith the picture. 4" a
chec( print is acceptable# then all release prints $ill loo( similar# $ith e!erything in
sync# because they $ill be printed "rom the same internegati!e.
0reen p. copia resca
>reen print is a term used "or "ilm $hich is "resh "rom the lab# and is still some$hat
moist "rom the processing chemicals and lubricants used at the lab. 4t re%uires slightly
more attention upon pro&ection# as the moisture and lubrication can pre!ent this "ilm
"rom running steadily through the pro&ector.
married p./composite p. copia con sonido e ima0en
A positi!e print $hich carries both picture and sound on it.
reduction p. copia reducida
An optical reduction o" a "ilm "rom one gauge to another# such as 3.mm to 1,mm.
release p. copia para e4+i"icin
his is a print made a"ter the ans$er print has been appro!ed. hese are the prints
released to mo!ie theaters# hence the name.
one li0+t p. copia a una lu9
he alternati!e to a timed print# a one light is a print that has not been corrected shot by
shot# but sho$s $hat all the shots loo( li(e $ith the same printing lights in contrast to
each other.
timed p. copia corre0ida
Hnli(e a one light print# this is a print $here the timer has gone through and timed e!ery
shot.
p. master print master
A positi!e print made speci"ically "or duplicating purposes.
$2. pus+ processin0
:ush processing is a special type o" processing $here the "ilm is de!eloped "or a longer time
than normal# usually to ma(e up "or intended undere7posure. 4t should be noted that only
entire rolls can be pushed# not indi!idual scenes. :ushing "ilm $ill add some contrast and
graininess.
re3elado or9ado
A
$3. ra. stoc/
Hne7posed "ilm.
material 3ir0en
$4. reel
A strip o" "ilm $ound on a metal $heel. ypical reels hold 1.-2. minutes o" "ilm
rollo
$5. room tone
A recording o" the EsilenceF o" a room or any location# to be used to "ill in gaps $hen editing
the sound. he silence o" a location is really not !ery silent at all# and the room tone o" one
location is not a substitute "or another.
sonido am"iente
$!. rus+es
he $or(print# $hen it is &ust bac( "rom the lab# unedited# called the rushes because o" the
rush to see that e!erything came out all right. Also (no$n as dailies.
crudo
S
$$. scene
A series o" shots ta(en at one basic time and place. A scene is one o" the basic structural units
o" "ilm# $ith each scene contributing to the ne7t largest unit o" "ilm# the se%uence.
escena
$(. score
he original-music composition "or a motion picture or tele!ision production $hich is
generally recorded a"ter the picture has been edited.
m:sica ori0inal
$*. scratc+
5amage to a "ilm in the "orm o" a long gouge o" either the emulsion or the base. A scratch on
the emulsion is pretty much un"i7able# since part o" the image itsel" is missing.
raya
(-. se,uence
A series o" shots or scenes $hich has a beginning# middle and end *li(e a chapter in a boo(/.
secuencia
(1. s+ot
A shot is the "ilm e7posed "rom the time the camera is started to the time it is stopped.
toma/plano
li"rary s. toma de arc+i3o
Stoc( "ootage shot or other "ootage $hich is germane to a gi!en !isual presentation but
$hich $as not generated "or that speci"ic "ilm or tele!ision presentation.
P.=.%. s. plano su"#eti3o
:oint o" !ie$ shot. A shot "rom the perspecti!e o" one o" the characters# as i" the
audience $ere seeing the scene "rom their eyes.
re3erse s. contraplano
A shot "rom the other side o" the pre!ious shot# such as cutting bet$een t$o characters
tal(ing or a person e7iting and entering though a door$ay.
(2. slate
Clapper.
cla,ueta
(3. slo. motion
0o!ements on the screen appearing slo$er than they $ould in actual li"e. <or e7ample# a
di!er $ill seem to "loat to the $ater gently rather than "all at the speed dictated by gra!ity. A
"ilmma(er achie!es slo$ motion by running "ilm through his camera at a speed "aster than the
standard 24 "rames per second' subse%uent pro&ection at 24 "rames per second slo$s do$n the
action.
c1mara lenta
(4. soundtrac/
>enerically re"ers to the music contained in a "ilm# though it literally means the entire audio
portion o" a "ilm# !ideo or tele!ision production# including e""ects and dialog.
"anda de sonido
(5. splicer
A de!ice used to hold t$o sections o" motion-picture "ilm in proper alignment $hile they are
being united by butting and cementing.
empalmadora
0uillotine s. empalmadora de 0uillotina
A type o" tape splicer $hich uses unper"orated splicing tape.
(!. split screen
An optical or special e""ects shot in $hich t$o separate images are combined on each "rame.
pantalla di3idida
($. sproc/et
A toothed dri!ing $heel used to mo!e "ilm through !arious machines by engaging $ith the
per"oration holes.
rueda dentada
((. su"titles
Gords $hich are superimposed o!er a "ilm $hich mirror the dialog that is heard at the time.
0ost o"ten subtitles are in a di""erent language than that $hich is being spo(en# but this is not
al$ays the case.
su"t5tulos
(*. sync+roni9ation/sync
he degree to $hich sound and picture are lined up# in-sync being lined up e7actly# and out-o"-
sync not so e7actly. 4t can be applied to any speci"ic sound and picture relationship# not &ust
!oices and not &ust sync-sound# but any type o" speci"ic e""ect too.
sincroni9acin/sincro

*-. telecine
A machine "or trans"erring "ilm to !ideo.
transer
*1. time code
Also (no$n as Dongitudinal ime Code. A high "re%uency signal that allo$s the accurate
2loc(ing2 o" "ilm audio and !ideo e%uipment.
time code
*2. time lapse
ime lapse is $hen single "rame shooting is used to dramatically speed up the action o!er the
course o" a long period o" time. ypically it is a process $here a single "rame is shot a"ter a
consistent pause. 4t could be one "rame e!ery ten seconds# or one "rame e!ery hour# and such.
a inter3alo i#o
*3. timin0
he process o" selecting the printing !alues "or color and density o" successi!e scenes in a
complete "ilm to produce the desired !isual e""ects. Also called grading.
dosiicacin
*4. titles
Any $ritten matter inserted into the "ilm or program# esp. the list o" actors# technicians#
$riters# etc.# contributing to it.
t5tulos
*5. trac/
A single component or channel o" a soundtrac(.
pista
H
*!. undere4posure
<ilming a scene $ith less light than the emulsion o" the "ilm needs "or a correct e7posure. he
image $ill be too dar(. 4" compensated "or in printing# the image $ill appear grainy# and !ery
muddy.
su"e4posicin
3
*$. %>S
3ideo ?ome System is a popular "ormat "or 3CA systems $orld$ide
%>S
*(. 3ideotape
0agnetic tape that is used to record pictures and sounds to be sho$n on tele!ision.
cinta de 3ideo/3ideocassette
**. 3oice-o3er
Carration or non-synchronous dialog ta(ing place o!er the action onscreen.
3oice-o3er
G
1--. .idescreen
A general term "or "ilm presentation in $hich a "ilm is sho$n in an aspect ratio o" greater than
1.33 to 1. 4n today6s terms# this no$ means in an aspect ratio o" greater than 1.-. to 1.
pantalla anc+a
1-1. .ipe
An optical transition e""ect in $hich one image is replaced by another $ith a boundary edge
that mo!es in a selected pattern across the "rame.
"arrido
iris .ipe iris/cortinilla.
A $ipe e""ect in the "orm o" an e7panding or diminishing circle.
1-2. .or/print
A positi!e copy o" the original negati!e that is cut during the editing process. At the end o"
editing the original negati!e is then cut by the negati!e cutter to match the $or(print shot "or
shot# and an ans$er print struc( "rom the cut negati!e. A $or(print can also be made "rom
re!ersal original.
copia de tra"a#o
I
1-3. 9oom
An optical e""ect in $hich the image rapidly gro$s larger or smaller as though the camera is
mo!ing closer or a$ay "rom its sub&ect.
9oom
Spanish - English List
A
acetona acetone *2/
a inter!alo "i&o time lapse *=2/
aire head room *44/
alto contraste hi-con *4./
ampliaciJn blo$-up *10/
anali)ador de color ha)eltine *43/
ancho de pelKcula gauge *40/
animaciJn animation *3/
animaciJn de persona&es reales pi7ilation *;0/
A.S.A. A.S.A. *4/
A345 A345 *;/
B
banda de sonido soundtrac( *-4/
barrido $ipe *101/
blan%ueador bleach *=/
C
cLmara lenta slo$ motion *-3/
cLmara rLpida "ast motion *33/
chroma (ey chroma (ey *13/
cinta de !ideo !ideotape *=-/
cinta magnMtica magnetic "ilm *34.2/
cla%ueta clapper *14/ # slate *-2/
cola leader *.3/
cola de operador academy leader *.3.1/
composiciJn composition *1./
continuidad continuity *1;/
contraplano re!erse shot *-1.3/
copia print *;1/
copia a una lu) one light print *;1.;/
copia con sonido e imagen married print *;1.4/
copia control control print *;1.2/
copia corregida timed print *;1.-/
copia de traba&o $or(print *102/
copia "resca green print *;1.3/
copia reducida reduction print *;1../
copia sin a"inar rough cut *1-.3/
copia para e7hibiciJn release print *;1.,/
copiado por contacto contact printing *1,/
copiJn dailies *21/
cortador de negati!o negati!e cutter# negati!e matcher *.=/
corte cut *1-/
corte en mo!imiento action cutting *1=.2/
cortinilla iris $ipe *101.1/
crudo rushes *;,/
cuadro "rame *3=/
cuadro congelado "ree)e "rame *3=.2/
'
51# 52# 53# 5. 51# 52# 53# 5. *20/
desglose brea(do$n *11/
dobla&e dubbing *2./
doble e7posicion double e7posure *24/
dosi"icaciJn timing *=3/
?
ediciJn cutting# editing *1=# 2;/
editor editor *2-/
editor de sonido mi7er *../
e"ecto Bulecho! Bulesho! e""ect *.1/
e&e de la mirada eye line *30/
empalmadora splicer *-./
empalmadora de guillotina guillotine splicer *-..1/
emulsiJn emulsion *2=/
escena scene *;;/
@
"lare "lare *3./
"lashbac( "lashbac( *3,/
"lash"or$ard "lash"or$ard *3;/
"ormato aspect ratio *./
"otograma "rame *3=/
"undido dissol!e *23/
"undido a negro "ade out *32/
"undido de negro "ade in *31/
G
generaciJn generation *41/
grano grain *42/
&
insert cut-in# insert editing *1-.1# 2;.2/
internegati!o dupe *2,/# internegati!e *4,/
interpositi!o interpositi!e *4;/
intertKtulos intertitles *4-/
iris iris $ipe *101.1/
;
(eycode (eycode *.0/
A
lineal online *,2/
<
material !irgen ra$ stoc( *;3/
me)cla mi7 *.4/
me)clador mi7er *../
monta&e cutting *1=/# montage *.,/
monta&e paralelo parallel editing *2;.3/# cross-cutting *1=.3/
mo!iola editing console *2;.1/# mo!iola *.-/
mNsica original score *;-/
B
negati!o negati!e *.=/
ner!io "rame line *3=.1/
no lineal o""line *,1/
nNmeros de identi"icacion (ey numbers *4=/
P
pantalla ancha $idescreen *100/
pantalla di!idida split screen *-,/
paso pitch *,=/
pegamento "ilm cement *34.1/
pelKcula "ilm *34/
pelKcula re!ersible re!ersal "ilm *34.3/
pelKcula !encida outdated stoc( *,,/
per"oraciJn per"oration *,-/
pista trac( *=./
planilla de cLmara camera log *12/
plano detalle cut-in *1-.1/
positi!ado Jptico optical printing *,4/
primer copia ans$er print *;1.1/
print master print master *;1.=/
premonta&e assemble *,/
C
raya scratch *;=/
re"le&o "lare *3./
re!elado de!eloping *22/
re!elado "or)ado push processing *;2/
rollo reel *;4/
rollos A y B AOB rolls *1/
rueda dentada sproc(et *-;/
ruido noise *,0/
S
sala de ediciJn editing room *1=.1/
salto de imagen &ump cut *1-.2/
secuencia se%uence *-0/
sePal de sincro bleep tone *-/
sincro synchro *-=/
sincroni)aciJn synchroni)ation *-=/
sobree7posiciJn o!ere7posure *,;/
sonido ambiente room tone *;./
sonido Jptico optical sound *,./
sube7posiciJn undere7posure *=,/
subtKtulos subtitles *--/
D
time code time code *=1/
tKtulos titles *=4/
tolerancia latitude *.2/
toma shot *-1/
toma de archi!o library shot *-1.1/
toma sin sonido 0.1.S. *.;/
toma sub&eti!a :.1.3. shot *-1.2/
trans"er telecine *=0/
truca# truca&e Jptico optical e""ects# opticals *,3/
%
!eladura "og *3-/
3?S 3?S *=;/
!ideocassette !ideotape *=-/
!oice o!er !oice o!er *==/
E
)oom )oom *103/
Bibliography
-<ilmland. <ilm# audio and !ideo terminology.
http+OO$$$."ilmland.comOglossaryO5ictionary.html
->arcKa <ernande)-Balbuena# Augusto. Diccionario de cine y video. Espaol!in"l#s$ In"l#s!
espaol.ayo Ediciones# 0adrid# 1=--
-B15AB. >lossary o" post-production terms.
http+OO$$$.(oda(.comOHSOenOmotionOsupportOglossaryOglossary.shtml
-Cor$ood# Scott E. Hsenet ne$sgroup rec.arts.mo!ies.tec <AQ# 1==-.
http+OO$$$.redballoon.netORsnor$oodO"a%2.html
-Aeis)# Barel. %#cnica del &onta'e cine&ato"r(fico. aurus# 0adrid# 1=-=
-Ausso# Eduardo A. Diccionario de cine. Ediciones atan(a# Buenos Aires# 1==,
-Schlemo$it)# Soel. ) "lossary of fil& ter&s$ 1===.
http+OOhomepage.ne$school.eduORschlemo&O"ilmTcoursesOglossaryTo"T"ilmTtermsOglossary.html
-3illain# 5omini%ue. El &onta'e. Ediciones CLtedra# 0adrid# 1==4