Production Jargon Buster

Informal toilet-break shorthand

Informal radio or set shorthand used on some productions to say that someone needs the toilet. It is not universal, so use the wording and radio etiquette agreed by that production.

First Assistant Director

The person who runs the set and keeps the filming day moving to schedule. The 1st AD coordinates departments, calls for rehearsals and takes, and turns the director's plan into a practical working day.

First Assistant Editor

A senior member of the editing team who prepares and organises footage, synchronises picture and sound, manages the editing project and supports the editor through cuts, turnovers and final delivery.

Second Assistant Camera

A member of the camera team who commonly manages the clapperboard, camera reports, batteries, media, lens changes and marks for performers. The exact duties depend on the size and type of production.

Second Assistant Director

A member of the assistant directors' department who coordinates cast movements, call times and unit-base activity, and commonly prepares the next day's call sheet with information from each department.

Second Assistant Editor

An editing-team role that supports media organisation, syncing, labelling, project preparation, exports and other technical tasks under the first assistant editor.

Second Assistant Sound / Second Assistant Boom

A member of the production sound team who may help with radio microphones, batteries, cables, frequencies, sound paperwork and equipment while supporting the sound mixer and boom operator.

Third Assistant Director

A set-based member of the assistant directors' department who helps manage runners, background artists, crowds, movement and communication between set and unit base.

Senior creative and principal talent costs

A budgeting term for senior creative roles and principal talent, commonly including producers, directors, writers and leading cast. What is included can vary between productions and accounting systems.

Production Accounts Clerk / Accounting Clerk

A member of the production accounts team who processes invoices, expenses, petty cash, purchase paperwork and financial records under the production accountant or financial controller.

Start-performance cue

The cue that the performance or filmed action should begin. It normally comes only after the camera and sound departments are ready.

Vehicles used in or around a filmed scene

An action vehicle is driven or used as part of the filmed action. A dressing vehicle is placed to complete the background or setting and may remain stationary. Specialist coordination and safety controls may apply.

Automated Dialogue Replacement or Additional Dialogue Recording

Dialogue recorded after the original filming, usually to replace unclear sound or add lines. A child may be called to a recording studio rather than a filming set.

After Lunch Turnover

The first turnover after the meal break, marking when camera and sound resume recording after lunch. The time may be recorded in the daily production report or other production timings.

AM Turnover

The first turnover of the morning filming period. It records when camera and sound first begin running after the day’s preparation and may be noted in production timings or reports.

Animator / CG Animator / 3D Animator

An artist who creates the movement and performance of drawn, computer-generated or modelled characters and objects, working frame by frame or through digital animation tools.

Assistant Production Office Coordinator

A production-office role that supports the coordinator with paperwork, travel, orders, communications, schedules and the flow of information between departments.

Standard wooden support box

A strong wooden box made in standard sizes and used to raise, support or level people, props and equipment. It should only be used as directed and never as an improvised toy or seat for a child.

Entry-level art department support role

A member of the art department who may help with research, drawings, graphics, sourcing, purchases, paperwork and practical preparation for sets and locations.

Senior art department role

A senior member of the art department who turns the production designer's visual plan into drawings, sets and practical work, coordinating people, budgets, schedules and construction requirements.

Assistant Stage Manager

A member of the stage-management team who supports rehearsals and performances, often helping with props, backstage calls, scene changes and the practical running of the show.

The shape of the filmed image

The relationship between the width and height of an image or screen. Different ratios create different frame shapes and affect how performers, scenery and graphics fit within the picture.

Early edit or assembly cut

An early edit that places available shots and scenes into a basic order before detailed creative editing begins. It is usually longer and less polished than a rough cut.

Assistant Art Director

An art department role that supports the art director with drawings, set plans, surveys, construction information, scheduling and coordination between design and practical teams.

Assistant Costume Designer / Costume Design Assistant

A costume role that supports the designer with research, fittings, costume breakdowns, sourcing, continuity planning and communication with the wider costume team.

Assistant Location Manager

A locations-team role that helps arrange permissions, access, parking, facilities, resident communication, unit movement and the day-to-day management of filming sites.

Assistant Technical Director / Junior Pipeline TD

A junior technical role in animation or visual effects that supports digital tools, workflows and pipelines, solves technical problems and helps artists move work reliably between departments.

Return to the starting position

An instruction for performers and relevant crew to return to the positions from which the previous take began so the shot can be repeated.

Outdoor studio filming area

An outdoor area at a studio containing permanent or adaptable streets, buildings and open spaces used as controlled filming locations.

Areas not seen by the audience

The working areas behind or beside the stage, including wings, dressing rooms, corridors, quick-change areas and stage-management positions.

Curved movement around the action

An instruction to move in a curved path rather than a straight line, often so a performer stays correctly framed, maintains an eyeline or moves around another person or object.

Adjustable flaps on a light

Metal flaps fitted around the front of a lighting fixture and adjusted to shape the beam, reduce spill and keep light away from parts of the set.

Production support area

The support area for a filming unit. It may contain cast trailers, hair and make-up, costume, catering, toilets, production offices, parking and transport. It may be separate from the filming location.

Call to starting positions

A call telling performers and relevant backstage staff to move to their starting positions before the beginning of a show or act.

Production and technical costs

A budgeting term for crew, equipment and practical production costs that sit outside the senior creative and principal talent section. The precise split varies between budgets.

Senior assistant in the lighting team

The gaffer's senior assistant, helping organise lighting crew, equipment, power, schedules and paperwork. Some productions use a gender-neutral alternative title.

Senior assistant in the grip team

The key grip's senior assistant, helping organise grip crew, camera-support equipment, rigging, transport and the safe delivery of planned camera movement.

Stage lights out

A moment when the stage lighting goes fully or almost fully dark, often to mark a transition or allow a change to happen out of the audience's view.

Group of episodes made together

A group of television episodes scheduled and produced together, often with the same director and core team. The word can also describe a section of the overall filming schedule.

Planned performer movement

The planned positions and movements of performers in a scene. Blocking may be set during rehearsal and adjusted for cameras, scenery, lighting or safety.

Performer used for a specific shot

A performer used in place of an actor for a particular shot, angle or physical requirement. The production should be clear about what the double will do and how the shot will be managed.

Pole-mounted production microphone

A microphone mounted on a long pole so it can be positioned close to performers while remaining outside the camera frame. It is handled by the boom operator.

Member of the production sound team

The crew member who positions the boom microphone as close as practical to the performers while keeping it out of shot.

Body of Persons Approval

An approval that may cover a group of children taking part in specified performances or activities where the relevant rules allow it. It is not a blanket replacement for licensing or safeguarding duties, so the organiser must confirm whether it applies.

Reflected light

Light redirected from a surface such as white board, fabric, a wall or a reflector. Bouncing light can soften it, change its direction and reduce harsh shadows.

Object designed to break safely on cue

A prop or section of scenery specially made to break in a controlled way during action. It still requires planning, rehearsal and supervision by the relevant specialist department.

Department or scene requirement lists

Documents that pull specific information from a script, such as cast, props, costume, vehicles, locations, effects or filming days, so departments can plan their work.

Identifying every production requirement in a script

The process of reading a script scene by scene and recording everything needed to make it, including people, locations, props, costume, effects, vehicles, animals and special arrangements.

Lamp or globe inside a lighting fixture

Lighting-department slang for the replaceable lamp or globe inside a fixture. It can become extremely hot and must only be handled by the appropriate crew.

Construction or creation of a production element

The process of making a set, prop, costume, rig or digital asset rather than hiring, buying or using an existing one. It can also refer to the finished item.

Century stand

A heavy-duty stand commonly used to hold flags, nets, reflectors, small lights and rigging accessories. It must be positioned and weighted correctly to prevent it tipping.

Required attendance or readiness time

A request or instruction to attend, report or be ready at a particular time. In theatre it can also mean a spoken warning, such as a beginners call or interval call.

Daily production plan

The daily document setting out call times, locations, scenes, cast and crew requirements, contacts, directions, weather and safety information. Chaperones and tutors should also check the child's licence conditions and agreed welfare and education arrangements.

Time a person is required

The time a person is expected to arrive, report or be ready. Check whether the stated time means arrival at unit base, arrival on set, hair and make-up, tutoring or readiness for performance.

Camera equipment or camera department

Depending on context, camera can mean the recording equipment itself or the department responsible for lenses, focus, operation, image capture and associated technical records.

Crew member who operates the camera

The person who physically operates a camera during a take, working with the director and director of photography to achieve the required framing and movement.

Rehearsal for camera and crew

A rehearsal used to check performer movement, camera positions, focus, lighting, sound and timing before a take is recorded.

Entry-level camera department role

A junior member of the camera team who supports equipment preparation, batteries, lenses, media, reports and practical tasks while learning the department's workflow.

The performers in a production

The actors and other performers appearing in the production. Productions may use further labels such as principal cast, main cast, ensemble or supporting artists.

Lead casting professional

The person who works with producers and directors to find, audition and recommend performers for roles, then helps coordinate offers, availability and casting information.

Computer Graphics Supervisor

A senior visual-effects role overseeing the creation and technical quality of computer-generated imagery, including teams, workflows, assets, lighting, simulation and rendering.

Child-performance safeguarding role

An adult approved or licensed under the arrangements that apply to safeguard a child performer when the child is not in the care of their parent or legal guardian. The exact requirements vary by UK nation and authority.

Small adjustment made for the camera

To adjust a performer, prop or piece of scenery from its natural position so it reads better on camera while still appearing believable in the finished shot.

Final appearance or technical checks

A short pause before filming or performance while departments such as costume, hair and make-up, sound or props confirm that everything is ready and consistent.

Senior hair and make-up department lead

The senior practitioner who develops or leads the hair and make-up look, plans staffing and materials, and oversees preparation, continuity, changes and standards across the production.

Individual child-performance authorisation

Permission from the relevant authority for an individual child to take part in certain performances or activities. Rules and terminology differ across the UK, so the correct authority and the conditions on the licence must be checked.

Work record or salary voucher

Paperwork used to record a performer’s attendance, hours, breaks, overtime, allowances or other payment information. It normally needs to be checked and signed before the performer leaves so production or the agency can process payment.

Shot-identification board

A board shown and clapped at the start of a take to identify the production, scene and take and to help synchronise picture and sound.

Permission to use protected material or property

The process of confirming legal permission to show or use material such as music, artwork, brands, photographs, locations, archive footage or a person's contribution.

Moving distractions away from a performer's sightline

An instruction for unnecessary people or equipment to move away from the direction a performer must look, helping preserve the required focus, screen direction and performance.

Restricted-access filming area

A set where access is limited to specifically authorised people, usually for privacy, safeguarding or sensitive material. The production should clearly state who may remain and how the area is controlled.

Senior colour-grading specialist

The post-production specialist who adjusts colour, contrast, exposure and the overall visual finish so shots match and the intended look is achieved.

Theatre company administration and welfare role

A role that supports the company through administration, schedules, travel, welfare and communication. The precise responsibilities vary between productions and venues.

Senior lead for visual-effects compositing

The person who leads the compositing team, sets technical and creative standards, reviews shots and makes sure the separate visual elements combine consistently.

Compositing Artist / Finishing Artist

A visual-effects artist who combines filmed plates, computer-generated elements, mattes and corrections into a single convincing final image.

Visual development artist

An artist who creates images that explore how characters, creatures, environments, props or sequences could look before detailed design and production begin.

Head of set construction

The person who plans and supervises the building, installation and removal of sets, coordinating labour, materials, budgets, schedules and safe working practices.

Continuity and script-record role

The person who tracks script coverage, dialogue, timing and visual details between takes and scenes so material filmed out of order can be edited together consistently.

Clothing department

The department responsible for performers' clothing, fittings, changes, maintenance and continuity. In the UK, costume is often the preferred production term, while wardrobe is also widely understood.

Head of costume design

The creative lead who designs or selects the clothing worn by performers so it supports character, story, period, movement, continuity and the production's overall visual style.

Senior costume department manager

A senior costume role responsible for budgets, schedules, staffing, fittings, sourcing, continuity and the practical organisation needed to deliver the designer's plan.

Entry-level costume department role

A junior member of the costume team who may help with fittings, laundry, maintenance, labelling, returns, continuity records and preparing costumes for cast.

On-set snacks and refreshments

The service that provides drinks, snacks and light refreshments during the working day. It is separate from the main meal catering and does not replace required child welfare or meal arrangements.

Creature Technical Director / Character TD

A visual-effects specialist who builds and supports the digital systems that make characters, creatures, hair, fur, muscles or cloth move believably.

Production contact and role list

A controlled document listing crew names, roles and contact details. It may be confidential and should only be shared or stored in line with production instructions and data-protection requirements.

Warning that someone is moving through the camera view

A brief warning given before walking between the camera and its subject or through an active frame, helping the camera team understand an intentional interruption.

Maintaining consistent screen direction

A camera principle that keeps shots on one side of an imaginary line through the action so left, right and eyelines remain clear. Crossing it without planning can make screen direction appear reversed.

Assistant-director team for background artists

The assistant-director team that coordinates large groups of supporting artists, including sign-in, information, movement, holding and readiness for set.

Signal for an action to happen

A spoken, visual, musical or technical signal telling a performer or department to carry out an action, such as entering, speaking, changing lighting or starting sound.

Stop-recording cue

The cue that the current take has ended. Performers should normally stay in position until the instruction is clear, because a department may still be completing a task.

Curved seamless studio or stage backdrop

A large curved background designed to create a smooth, apparently endless surface for lighting, filming or projection without a visible corner between wall and floor.

Data Capture Technician / Data Capture TD

A visual-effects role that records accurate information about the set, camera, lenses, lighting, measurements, textures and reference material needed to recreate or extend a shot digitally.

Daytime filming made to look like night

A technique in which a scene is filmed during daylight and shaped through exposure, lighting, filters and grading so it appears to take place at night.

Cast working-day schedule

A scheduling chart showing which days each cast member works, travels, rehearses, starts or finishes. It helps production plan availability, contracts, travel and costs.

Dismantle equipment or change out of costume

De Rig can refer to the controlled dismantling and removal of cameras, lighting, sound, scenery, cables or other production equipment after filming, an event or a particular setup. It can also mean a performer removing their costume, returning it to wardrobe and changing back into their own clothes once their work is complete. For child performers, changing should be handled privately, safely and in line with the production safeguarding arrangements. Equipment de-rigging may continue after performers have wrapped and should be carried out by the relevant trained crew.

Summary of agreed engagement terms

A short document recording key agreed terms such as role, dates, rate, expenses and conditions before or alongside a full contract. It should be checked rather than treated as an informal promise.

Compact focusable lighting fixture

A small, precise and highly controllable lighting fixture often used to create a focused pool, highlight a detail or shape light in a confined area.

Required final production materials

The picture, sound, captions, paperwork, publicity materials and technical files that a broadcaster, distributor, platform or client requires at the end of production.

Producer responsible for final delivery

A production or post-production role that coordinates delivery specifications, files, documents, approvals and deadlines so the completed programme reaches the client in the required form.

Early creative and business stage of a project

The stage in which an idea is researched, written, tested, financed and shaped into a project that may be commissioned or approved for production.

Producer who develops ideas and projects

A producer who finds and develops ideas, writers, contributors, formats or source material, preparing pitches and working towards a commission, option or production decision.

Creative lead for the production or episode

The person who leads the creative realisation of the script or programme, guiding performance, staging, camera choices and storytelling while collaborating with cast and every department.

Digital Imaging Technician

A senior camera-department technician who helps manage digital image quality, monitoring, exposure, colour decisions, camera settings and the secure handover of recorded material. Duties vary by production.

Wheeled camera platform

A wheeled platform used to move the camera smoothly, sometimes on laid track and sometimes on a suitable floor. It is normally rigged and operated by the grip team.

Director of Photography

The senior creative lead for the photographed image, including lighting, framing, lenses and camera movement. The DoP may operate a camera, but that is not the whole role.

Full rehearsal in performance conditions

A rehearsal using costume and as many final performance elements as possible, usually including lighting, sound, props, scene changes and make-up.

Prepare only the area visible in frame

To place or adjust set dressing, props, costume or appearance for the camera angle being filmed, rather than completing parts of the space that will not be seen.

Objects used to dress a set

Objects placed in a set or location to create the environment but not normally handled as part of the action. They are managed separately from action or hand props on some productions.

Deputy Stage Manager

The stage-management role that commonly keeps the prompt copy and calls the technical cues during a performance, while coordinating information between departments.

Head of picture editing

The creative post-production role that selects and arranges recorded picture and sound to shape performance, story, pace and structure in collaboration with the director and producers.

The picture-editing department and process

The department and workflow responsible for organising footage and building the programme through assemblies, cuts, reviews, notes, turnovers and final picture decisions.

Effects Technical Director

A visual-effects specialist who creates simulations such as fire, smoke, water, destruction, particles, weather or other complex digital movement.

Group of performers working collectively

A group of performers whose work forms part of the production as a whole. The term may describe a chorus, a group with multiple smaller roles or the whole acting company.

Digital environment modeller or artist

A visual-effects artist who builds or extends digital places, landscapes, architecture and background worlds to blend with filmed material.

Senior production or series leadership

An executive producer provides senior creative, financial or business oversight. On some scripted series, a showrunner is the lead writer-producer responsible for the programme as a whole. Titles and authority vary.

Secondary light used to control shadows

A light or reflected source used to soften or reduce shadows created by the main light, controlling contrast without necessarily appearing as a separate visible source.

Opaque light-control panel

A black panel or fabric used to block, shape or reduce light. It is usually mounted securely on grip equipment and positioned by the lighting or grip team.

First Assistant Camera

A senior member of the camera team responsible for keeping the image in focus and helping prepare, check and maintain the camera system.

Front of House

The public-facing part of a theatre and the team responsible for audience areas, ticketing, ushers, access and the safe operation of the auditorium before, during and after a performance.

Recorded performance of everyday sound effects

The post-production process of performing and recording sounds such as footsteps, clothing movement and handling objects so they match the action on screen.

First Turnover

The first time camera and sound begin running for a take during the filming day. Productions may record FTO because it shows when the unit moved from preparation into the first filmed take.

Chief lighting electrician

The person who leads the lighting electrical crew and turns the director of photography's lighting plan into a safe, practical setup.

Crew member responsible for mobile power generation

A specialist who operates and monitors production generators and power distribution, working with the electrical department to provide a safe and reliable supply.

Move production equipment into or out of a venue

The process of bringing scenery, lighting, sound, costumes and other equipment into a venue, then removing it after the run. A get-out may also be called a load-out or strike.

Instruction to execute a cue

The word used by the person calling the show to tell a department to carry out a prepared cue at that exact moment.

Short period of warm natural light

The period around sunrise or sunset when daylight is soft, low and often warm. Because the look changes quickly, scenes planned for it may have a tight shooting window.

Final colour and image adjustment

The post-production process of balancing shots and shaping colour, contrast, brightness and visual style after the edit has reached the required stage.

Traditional entrance to the green room

In traditional theatre layout and folklore, a green door marked the entrance to the green room, the communal waiting and resting area used by performers. Modern venues do not always follow this colour code, so current venue signage and staff instructions should always take priority.

Performer waiting and rest area

A room where performers can wait or rest when they are not required on stage or set. The room is not necessarily green, and it is not automatically suitable as a dedicated children's area.

Formal approval to proceed

The decision that a project has sufficient approval and backing to move into the next major stage, commonly production. Conditions, finance or contracts may still need to be completed.

Camera-support and movement crew

A crew member who rigs and operates camera-support and movement equipment, such as dollies, tracks, cranes and mounts, so the planned camera movement can be achieved safely.

Hair and make-up department practitioner

A practitioner who prepares and maintains performers' hair and make-up, carries out changes and checks, and records continuity for the scenes being filmed.

Assistant in the hair and make-up department

A department role supporting preparation, kit, crowd or cast work, checks, cleaning, records and continuity under senior hair and make-up staff.

Entry-level hair and make-up role

A junior member of the department who assists with setup, hygiene, stock, records and practical tasks while developing professional hair and make-up skills.

Camera operated without a fixed support

A shot or setup in which the camera is held or shoulder-mounted by the operator rather than fixed to a tripod, dolly or other static support.

Clear transfer of responsibility and information

An explicit transfer of responsibility for a child, together with relevant welfare, licence, medical, education and contact information, from one authorised adult to another. It should never be left to assumption.

Senior production-management lead

A senior role overseeing production management, budgets, staffing, systems and delivery across a company, slate or major production. The exact responsibilities depend on the organisation.

Featured or best version of an object

The primary, most detailed or fully working version of a prop, costume, vehicle or digital asset, usually reserved for close shots or important action.

Daylight-balanced high-intensity lamp

A powerful discharge light commonly used to create or supplement daylight. It requires specialist power and operating procedures and must be handled by the lighting team.

Hair and Make-Up

The department responsible for performers' hair and make-up, including preparation, checks, continuity and changes required by the story or schedule.

Head of Department

The person leading a production department, responsible for its creative or practical delivery, team, budget, communication and standards. The reporting structure varies between productions.

Waiting space for cast or supporting artists

A designated place where performers wait until they are needed. Children require appropriate supervision, privacy, welfare facilities and separation arrangements even when the wider cast is held together.

Mobile toilet or dressing-room trailer

A production trailer containing portable toilets and sometimes dressing rooms or small support spaces. Facilities and access arrangements vary between units.

Set that must not be altered

A set that is ready for filming or still required for continuity. Nothing should be moved, cleaned, used or reset unless the appropriate department gives permission.

Audience area of a theatre

The part of a theatre where the audience sits. The word house can also refer collectively to the audience, as in house open or full house.

Lights for the audience area

The general lighting in the auditorium. It is usually on while the audience enters and leaves and lowered or switched off for the performance.

Interior / Exterior

Abbreviations in a script or schedule showing whether a scene is set inside or outside. They describe the story setting, which may not always match where the scene is physically filmed.

Lighting that reacts to or represents visible action

Changing light created on set to interact with the action or imitate a source such as fire, a television, passing traffic, an explosion or movement through a lit environment.

Break between parts of a performance

A scheduled break between acts or parts of a live performance. It is not automatically the same as a child's required break or meal period.

Specialist for intimate performance and consent

A specialist who helps plan and choreograph intimate content, supports clear consent and boundaries, and works with performers and departments to deliver agreed action safely and respectfully.

Small crane-like camera support

A pivoting arm that raises, lowers or sweeps a camera through space. It is rigged and operated by trained camera or grip crew with a controlled working area.

Main light shaping a subject

The principal light used to establish the direction and character of illumination on a subject. Other sources may then fill, edge or balance the result.

Small body-worn microphone

A small microphone attached to or hidden in a performer's clothing or costume, normally connected to a radio transmitter. Fitting must respect privacy, consent and safeguarding arrangements.

Visual-effects or animation layout specialist

An artist who establishes virtual camera positions, framing, scale, timing and the placement of digital elements before detailed animation or visual-effects work continues.

Local Education Authority

An older but still commonly heard term for the local public authority involved in education and child-performance matters. Current organisation names and responsibilities vary, so confirm the actual authority dealing with the child or production.

Requirements attached to a child's licence

The specific requirements, limits or arrangements stated on a child's performance licence. They must be read alongside the applicable law, official guidance and production safeguarding procedures.

The department and craft of lighting a production

The people, equipment and creative work used to illuminate performers and environments for the camera. The department works under the gaffer and director of photography.

Digital lighting specialist

A visual-effects or animation artist who places and shapes virtual light so computer-generated elements match the intended mood and blend with filmed material.

Senior day-to-day production lead

A senior production role responsible for the day-to-day budget, schedule, staffing and logistics needed to deliver the production. The line producer is a key decision-maker, while creative direction usually sits with the director and producers.

Junior locations department role

A member of the locations team who helps with signs, access, parking, residents, facilities, unit moves, site protection and restoring the location after filming.

Head or senior manager of filming locations

The person responsible for finding or managing locations and coordinating permissions, access, neighbours, parking, facilities, safety, unit bases and the condition in which sites are returned.

Temporary production direction signs

Temporary coloured or coded signs used to guide crew and vehicles to unit base, parking or a filming location. Follow the call sheet and official production directions, and do not share confidential production codes or locations.

Locations department

The department that finds, prepares and manages filming locations and related logistics, including permissions, access, neighbours, parking, facilities, unit bases and restoring the site afterwards.

Control movement and noise for a take

An instruction for crew to control access, movement and noise in and around the filming area because a rehearsal or take is about to happen.

Lighting or electrics

Common theatre shorthand for lighting, the lighting department or a lighting cue, depending on the context in which it appears.

Position a performer or object for the camera

A mark is a recorded or taped position used for focus, framing or movement. To mark it means to establish or return to that position as directed.

Camera and movement tracking artist

A visual-effects artist who analyses filmed movement and recreates the camera or subject motion digitally so added elements remain correctly positioned within the shot.

Daytime performance

A performance held during the day, usually in the afternoon. A two-show day may include a matinee and an evening performance.

Digital 3D modeller

An artist who builds the three-dimensional shape and structure of digital characters, creatures, props, vehicles or environments for animation and visual effects.

Detailed plan for a production move

A logistics document setting out vehicles, passengers, routes, timings, destinations and contacts for a planned company or unit move. It may contain confidential location information.

Post-production music specialist

The person who prepares, edits, times and tracks music against the picture, working with the composer, editor, director, sound team and production to support the final soundtrack.

No Good

Shorthand indicating that a take, recording or item is not suitable for use. The reason may be technical, performance-related or practical.

Feedback after a rehearsal or performance

Feedback or instructions given after a rehearsal, run or performance. Notes may cover performance, timing, safety, staging, costume or technical matters.

At the active filming area

At the place where the scene is being filmed. Unit base, holding, costume and hair and make-up may all be nearby but are not necessarily on set.

Decision or requirement handled during the shoot

A phrase used when a detail will be decided or completed during filming rather than settled in advance. It should not be used to avoid necessary planning, licensing or safeguarding arrangements.

Move performers to the working set or studio floor

An instruction that a performer or group is being taken from holding, costume, make-up or unit base to the working set or studio floor. They should be ready to move with the authorised AD or crew member.

Time to report to the filming unit

The time a performer is expected to report to the unit, commonly at unit base before costume, hair and make-up or transport to set. Check the call sheet because productions may use the phrase differently.

Rights reserved for possible development

When a producer or company pays for the exclusive right, for a set period, to develop or seek finance for a script, book, format or other underlying material.

Summary of a story before the full script

A document describing the main story, structure and sequence of scenes without all the finished dialogue and detailed script formatting.

Department-by-department script meeting

A pre-production meeting in which the team goes through the script in order, discussing what each scene requires and identifying decisions, risks, questions and work for every department.

Recording a performer to drive a digital character

A process that records body, face and sometimes voice performance so it can be applied to a digital character. It may use specialist suits, markers, cameras and a dedicated capture space.

Additional or repeated piece of material

A short shot, line or section recorded to add missing material, correct a problem or improve an edit without repeating the whole scene.

Approved edit with no planned picture changes

The point at which the timing and order of the edited picture are approved for final sound, visual effects, grading and delivery. Later changes can affect several departments.

Warning that filming is about to begin

A warning that rehearsal is over and the unit is preparing to record a take. Movement and conversation should stop when the AD team calls for quiet and lock-off.

Pipeline Technical Director / Pipeline Technician

A technical specialist who builds, maintains and troubleshoots the digital systems that move files and work between artists, software and departments in animation or visual effects.

Presenting a project to gain support

A concise presentation of an idea, story, format, team or production plan intended to secure interest, finance, a commission or another development opportunity.

Editing and finishing stage of a production

The stage in which recorded material is organised, edited and finished. It includes picture, sound, music, visual effects, captions, grading, quality control and delivery, and may begin while filming is still underway.

Post-production coordination role

The person who tracks schedules, bookings, files, approvals, paperwork, turnovers and communication between editorial, sound, visual effects, grading, production and delivery teams.

Senior manager of the post-production process

The senior role responsible for planning and overseeing post-production budgets, schedules, suppliers, workflows, approvals and delivery from the end of filming to final masters.

Point of View

A shot framed to show what a particular character or person is seeing, placing the audience in that viewpoint.

Physical source or effect present on set

Something achieved physically during filming rather than created entirely in post-production, such as a working lamp in shot, rain, smoke, a breakaway object or a mechanical effect.

Planning stage before filming

The period before filming when the production plans scripts, casting, locations, schedules, budgets, crew, licences, safeguarding, design, equipment and practical arrangements.

Digital Preparation Artist / Paint Artist

A visual-effects artist who prepares filmed plates by removing unwanted items, repairing frames, cleaning images and creating material needed for later compositing.

Previs Artist / Previs Animator

An artist who creates simplified moving or still versions of planned shots so camera positions, action, timing, effects and technical problems can be explored before filming.

Featured or named performers

Performers with named, featured or leading roles. The exact classification can depend on the production, contract or broadcaster and does not change the safeguarding duties owed to a child.

Main period of filming

The main scheduled period in which the production records its planned scenes, separate from development, preparation, second-unit work, pick-ups and post-production.

Senior role responsible for bringing the production together

A producer develops and delivers the project, combining creative, financial, legal and practical responsibilities. The exact authority and duties vary by genre, company and production structure.

Head or senior manager of production accounts

The person responsible for production financial records, reporting, payroll oversight, costs, cash flow, controls and compliance with the approved budget and accounting requirements.

Buyer for sets, dressing and production requirements

A member of the art department who sources, hires or purchases furniture, dressing, materials and other items required by the set decorator and production designer.

Production Coordinator / Production Office Coordinator

The person who organises the production office and coordinates paperwork, travel, orders, communications, crew information, schedules and practical administration across departments.

Head of the art department

The senior creative responsible for the visual world of the production, including sets, locations, colour, architecture and the overall design approach developed with the director.

Manager of production logistics and resources

A production role responsible for practical delivery, which may include budgets, crew, suppliers, travel, facilities, schedules, health and safety, paperwork and day-to-day logistics.

Entry-level production support role

A crew member who supports practical tasks such as messages, paperwork, transport, refreshments and moving people between unit base and set. Runners commonly work with the AD or production teams.

Production office administration role

A member of the production office who supports documents, calls, records, orders, travel, contacts, distribution and other administration needed to keep information moving.

Position from which a theatre performance is called

The position from which the show is called and the prompt copy is kept. Prompt side and opposite prompt may be used instead of stage left and stage right, but the actual location can vary by theatre.

Senior lead for action and hand props

The person responsible for obtaining, preparing, tracking and safely managing the props used by performers or required for the action, working with design and continuity teams.

Objects used in a scene or performance

Objects handled or used by performers, or placed as part of the scene. Props should be returned to the correct place and not handled casually, especially where they are breakable, sharp, valuable or specially prepared.

Technical and content checking before delivery

The process of checking finished picture, sound, captions, files and paperwork against the required technical and editorial standards before delivery.

Rapid costume, wig or make-up change

A tightly timed change carried out between scenes or appearances, often in a designated backstage area with costume or wigs support. Privacy and appropriate arrangements remain important for children.

Two-way production radio

A two-way radio used for production communication. Keep messages brief, use the agreed channel and names, and do not broadcast confidential information or detailed safeguarding concerns over an open channel.

Agreed pay or charge levels

The amounts agreed for work, equipment, travel or services. A quoted rate does not by itself explain overtime, expenses, cancellation, holiday pay or other terms, which should be confirmed separately.

Location or technical reconnaissance visit

A visit made before work begins to assess a location or venue, plan access and facilities, identify risks and decide how filming, rehearsal or performance will operate.

Create the finished output from digital work

The computer process that calculates and produces finished images, animation, effects or video from digital scenes, layers and settings. Complex work can take significant processing time.

Requested changes to creative or technical work

Changes requested after a script, edit, design, graphic, sound mix or other item has been reviewed. Productions often track revision rounds, approval status and deadlines.

Specialist crew who install suspended or supported equipment

Specialist crew who safely install and support equipment such as lighting, camera mounts, scenery, tracks or overhead systems. The exact role varies by department and production.

Rigging Technical Director

A digital specialist who builds the internal controls, joints and deformation systems that allow animated characters or objects to be posed and moved.

Recorded assessment of hazards and controls

A structured process that identifies hazards, considers who could be harmed and records suitable controls. It must reflect the actual work and does not replace active supervision or safeguarding.

Ambient sound recorded at a location

Room tone is the quiet ambient sound recorded in a room or location, often with everyone still. Atmos is the broader background sound of an environment. Both help sound editors make joins and scenes feel natural.

Rotoscoping or junior visual-effects artist

A visual-effects artist who traces or isolates people and objects frame by frame so they can be adjusted, removed, placed behind another element or combined into a new image.

Footage recorded during filming

The footage recorded during a filming day and made available for review by authorised production staff. The terms are often used interchangeably.

Production-order shorthand in some broadcast workflows

Shorthand used in some television and broadcaster systems for a production order or related commissioning record. It is not universal, so confirm the meaning with the production office or broadcaster.

Concern about a child's safety or welfare

Something seen, heard, disclosed or suspected that may affect a child's safety or welfare. Follow the production's reporting route, the child's licence conditions and the relevant authority's procedures rather than investigating it yourself.

Written blueprint for the production

The written document containing scenes, action, dialogue and other information used to plan and make the production. Different versions may be issued during development and filming.

Editorial specialist who develops scripts

A person who works with writers and producers to strengthen story, structure, character, continuity and production practicality while tracking notes and revised drafts.

Senior role responsible for set dressing

The person who plans and manages the furniture, objects, fabrics and visual details that dress a set or location in line with the production designer's concept.

Special effects, or sometimes sound effects

In screen production, SFX usually means physical effects created during filming, such as rain, smoke, wind or breakaway objects. In theatre paperwork it may also mean sound effects, so check the context.

Time required for a live performance

The time a performer or crew member must report for a performance. It may be well before curtain to allow for warm-up, costume, wigs, make-up, checks and preparation.

Script pages for the day's work

The script pages for scenes planned that day, commonly sent with the call sheet. They help cast and relevant crew prepare without carrying the complete script.

Attendance and responsibility record

The record of when a child, chaperone, tutor or performer arrives and leaves. For children, it supports clear responsibility, handover, working-time and welfare records.

Live combination of camera footage and digital elements

A system that shows the filmed camera view combined with virtual scenery or computer-generated elements in real time, helping departments frame and judge a partly digital scene.

Short promotional or development video

A short, energetic video using selected footage, graphics, music or reference material to communicate a project's tone and attract commissioners, partners, finance or an audience.

Stage Left / Stage Right

The left and right sides from the performer's viewpoint while standing on stage and facing the audience. They are the opposite way round for someone looking at the stage from the auditorium.

Stage Manager

The person responsible for coordinating the practical running of rehearsals and performances, linking the creative, technical and performing teams and maintaining the agreed show.

Test of sound equipment and levels

A test used to confirm that microphones, speakers, instruments, playback and communication systems are working and set to suitable levels.

Head of production sound recording

The crew member responsible for recording usable dialogue and other sound during filming, working with boom operators and radio-microphone systems.

Entry-level production sound role

A junior member of the sound team who supports equipment, batteries, cables, radio microphones, paperwork and practical setup while learning professional recording workflows.

Controlled indoor filming space

A large controlled building designed for filming, often containing constructed sets, lighting grids, power and acoustic treatment. Studio can also mean the wider production facility.

Lighting electrical crew

Informal UK production shorthand for the lighting electrical crew who rig, power, position and control lighting equipment under the gaffer's direction.

Confirmation that recording is running correctly

A call confirming that the sound recorder or camera is running and ready for the slate and action. It comes from the relevant department during the sequence of calls before a take.

Single Point of Contact

A named person used as the main contact for a particular subject. On some productions this may be the safeguarding contact. The initials are used in different ways, so confirm the production's meaning and reporting route.

Small controlled special-effects charges

Specialist effects used to create a brief impact, burst, spark or simulated wound. They require trained effects personnel, controlled access, rehearsal and production-specific safety arrangements.

Performers' and staff entrance

The controlled entrance used by performers, company members and authorised visitors rather than the public front-of-house entrance.

Person used for technical setup

A person who takes an actor's position while camera, lighting or focus is set. A stand-in is different from a body double and may not appear in the finished shot.

Be ready and wait

An instruction to be ready for an action or cue but not to begin yet. In theatre, standby is normally followed by go. On set, a standby crew member may also be assigned to remain close during takes.

On-set props role

The props crew member who remains close to set, prepares and hands over action props, resets them between takes and helps maintain their safety and continuity.

Stabilised body-mounted camera system

A specialist camera-support system worn by an operator to create smooth moving shots while walking through spaces where tracks or a dolly may be impractical.

Visual production scheduling board

A scheduling system in which each scene appears on a separate strip containing key requirements. The strips can be rearranged to build an efficient shooting order.

Specialist who plans and oversees stunt action

The specialist responsible for designing, rehearsing and supervising stunt action with the director, performers and relevant departments, including suitable risk controls and qualified personnel.

Senior lead for post-production sound

The senior person who plans and leads the editing of dialogue, effects, backgrounds, Foley and other sound elements before the final mix.

Background performer

A performer who helps create the background world of a scene rather than playing a principal role. Children working as supporting artists still require the safeguarding and licensing arrangements that apply to them.

Sound shorthand

Theatre shorthand that may refer to sound, the sound department or a sound cue. It can appear in scripts, cue sheets and technical notes.

One recorded attempt

One recorded performance of a shot or part of a scene. Multiple takes may be filmed for performance, technical or coverage reasons.

Production tax reliefs or credits

Government schemes that can reduce the effective cost of qualifying production activity. Eligibility, evidence and rules are specialist matters handled by production finance and advisers.

Rehearsal focused on technical elements

A rehearsal used to programme and practise lighting, sound, scene changes, flying, automation and other technical cues, often stopping and starting rather than running the show continuously.

Digital surface-detail artist

An artist who creates the colour, pattern, roughness and other surface qualities that make a digital character, prop or environment look detailed and believable.

Traditional pre-show company call

A traditional theatre call made before the performance begins, commonly around 35 minutes before curtain. Exact calls and timings vary by company and venue.

Turnover

A cue or recorded time marking when camera and sound begin running for a take. On production paperwork, TO may be used as shorthand for turnover.

Lead coordinator for production drivers and vehicles

The person who manages unit drivers, vehicle schedules, cast pickups, drop-offs and transport logistics, working closely with production and the assistant directors.

On the way to set

A radio update saying that a person, group or item has left its previous position and is on the way to set or another agreed destination.

Written presentation of a project or story

A document describing the idea, story, format, characters, tone and visual approach in more detail than a short pitch but without being a complete script.

Change to a new camera direction, setup or piece of work

On set, this usually means changing the camera direction or leaving one setup to begin the next. In working-time discussions, turnaround can also mean the rest period between workdays, so check the context.

Education role during professional performance work

A suitably appointed person who provides and records education when it is required during a production. The tutor works alongside chaperones and production but has a distinct educational role.

Locations representative managing the filming unit

A locations-team role that manages the arrival and operation of the filming unit, including unit base, parking, facilities, access, site protection and communication with the location manager.

Move the filming unit to another place

A planned move of cast, crew and equipment from one filming location or setup to another. Transport, supervision, handovers and child welfare arrangements need to remain clear throughout.

Unit Production Manager

A senior production-management role responsible for the practical and financial delivery of the unit, including budgets, schedules, crew, contracts, suppliers and logistics. Use of the title varies by country and production.

Stage areas away from or near the audience

Upstage is the area farther from the audience, while downstage is nearer the audience. The terms come from older stages that sloped upward away from the auditorium.

Visual Effects

Images or changes created or combined digitally during or after filming. VFX is different from practical special effects carried out physically on set.

Visual-effects editorial specialist

The person who tracks visual-effects shots within the edit, prepares reference material, manages versions and makes sure updated shots are placed correctly in the cut.

Producer responsible for visual-effects delivery

The producer who plans and manages visual-effects budgets, schedules, facilities, teams, approvals and delivery in partnership with the VFX supervisor and production.

Visual-effects production coordination role

The person who tracks visual-effects shots, schedules, notes, versions, meetings and information so artists, supervisors, editorial and production remain coordinated.

Senior creative and technical lead for visual effects

The person who plans how visual-effects work will be achieved, advises during filming and leads the creative and technical delivery of the finished shots.

Video Assistant / VAO

The crew member who manages the camera video feed, monitors, recording and playback used by the director and authorised departments to review framing and takes.

Monitor-viewing area

The area where authorised production staff watch the camera feed on monitors. Access and conversation around the monitors are usually controlled.

Filming that combines real-time digital environments with live action

A range of methods using real-time computer graphics, camera tracking and often large LED screens so digital environments can be viewed and filmed alongside performers on set.

Planning shots and sequences through visual material

An umbrella term for storyboards, previs, technical visualisation and temporary postvisualisation used to plan, test or communicate camera work, action and effects.

Wet a surface before filming

The controlled wetting of roads, floors or other surfaces to create reflections, deepen colour or suggest recent rain. It requires permission, drainage planning and suitable safety controls.

Wigs, Hair and Make-Up

An abbreviation for the wigs, hair and make-up department. Some productions use HMU instead, while theatre departments may use their full title.

Hidden areas at the sides of a stage

The areas immediately to the left and right of the visible stage, hidden from the audience and used for entrances, exits, scenery, props and backstage staff.

Digital recording of a real environment

The process of scanning, photographing and measuring a real place so it can be recreated, extended or used as a digital environment in visual effects or virtual production.

End of filming

The end of filming for a person, scene, unit, day or entire production. Listen for the scope, because a child may be wrapped while the wider unit continues working.

Daily production record completed after filming

A daily record of what was filmed and how the day ran, commonly including timings, scenes, cast, pages, delays, overtime, incidents and information needed by production and accounts.

Person who writes the script

The person who creates or develops the story, structure, scenes and dialogue for a film, television programme or episode, often working through notes and revised drafts.