In the intricate world of filmmaking, every detail matters, and efficiency is paramount. One way production crews streamline their communication is through the use of shorthand abbreviations on paperwork. These abbreviations save space and time, enabling filmmakers to convey essential information quickly and effectively. Whether you’re navigating a lined script or facing pages, understanding these common abbreviations is crucial. Let’s dive into the alphabet soup of filmmaking!
ANG – Angle
The ANG, or angle, refers to the position of the camera. Understanding the desired angle is vital for capturing the intended perspective of a scene.
BG – Background
BG, or background, encompasses everything happening behind the main action. It’s a key element for setting the scene and creating a realistic environment.
BH/CU – Big Head Close-Up
This abbreviation denotes a type of close-up shot that focuses on the subject’s head, emphasizing facial expressions and emotions.
CH/SH – Choker Shot
A CH/SH, or choker shot, is another variation of a close-up, highlighting the subject’s face, especially the neck and above.
CL – Camera Left
Knowing the camera’s left side is crucial for maintaining consistent framing and visual storytelling.
COMP – Complete
When a scene is labeled as COMP, it signifies that shooting for that particular scene has been successfully completed.
CONT – Continued
CONT indicates that the scene extends to the next page in the script, providing a seamless transition in the narrative.
CR – Camera Right
Similar to CL, CR denotes the right side of the screen from the camera’s perspective.
CS – Close Shot
CS, or close shot, is synonymous with a close-up, emphasizing proximity to the subject.
CU – Close-Up
A fundamental term, CU refers to a shot that captures a human subject from about the neck up, focusing on facial expressions.
D/A – Down Angle
D/A describes a shot where the camera is positioned low, looking up, providing a unique and dynamic perspective.
D/I – Dolly In
This abbreviation indicates a wheeled camera move towards the main action of the scene, drawing the audience closer.
D/O – Dolly Out
Conversely, D/O signifies a wheeled camera move away from the main action, creating distance and context.
DBLE – Double
DBLE denotes a type of two-shot, featuring two characters or elements within the frame.
DIAL – Dialogue
DIAL stands for dialogue, the spoken words exchanged by the characters, a crucial element in storytelling.
DISS – Dissolve
DISS represents a digital transition between two shots, often used for smooth scene transitions.
E/S – End Slate (End Marker)
An E/S, or end slate, is the camera slate used at the conclusion of a take, also known as a Tail Slate.
ECU – Extreme Close-Up
An ECU focuses on a specific detail of a character or object, offering an intimate and detailed view.
ELS – Extreme Long Shot
ELS provides a wide perspective, capturing a vast amount of the scene and minimizing the characters’ visibility.
ENT – Enter
ENT signifies the introduction of a character or object into the frame, a cue for the audience to take notice.
EST SHT – Establishing Shot
An EST SHT conveys the setting to the audience, offering a glimpse of the location.
EXT – Exterior
EXT designates an outside setting, distinguishing scenes that take place outdoors.
F/I – Fade In
F/I describes a dissolve from black to video, a cinematic technique used to begin a scene.
F/O – Fade Out
Conversely, F/O denotes a dissolve from video to black, often used to conclude a scene.
F/SH – Full Shot
F/SH captures a person from head to toe, providing a comprehensive view of the subject.
F2/SHT – Full Two Shot
F2/SHT expands the view to include two people from head to toe, enhancing the visual dynamic.
F3/SHT – Full Three Shot
F3/SHT broadens the perspective to encompass three people from head to toe.
FG – Foreground
FG refers to objects closer to the camera within the frame, contributing to depth and composition.
FS – False Start
An FS indicates a mistake occurring near the director’s “action” cue, requiring a reshoot.
FT – Feet
FT, or feet, represents the unit of length for physical film, crucial for precise camera positioning.
FX – Special Effect
FX encompasses visual tricks or illusions used to simulate imagined events, adding cinematic flair.
GD – Good
GD signifies the director’s approval, indicating satisfaction with the shot.
GR/SH – Group Shot
GR/SH features multiple characters in a medium or wide shot, capturing the ensemble.
GS – Green Screen
GS denotes a green background used for chroma key compositing, enabling the insertion of digital elements.
H/A – High Angle
H/A describes a shot where the camera is positioned high, looking down, altering the perspective.
HH – Hand Held
HH denotes a handheld shot, where the camera operator holds the camera with their hands, providing a dynamic, unsteady feel.
INC – Incomplete
INC labels a scene where additional camera setup and shooting are required.
INT – Interior
INT signifies an indoor setting, distinguishing scenes that take place inside.
L/A – Low Angle
L/A describes a shot where the camera is positioned low, looking up, emphasizing the subject’s dominance.
L-R – Left to Right
L-R indicates a camera movement from the left side of the frame to the right, contributing to visual flow.
L/S – Long Shot
L/S captures the characters in their entirety, providing context with a large portion of the surrounding environment.
MAST – Master Shot
MAST records an entire scene from start to finish, maintaining a wide perspective with all characters in the frame.
MCS – Medium Close Shot
MCS, or medium close-up, captures a human subject’s face from mid-chest up, offering a balance between intimacy and context.
MCU – Medium Close-Up
MCU is synonymous with MCS, both referring to a shot capturing the subject’s face from mid-chest up.
MED – Medium Shot
MED captures the subject or subjects from the waist up, providing a broader view of the setting.
MLS – Medium Long Shot
MLS frames the character from mid-thigh and up, also known as a Cowboy Shot or MW.
MOS – Mit Out Sound
MOS indicates a scene filmed without sound, often used in post-production for dubbing.
MW – Medium Wide
MW, or medium wide, is an alternative term for MLS, capturing the character from mid-thigh and up.
NG – No Good
NG designates a shot or take that is deemed unsatisfactory and not suitable for use.
OC – Off-Camera
OC refers to something happening off-camera or outside the frame during a shot.
OOF – Out of Focus
OOF describes a shot that is not in focus, often considered a mistake in cinematography.
OS – Off-Screen
OS indicates something happening outside the frame within the story, leaving room for imagination.
OTS – Over the Shoulder
OTS captures a character from behind the shoulder of another, providing a unique perspective.
P/B – Pull Back
P/B signifies the camera pulling away or moving back from the main action, revealing a broader context.
P/I – Push In
P/I denotes the camera being pushed towards the main action, intensifying focus on a specific element.
PU – Pick Up
PU represents a small portion of a shot that is re-recorded to correct or enhance a particular element.
R-L – Right to Left
R-L signifies a camera movement from the right side of the frame to the left, influencing visual storytelling.
R/SH – Rack Focus Shot
R/SH involves changing the focus of the lens from one character or object to another during a continuous shot.
RS – Reset
RS indicates that a shot is starting over again from the beginning, often used for multiple takes.
RVS – Reverse
RVS captures the reverse angle from a previously recorded shot, offering a complementary perspective.
S/C – Steadicam
S/C involves placing the camera on a stabilizer for a smooth, steady shot, eliminating shakes and jitters.
SER – Series
SER denotes multiple takes captured in a single shot, streamlining production efficiency.
SFX – Sound Effect
SFX encompasses artificially created or enhanced sounds recorded or needed for a shot.
SFX – Special Effect
SFX, as a visual trick or illusion, is used to simulate imagined events, adding a layer of spectacle.
SGLE/FS – Single Full Shot
SGLE/FS captures one person from head to toe, emphasizing individual significance.
SND – Sound
SND signifies that sound was recorded for the corresponding take or shot, an essential component for post-production.
T/S – Tracking (or Trucking) Shot
T/S involves a shot that follows a character’s movement around a scene, providing dynamic visuals.
T/S – Tail Slate
T/S, or tail slate, is the slate used at the end of a take, typically placed upside down in the frame for easy identification.
TRAV/SH – Traveling Shot
TRAV/SH is another term for a tracking shot, following a character’s movement within a scene.
VFX – Visual Effect
VFX encompasses visual tricks or illusions used to simulate imagined events, enhancing the visual spectacle.
V.O. – Voice Over
V.O. denotes voice recorded for off-screen use, providing additional narration or insight.
W.L. – Wild Line
W.L. represents a line of dialogue recorded off-camera, intended to be edited into the scene during post-production.
X’S – Crosses Screen
X’S signifies a character or object crossing from one side of the frame to the other, contributing to visual dynamics.
X’T – Exits Shot
X’T denotes a character or object leaving the shot or frame, concluding their presence in the scene.
X/ANG – Cross Angle
X/ANG involves two similarly framed, but reverse angles, offering a complementary visual perspective.
XWIDE – Extreme Wide
XWIDE captures a vast amount of the scene, making characters appear small or invisible, setting a grand visual scale.
Z/I – Zoom In
Z/I involves using a zoom lens to move the frame closer on a subject or object, emphasizing details.
Z/O – Zoom Out
Z/O involves using a zoom lens to move the frame out, revealing a broader perspective.
In the intricate language of filmmaking, these abbreviations serve as the key to efficient communication on set. Whether you’re a seasoned filmmaker or an aspiring cinephile, decoding these abbreviations opens up a new layer of understanding and appreciation for the art and craft of filmmaking.
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