Index

References are by chapter and section number.

"8-bit 4:2:0" / "10-bit 4:2:2" (the pair) — 3.3
"B-roll is not B-material" (Threshold Concept) — 20.6
"checking the gate" — 18.4
"light for the shadow" (principle) — 11.1
"Ninja walk" (heel-to-toe) — 8.4
"no shot is worth a person" — 18.4
"quiet on set" — 18.4
"rolling" / "speed" / "action" / "cut" — 18.4
"sell the hole, not the drill" — 22.4
"that's a wrap" — 18.4
"The Beekeeper" (interview-edit walkthrough) — case-study-02
"The Bike Co-op" (edit walkthrough) — case-study-02
1-inch sensor — 2.5
10-bit (1,024 steps) — 3.3
1080p / Full HD — 2.2
12-bit (4,096 steps) — 3.3
120 fps (slow-motion capture) — 2.3
180-degree rule (as it pins exposure) — 5.1, 5.6
180-degree rule vs. 180-degree shutter rule — 7.3
2-pass encoding — 36.2
24 fps (cinema standard) — 2.3
25 fps (PAL) — 2.3
3-2-1 backup rule — 37.3
30 fps (NTSC / 29.97) — 2.3
32-bit float (audio) — 15.4
360/VR video — 25.5
4:2:0 (quarter color) — 3.3
4:2:2 (half color) — 3.3
4:4:4 (full color) — 3.3
4K / UHD (3840×2160) — 2.2
60 fps — 2.3
6K / 8K — 2.2
720p — 2.2
8-bit (256 steps) — 3.3
9:16 aspect ratio — 23.1, 23.4

A

a graphic is information or noise — 34.1
a plan as the baseline you adapt from — 18.6
A-roll (defined) — 20.1
A-roll / B-roll reel origin (Tier 2) — 20.1
A-story — 17.5
A-story / B-story B-roll (see Ch.17) — 20.4
above the fold — 39.4
AC (assistant camera) — 18.1
acceleration (cut rate) — 26.4
Act 1 / Act 2 / Act 3 — 17.2
action camera — 25.2
action verb (directing) — 10.3
action-safe center column — 23.1
active listening — 19.5
adjustment layer (vs. node) — 32.2
AE lock (exposure lock) — 5.6
aerial establishing shot — 25.1
AGC (automatic gain control) — 15.4
Agency — 40.2
AI editing / transcription / captioning tools — 40.4
AI ethics (consent, licensing, disclosure, correction) — 40.4
AI in video — 40.4
AI reframing (horizontal → vertical) — 40.4
air (10-12 kHz) — 33.3
airspace / no-fly zones (drone) — 25.1
all-intra (intraframe) codec — 27.3
Alpha channel — 35.1
altitude ceiling (drone) — 25.1
Altman, Robert (location dialogue) — CS-01
ambience (ambience bed) — 33.5
ambience (as material) — 15.6
ambience bed (under a scene) — 28.1, 28.6
Amélie (signature-grade Described Shot, "Watch This") — 32.1
angle of view — 4.1
animation (defined) — 34.4
aperture — 4.2
Appendix H (Delivery & Codec Reference) — 36.2, 36.3
Apple ProRes — 3.1
Apple ProRes RAW — 3.5
Arbitrary / unmotivated movement — 8.2, 8.6
archival (defined) — 21.4
Archive (finished project) — 37.5
Archive vs backup — 37.5
Aristotle, Poetics (beginning/middle/end) — 17.2
Aspect ratio (16:9) — 6.5
Aspect ratio (1:1, 4:5) — 6.5
Aspect ratio (2.39:1 / cinemascope) — 6.5
Aspect ratio (9:16 / vertical) — 6.5
aspect ratio family (16:9, 9:16, 4:5, 1:1) — 23.4
assembly, relation to string-out — 27.5
assembly, the (first cut) — 26.5
Asset clearance responsibility (contract) — 38.5
Asymmetrical (informal) balance — 6.4
audio description — 36.5
audio description (vs narration) — 21.3
audio description / captions for B-roll (accessibility) — 20.6
audio post (defined) — 33.1
audio-post workflow (order of operations) — 33.1
audio/video script — 16.2
auto white balance (AWB), drift of — 12.3
auto white balance (why to avoid) — 13.6
auto-captions (proofreading) — 23.3
Auto-exposure breathing — 5.6
auto-generated captions (correct by hand) — 36.5
auto-reframe tools — 23.5
autofocus (eye-detect) — 4.5
automatic gain control (AGC) — 14.5
automation / rides (mix) — 33.6
AV1 (codec) — 3.1
available light — 11.6, 13.1
average % viewed / completion rate — 23.6
Avid DNxHR — 3.1

B

B-roll (defined) — 20.1
B-roll over the cut — 21.6
B-roll shooting ratio (10:1+) — 20.6
B-roll shot list — 20.5
B-roll-driven narrative — 30.4
B-story (defined) — 17.5
back light — 11.4
background separation — 4.3, 4.6
background separation (interview) — 19.2
backup track — see safety track
backup, two-copy floor (full 3-2-1 → Ch.37) — 27.1, 27.6
Balancing a gimbal — 8.4
banding — 3.2, 3.3
Banding (from thin footage) — 31.4
Bayer filter / color filter array — 2.1
bi-color LED — 12.6
Bill Nichols (modes framework) — 21.1
bins — 27.2
bins vs folders — 27.2
bird's-eye view (top-down drone move) — 25.1
bit depth — 3.3
bit depth (audio) — 15.4
Bit rot — 37.5
bitrate — 3.2
bitrate (streaming) — 24.4
Black point — 31.4
Blackmagic RAW (BRAW) — 3.5
Blade Runner 2049 (color worlds) — case study 1
Blend modes (screen / add / multiply) — 35.5
blocking — 10.2
blue faces (shade white balance) — 13.4
Blue screen (when to use) — 35.2
blur-fill — 23.5
board feed (defined) — 24.6
board feed (event, preview of Ch.24) — CS-02
bokeh — 4.3
boom / boompole — 14.2, 14.4
boom / shotgun (interview safety) — 19.3
boom operator — 18.1
boom placement (front-top, aim at the mouth) — 14.4
boom shadow — 15.2
boom, operating — 15.2
boom, overhead vs from below — 15.2
booming a two-person exchange — 15.2
bounce (lighting) — 12.2
bounce / reflector (white/silver/gold) — 13.5
Bracing (handheld technique) — 8.4
brand built not claimed (consistency) — 39.5
brand colors / hex — 22.2
brand guidelines (defined) — 22.2
breathing edit, the — 29.3
Breathless / À bout de souffle (jump cuts) — Case Study 1
broadcast / OTT delivery spec — 36.3
broadcast loudness (-23 LUFS / -24 LKFS) — 36.3
budget — 16.5
buffer (schedule) — 18.2
buffer / contingency time — 16.4
built-in mic vs close mic (the proof) — 14.1, CS2
burned-in (open) captions — 36.5
business (physical action for a performer) — 10.3, 10.5
business goal (commercial) — 22.1
but/therefore test (Parker & Stone) — 17.6
Buyout — 38.2

C

Café Scene — scaled to an interview — 30.4, case-study-02, the warm café look grade — 32.1, found story in the edit — 29.2, B-roll-over-voice
Café Scene (assembled) — 26.6
Café Scene (cover it) — 7.5, 7.6
Café Scene (delivered — 36.4, grade/mix must survive export) — 36.2
Café Scene (framing: establishing wide, window shot, walk-in) — 6.1, 6.2, 6.6
Café Scene (reaction to the message) — 10.2, 10.3
Café Scene (soundscape build) — 33.5, 33.6
Café Scene (walk-in continuity) — 9.3
Café Scene, lighting the interior — 11.5
call sheet — 18.2
call sheet (previewed; see Chapter 18) — 16.4
call time — 18.2
call to action (defined) — 22.5
calling cut for safety (distributed authority) — 18.4
Camera angle — 7.2
Camera height — 7.2
Camera movement — 8.1, 8.2, 8.3, 8.4, 8.5, 8.6
Camera operator / operator — 40.1
camera test — 2.6, Production Checkpoint
caption placement / styling — 23.3
captions (open / burned-in vs closed) — 23.3
captions and clean dialogue (accessibility) — 14.6
captions vs subtitles (SDH) — 36.5
capture format (choosing) — 3.6
capturing slides / presentation feed — 24.5
card handling ("do not erase") — 18.3
card handling (transport, not storage) — 27.1
card write speed — 3.2
card-and-offload workflow — 3.6
cardioid — 14.3
Career map (landscape vs ladder) — 40.1
Career paths (video production) — 40.1
Career planning (Production Checkpoint) — 40.6
catchlight — 11.2
CBR vs VBR — 36.2
Change order — 38.3
check on a phone and a big screen — 36.6
checksum copy — see verified copy
chief lighting technician — 18.1
chimping — 10.6
choosing a lens (decision order) — 4.6
Chroma key — 35.2
chroma subsampling — 3.3
Chroma subsampling and keying (4:2:0 vs 4:2:2) — 35.3
Chromatic adaptation (why the eye can't be trusted) — 31.2
Cinema Paradiso (the kisses montage, Watch This) — 29.5
cinematographer — 18.1
cinéma vérité / direct cinema — 21.1
circle takes — 27.5
circling takes / circled take — 18.3
circumstance, directing the — 10.3
clap (sync spike) — 27.4
clap (sync) — 15.1
clapperboard / sticks — 18.3
Clean plate — 35.4, CS2
Clean single — 7.4
Clean-up / paint-out / rig removal — 35.4
clearing rights / archival licensing — 21.4
client brief (defined) — 22.1
client brief template — 22.1
client file / deliverables package — 36.3
Client lifecycle — 38.6
Clip-on ND (phone) — 5.3, 5.6
clipping (0 dBFS ceiling) — 14.5
clipping (audio) — 15.4
Clipping (blown highlights) — 5.4, 5.5
Clipping (crushed blacks, blown highlights) — 31.2, 31.4
Close-up (CU) — 7.1
closed-back headphones — 15.3
clothing rustle (lav) — 15.5
codec — 3.1
codec (delivery choice) — 36.1, 36.2
codec, and playback difficulty — 27.3
cold open — 21.6
cold open vs throat-clearing — 17.3
collapsing roles onto a small crew — 18.1, 18.5
Color cast (neutralizing) — 31.3
Color correction — 31.1, 31.6
color grading — 32.1
color not sole carrier of meaning — 36.5
Color page (DaVinci Resolve) — 31.6
color space / gamut — 3.4
color space transform — 3.4
color temperature — 12.3, 12.4
color temperature (kelvin; named lightly, owned Ch.12) — 11.5
color temperature of daylight (daily arc) — 13.3
color-managed workflow (RCM / ACES) — 32.2
Commercial vs. editorial use — 38.4
company move — 16.4
competing with the scroll — 23.2
complementary contrast (warm subject / cool surround) — 32.6
compose for the crop — 23.5
Composing for the graphic (reserving text room) — 6.4
Compositing — 35.1
Composition (as subtraction / exclusion) — 6.1
composition by subtraction — 4.3
Composition on the move / over time — 6.6
compression (dialogue) — 33.3
compression (telephoto) — 4.1
condenser vs dynamic mic — 14.3
conference coverage playbook — 24.5
confidence monitoring — 15.3
conform (frame-rate retime) — 25.4
Consent (likeness/voice) — 35.6
consent and release (interview) — 19.4
consent and releases (on set) — 18.4
consent to be mic'd (accessibility) — 14.6
Consent to film vs. consent to publish — 38.4
Consideration (release) — 38.4
consistency (graphics) — 34.6
consistency (the grade) — 32.6
Consolidate / collect / project archive — 37.5, 37.6
Consumables (continuity hazard) — 9.5
container (wrapper) — 3.1
Content ID / automated copyright matching — 38.5
contingency (budget) — 16.5
Continuity — 9.1, 9.5, 9.6
Continuity checklist (on set) — 9.6
Continuity of detail — 9.1, 9.5
Continuity of performance — 9.1
Continuity, audio — 9.1, 9.5
Continuity, spatial — 9.1, 9.2
Continuity, temporal — 9.1, 9.3
Contract — 38.2
Contrast (setting on the waveform) — 31.4
contrast engine (fast time vs. slow time) — 25.4, 25.6
contrast ratio (interview tone) — 19.2
contrast ratio (key-to-fill, in stops) — 11.3
controlling reflections (product) — 22.4
Copyright — 38.5
Correction vs grading — 31.1
Cost iceberg (true costs of freelancing) — 38.1
counter lamps as practicals (Café) — 11.5
coverage — 1.6
Coverage — 7.5
coverage (paying off in the edit) — 26.5, 26.6
Coverage checklist — 7.5, Key Takeaways
coverage, planning on the shot list — 16.3
covering a cut with B-roll — 20.1, 20.4
creative / look LUT — 32.3
Creative Commons (BY / NC / SA / ND) — 38.5
Creative Commons music — 33.4
creative treatment of actuality (Grierson) — 21.1
crew call — 18.2
crew roles — 18.1
crew, chain of command — 18.1
CRI (Color Rendering Index) — 12.4
CRI vs kelvin (accuracy vs warmth) — 12.4
crop factor — 2.5
crop-and-reframe (pan-and-scan) — 23.5
cross-cutting (parallel editing) — 28.5
Crossing the line — 9.2
Crossing the line (previewed; owned Ch.9) — 7.3
Crowd notice / signage — 38.4
Crushing (crushed shadows) — 5.4
CTA placement (spoken/on-screen/mechanic) — 22.5
CTB (Color Temperature Blue) — 12.4
CTO (Color Temperature Orange) — 12.4
curation funnel — 39.2
curiosity gap — 17.1
cut — 26.2
cut on action — 28.2
cut on the beat — 39.3
cut, invisibility of — 26.2
cut, the (as a thought) — 26.2
Cutaway (as continuity insurance) — 9.4, 9.6 (owned by Ch.20)
cutaway (defined) — 20.2
Cutting on action — 9.3 (owned by Ch.28)
cutting on action — 28.2
cutting the question out — 30.3
cutting the reel to music — 39.3

D

Day rate — 38.1
Days of Heaven (natural light) — CS1
dBFS — 15.4
dBFS vs LUFS — 33.3, 33.6
DCI 4K — 2.2
de-esser / sibilance — 33.2, 33.3
de-hum (50/60 Hz) — 33.2
de-reverb / room echo — 33.2
dead air vs. living silence — 29.4
dead cat (windjammer) — 15.5
Deakins, Roger — case study 1
deceptive compression / reordering — 21.5
decisions (directing) — 10.1
deep depth of field — 4.3
Deepfake — 35.6
deliver from a master, not a timeline (threshold) — 36.4
deliverable (derived from master) — 36.4
deliverable family — 22.5
delivery bitrate (defined) — 36.2
delivery codec — 3.1
delivery codec (defined) — 36.2
demo reel (defined) — 39.1
demosaicing — 2.1
demosaicing (RAW records before it) — 3.5
Dependencies (fonts, LUTs, plugins) — 37.6
Deposit — 38.2
Depth / layers (foreground, midground, background) — 6.3
depth of field — 4.3
derive from master or timeline, never from a deliverable — 36.4
Described Sequence (of the Café first cut) — 26.6
Described Shot — 1.5
Despill — 35.3
dialogue — 14.1
dialogue cleanup (defined) — 33.2
dialogue level target (-12 dBFS peaks) — 33.3
dialogue-first priority — 33.1, 33.6
diffusing a window (curtain/parchment) — 13.2
diffusion — 12.2
diffusion frame / silk (outdoors) — 13.5
digital intermediate — case-study-01
digital zoom (phone) — 4.4
direct address (to the lens) — 10.4
direct-to-lens interview — CS1
direct-to-reverberant ratio — 14.1
directing actors — 10.3
directing non-actors — 10.3
directing yourself (solo creator) — 10.6, 18.5
directing, as communication — 10.1
director (role on set) — 18.1
Director of photography (DP) as a career stage — 40.1
director's role, the — 10.1
Disclosure of synthetic media — 35.6
dissolve (cross-dissolve) — 26.3
division of labor (two-person crew) — 18.5
documentary (defined) — 21.1
Dolly in / dolly out — 8.3
Dolly zoom (Vertigo effect) — 8.3
dolly zoom / Vertigo effect / contra-zoom — Case Study 1
Double Indemnity (low-key noir) — 12.5
double-system sound — 15.1
double-system sound (previewed; owned by Ch.15) — 14.6
DP (director of photography / cinematographer) — 18.1
Drag (fluid head) — 8.2
drift (sync, long takes) — 27.4
Drive tiers (SSD / HDD / NAS / cloud / LTO) — 37.4
drone / UAV — 25.1
drone moves (reveal, orbit, fly-over, pull-out, top-down) — 25.1
Dual native ISO — 5.2
ducking (music under dialogue) — 33.4
Dutch (canted) angle — 7.2
duty of care (vulnerable subjects) — 21.5
dynamic range — 3.4

E

Ease in / ease out — 8.2, 8.3
easing (linear / ease-in / ease-out / ease-in-out) — 34.4
edge of the shade (adding direction) — 13.4
edit-prep pipeline (card to string-out) — 27.6
editing / intermediate codec — 3.1
editing ethics (honest tightening) — 30.3
Editor as a career stage — 40.1
editorial ladder — 27.5
ellipsis (in montage) — 28.4
emotion (as editing priority) — 29.1
emotional cut, the — 29.1, 29.2
encoder — 24.4
enter late, leave early — 29.4
EQ (defined) — 33.3
Errol Morris — CS1
essay film / poetic mode — 21.1
Establishing shot — 7.1, 7.5
ethics of nonfiction — 21.5
Ethics of synthetic media — 35.6
event / room setup (how a shoot runs) — 18.1, 18.6
event coverage (defined) — 24.1
exhale (in rhythm) — 29.3, 29.4
export / render (defined) — 36.1
export audio settings (AAC, 48 kHz, 320 kb/s) — 36.1
Expose to the right (ETTR) — 5.5
expository mode ("voice of God") — 21.1
Exposure — 5.1, 5.4, 5.6
Exposure (working for) — 38.1
Exposure triangle (video) — 5.1
Exposure workflow (six-step) — 5.6
Exposure, over- / under- — 5.1, 5.4
Extreme close-up (ECU) — 7.1
Extreme wide shot (EWS) / extreme long shot (ELS) — 7.1
eye height (interview) — 19.1
Eye-level — 7.2
eye-trace — 29.1
Eyedropper / white-balance picker — 31.3
Eyeline — 7.4
Eyeline continuity — 9.5
eyeline direction — 10.4
eyeline, off-axis — 19.1
Eyes on the upper-third line — 6.2

F

f-stop / f-number — 4.2
Face replacement — CS1
fade (to/from black) — 26.3
Fair use / fair dealing — 38.5
falloff (light) — 11.2
False color — 5.4
fast lens — 4.2, 4.4
fatigue as a safety issue — 18.4
favor economy / etiquette — 16.5
feature vs benefit — 22.4
file extension (vs codec) — 3.1
File naming — 37.2
file naming (light rule; full scheme → Ch.37) — 27.2
fill light — 11.3
fill, bounce/foamboard as — 11.3
fill-in story spine (Kenn Adams) — 17.6
findability — 27.2, 27.6
Findable / proven / visible / paid (career quarters) — 40.6
finding the story (in the edit) — 29.2
Finishing pipeline (correct then grade) — 31.1
first AC / second AC — 18.1
first cut — see rough cut / first cut
first portfolio moves (second-shoot / spec / case study) — 39.6
fix it in pre, not in post — 1.2, 16.1, 16.4, 16.6
fixed points (scheduling around) — 16.4
flag — 13.5
flesh-tone line (vectorscope) — 32.5
flexibility ladder (standard → Log → RAW) — 3.5, 3.6
flicker (LED / PWM) — 12.6
Fluid head — 8.2
fly-over / fly-through (drone move) — 25.1
focal length — 4.1
Focal length and shot size (compression) — 7.1
focus breathing — 4.6
focus marks — 4.5
focus peaking — 4.5
focus pull / rack focus — 4.5
focus puller — 18.1
focus puller / first assistant camera (AC) — 4.5
folder structure (project) — 27.2
Folder structure (project-wide) — 37.1
Foley — 33.5
Follow-up (client) — 38.6
Font / graphics licensing — 38.5
font licensing — 34.6
footage vs finished video — 1.1
format / container / wrapper (delivery) — 36.1, 36.2
FPV (first-person view) — 25.2
Frame Log payoff (taste) — 39.1, 39.5, 39.6
frame rate (fps) — 2.3
frame-rate conform (edit) — 2.3
framing the review (rough cut vs fine cut) — 22.6
Frankenbite — 21.5
frankenbite — 30.3
Freelance — 40.2
front-loading (best moment first) — 23.2
front-loading must-get shots — 18.2
front-loading must-have shots — 16.4
Frontal / three-quarter / profile — 7.2
full-frame — 2.5
full-frame-equivalent (focal length) — 4.1, 4.6
full-frame-equivalent focal length — 2.5

G

gaffer — 18.1
gain — 14.5
Garbage matte — 35.3, 35.4
gel — 12.4
gel, correction (CTO, CTB, minus-green) — 12.4
gel, creative — 12.4
generation loss — 36.4
Generative video — 40.4
getting hired (defined) — 39.6
getting-hired funnel — 39.6
Gimbal — 8.4
global shutter — 2.5
golden hour — 13.3
Google "Parisian Love" (Watch This) — 17.3
GPU decode — 27.3
grade a locked cut — 32.2
grading pipeline — 32.2
grading vs. correction — 32.1
graphic match — 28.3
Green screen — 35.2
Grey card (for one-click balance) — 31.4, 31.6
grip — 18.1
Group of Pictures (GOP) — 3.1

H

H.264 (as delivery codec) — 36.2
H.264 / AVC — 3.1
H.265 / HEVC — 3.1
H.265 / HEVC (as delivery codec) — 36.2
hair light — 11.4
Handheld — 8.4
handheld mic — 14.2
handles (media beyond the cut) — 26.3
handling noise — 15.5
hands (product demo) — 22.4
hard light — 11.1
hard vs soft light (in available light) — 13.1
hard vs soft light, apparent size and — 12.1
hardware encoder (render speed) — 36.1
Headroom — 6.2
headroom (audio) — 14.5, 15.4
Hero shot (matching to) — 31.5
hiding a lav / clothing rustle / cable thump — 14.4
hierarchy (type) — 34.2
High angle — 7.2
high frame rate (HFR) — 2.3
high-bitrate H.264 master (storage-squeezed) — 36.4
high-key / low-key (previewed; owned Ch.12) — 11.3
high-key lighting — 12.5
high-pass filter (dialogue cleanup) — 33.2, 33.3
high-pass filter (low-cut) — 15.5
high-speed / slow motion — 25.4
HLG (Hybrid Log-Gamma) / Rec.2100 — 3.4
holding the face (must-be-seen lines) — 30.5
holy grail timelapse (day-to-night ramp) — 25.3
honesty in the edit — 21.5
hook types (question, in medias res, striking image, bold claim, promise, character) — 17.3
hook types (result-first, bold claim, question, in medias res, pattern interrupt, stakes) — 23.2
hostage video — 30.4, 30.5
HVAC noise — 15.5
hyperlapse — 25.3

I

I-frame / keyframe — 3.1
impact order vs. arrival order — 18.6
Impersonation (deceptive) — 35.6
In-camera transition — 8.5
In-house — 40.2
in-point / out-point — 26.1
inciting incident — 17.2
inclusive set — 18.4
Independent creator (fourth way to work) — 40.2
inferring a brand (no brand guide) — 22.2
informed consent (documentary) — 21.5
ingest — 27.1
ingest, two halves (offload + import) — 27.1
insert (defined) — 20.2
Insert (matching) — 9.6, Production Checkpoint (owned by Ch.20)
Insert / cutaway (previewed; owned Ch.20) — 7.5
insurance (drone, commercial) — 25.1
integrated loudness — 33.6
Interface speed (USB / Thunderbolt) — 37.4
interference tube — 14.2, 14.3
interframe compression / long-GOP — 3.1
interpolation — 34.4
interval (timelapse) — 25.3
interview audio as voiceover — 21.3
interview framing — 19.1
interview look (confessional / three-point) — 11.5
interviewer position (beside the lens) — 19.1
into-the-scene eyeline — 10.4
intraframe compression — 3.1
inverse falloff / source distance and softness — 12.1, 12.2
inverse-square law (light falloff) — 11.2
invisible cut, the — 28.6
Invisible VFX — 35.1, CS1
Invoice — 38.6
IRE / percent (waveform scale) — 5.4
iris (lens) — 4.2
ISO — 5.2
ISO (isolated) recording — 24.3
ISO 8601 date (in filenames) — 37.2

J

J-cut — 28.1
Jiro Dreams of Sushi (Watch This / Case Study 1) — CS-01
Jump cut — 9.4
jump cut (in the edit) — 26.2, 26.6
jump cut (see Ch.9) — 20.1
jump cut (used deliberately) — 28.2, 28.6
Jump cut, deliberate (as style) — 9.4

K

Kazan, Elia — case study 1
keeper takes — 26.5
kelvin (K) scale — 12.3
key grip — 18.1
key light — 11.2
key light, on the looking side — 19.2
key light, position (angle and height) — 11.2
key-to-fill ratio — 11.3
Keyer vs. qualifier — 35.3
keyframe (defined) — 34.4
keyframe interval — 24.4
keyframe interval (GOP, delivery) — 36.2
keyframing the crop — 23.5
Keying — 35.3
kicker — 11.4
Kill fee / cancellation fee — 38.2
kill your darlings — 29.6
killing / matching / embracing a source — 13.6
killing darlings (across a body of work) — 39.2
kinetic type (defined) — 34.5
Kuleshov effect — 1.3
Kuleshov effect (montage/meaning between shots) — 28.4, 28.5
Kurt Vonnegut (shapes of stories) — 17.2

L

L-cut — 28.1
L-cut (sound leads picture; previewed, owned Ch.28) — 20.1, 20.4
latency (streaming) — 24.4
lav mic (interview primary) — 19.3
lav placement (sternum, 6–8" below chin) — 14.4
lavalier (lav) — 14.2
Layer stack (foreground / background) — 35.1
layering B-roll (over the seam) — 30.4
Lead room — 6.2, 6.6
lead-room placement (of a super) — 34.3
Leading lines — 6.3
leading question — 19.4
learning paths — 1.5
LED panel — 12.6
legibility (contrast, size, weight) — 34.2
length (sweet spot vs maximum) — 23.4
lens distortion (wide-angle, faces) — 4.1
lens height (power reading) — 10.4
Leveling up (the engine) — 40.3
levels (audio) — 15.4
levels / dBFS — 14.5
levels / headroom (interview) — 19.3
Library (media, /VIDEO/) — 37.1
Licensing — 38.5
Licensing stock elements — 35.5
Lift, gamma, gain — 31.4
light (as craft element) — 1.3
light direction (front/side/45°/back/top) — 13.1
light falloff (subject-to-window distance) — 13.2
Light wrap — 35.3, CS2
light, three jobs of (exposure, shape, mood) — 11.1
lighting for shape vs texture — 22.4
lighting for skin tone (inclusive) — 11.3
lighting ratio — 12.5
lighting the interview — 19.2
line of sight, visual (VLOS) — 25.1, 25.2
listen-back — 15.3
live captions — 24.4
live streaming (defined) — 24.4
local backup record — 24.4
location scouting — 16.6
location sound — 15.5
Locked-off (static) shot — 8.1, 8.6
Log (picture profile) — 3.4
Log, exposing for — 5.5
logline — 16.1, 17.6
Long-GOP — 27.3
looking room — 19.1
lossy compression — 3.2
loudness (defined) — 33.6
loudness normalization — 33.6
loudness normalization (LUFS) — 23.4
loudness range (LRA) — 33.6
loudness targets (-14 / -16 / -23 / -24) — 33.6
Low angle — 7.2
low-key lighting — 12.5
lower third — 34.3
lower-third anatomy (name line / role line / accent) — 34.3
LTO tape — 37.4, 37.5
LUFS (defined) — 33.6
LUFS mastering (defined) — 33.6
luma vs chroma — 3.3
LUT (Look-Up Table) — 32.3
LUT (look-up table, previewed) — 3.4

M

M&E (music-and-effects) version — 33.1
macroblocking — 3.2
magic hour — 13.3, CS1
Maintaining lead room (moving frame) — 6.6
Man on Wire (edit analysis, Watch This) — case-study-01
managing the client — 22.6
manual focus — 4.5
manual vs automatic — 2.6
marks (blocking) — 10.2
Mask — 35.4
master (delivery master, defined) — 36.4
Master (preservation) — 37.5
master camera (the safety wide) — 24.2
Master released on final payment — 38.2, 38.6
Master shot — 7.5
master-and-coverage applied to a process (see Ch.7) — 20.3
Master-and-coverage method — 7.5
Master-use license — 38.5
match cut — 28.3
match cut on an idea — 28.3
Match move — 8.5
Matched eyeline — 7.4
Matching action — 9.3
matching action in a sequence (see Ch.9) — 20.3
matching B-roll to story beats — 20.4
matching cameras (frame rate/shutter/WB/exposure) — 24.2
Matching shots — 31.5
Matching the plate (grain, light, motion blur, grade) — 35.5, CS2
Matte — 35.1
Matte cleanup (clip black / clip white / shrink / soften) — 35.3
Matte view (black-and-white) — 35.3
meal / turnaround on set — 18.2, 18.4
media management — 27.2
media management (on set) — 18.3
media offline (broken links) — 27.1, 27.2
Media offline (naming/portability cause) — 37.2, 37.6
Medium close-up (MCU) — 7.1
Medium long shot (MLS) / "cowboy" shot — 7.1
Medium shot (MS) — 7.1
megabit vs megabyte (Mb/s vs MB/s) — 3.2
Meisner, Sanford — epigraph
Merger (background touching the subject) — 6.4
Micro Four Thirds — 2.5
microphone (transducer definition) — 14.1
microphone types (lav / shotgun / handheld) — 14.2
Middle grey / white card (Log targets) — 5.5
Migration (archive) — 37.5
Minors (guardian signature) — 38.4
mixed light — 13.6
Mixed light (correcting) — 31.3
Model release — 38.4
modes of documentary — 21.1
modifier — 12.2
monitoring — 15.3
Monitoring LUT — 5.5
monitoring on headphones — 14.5, 15
monitoring on headphones (interview) — 19.3
monitoring the board feed — 24.6
monitoring the mix (headphones + phone check) — 33.1, 33.6
mono check / four-system QC — 33.6
montage — 28.4
montage (compression of time) — 28.4
montage sequence — 28.4
mood (from light) — 11.1
mood (in color) — 32.1
mood, built from shadow — 12.5
MOS vs sync — 18.3
mosquito noise / smearing — 3.2
motion blur — 2.4
motion graphics (defined) — 34.1
motion sickness (VR / immersive) — 25.5
Motion sickness / photosensitivity (accessibility) — 8.4
Motion tracking (corner-pin / planar) — 35.4, 35.5
Motivate every choice (angle) — 7.2
Motivate every choice (theme) — 6.1, 6.4, Summary
motivated light — 11.5
motivated move (on a still) — 21.4
Motivated movement — 8.2, 8.6
motivated movement (specialty) — 25.1, 25.2, 25.6
motivated practicals (warm/cool mix) — 13.6
Motivation test (for a move) — 8.6
Movement in the frame vs. of the camera — 8.1
Moving layer vs. holding layer — 40.5
mud (200-400 Hz) — 33.3
mult / split (audio) — 24.6
multicam angle roles (master/tight/roamer) — 24.2
multicam clip (editor) — 24.3
multicam in post — 24.3
multicam sync (clap / audio / timecode) — 24.3
multicamera (defined) — 24.2
Murch's Rule of Six — 29.1
Murch, Walter — 29.1
music bed (defined) — 33.4
music bed (montage spine) — 28.4
music licensing — 33.4
must-get shot — 18.2, 18.6
must-get shot (event) — 24.1
must-have vs nice-to-have shots — 20.5, 20.6
mute test (music) — 29.5

N

nadir (360 bottom) — 25.5
name super — 34.3
name-super timing (once, read-twice) — 34.3
naming / versioning deliverables — 36.6
narrative arc (defined) — 17.2
Native ISO (base ISO) — 5.2
ND filter — 5.3
ND filter (specialty use) — 25.1, 25.3
ND number / density / stops (naming) — 5.3
nearest hospital (on the call sheet) — 18.2
negative fill — 12.5, 13.5
negative fill (preview) — 11.3
negative fill (product shaping) — 22.4
Negative space — 6.4
Net terms (net-15 / net-30) — 38.6
Neutral density — 5.3
Neutral reference — 31.3
Neutral shot (down the line) — 9.2
neutral-density (ND) filter (previewed) — 2.4
Niche (being known for one thing) — 40.3
niche (defined) — 39.5
niche, finding a (intersection: good at / love / paid) — 39.5
nifty fifty (50mm f/1.8 prime) — 4.2, 4.4
NLE (non-linear editor) — 26.1
noddy (reaction cutaway) — 19.6
node — 32.2
node tree — 32.2
noise (image) — 2.1, 2.5
Noise (image) — 5.2, 5.6
noise floor — 15.4, 15.5
noise floor / hiss — 14.5
noise print — 33.2
noise reduction (defined) — 33.2
normal lens (~50mm) — 4.1
north-facing window / north light — 13.2
Nose room (looking room) — 6.2
Néstor Almendros — CS1

O

O Brother, Where Art Thou? (signature grade, case study) — case-study-01
observational mode — 21.1
off-axis eyeline — 19.1
Off-axis eyeline (previewed; owned Ch.19) — 7.4
off-axis rejection (on-axis / off-axis) — 14.3, 14.4
off-lens eyeline (interview look) — 10.4
Off-site copy — 37.3
offload — 27.1
Offset — 31.4
omnidirectional — 14.3
On the Waterfront (taxicab scene) — case study 1
on-brand (on set and in post) — 22.2
on-camera vs off-camera sound — 14.6
on-screen text legibility (delivery) — 36.5
one CTA rule — 22.5
one light plus a bounce (phone-first) — 11.6
one-light setup — 11.6
One-point perspective — 6.3
one-take discipline (events) — CS-02
open loop — 17.1
open loop / curiosity gap — 23.2
open shade — 13.4
open vs. closed questions — 19.4
optimized media — see proxy
orbit (drone move) — 25.1
ordering for the arc (not chronology) — 30.1, 30.3
outline script — 16.2
output vs outcome — 22.1
over-processing ("underwater" voice) — 33.2
Over-the-shoulder shot (OTS) — 7.4
overcapture (360 reframing) — 25.5
overcast / diffused daylight — 13.4
overlap (matching action, for cutting on action) — 28.2
Overlap (of action) — 9.3
overlap (repeating the action across sizes) — 20.3
Overlapping action (across sizes) — 7.5
overshoot and settle — 34.4
Ownership of footage / project files — 38.2

P

P-frame / B-frame — 3.1
PA (production assistant) — 18.1
pace / cutting dead air — 23.3
pacing — 26.4
Pan — 8.2
Pan speed / strobing / judder — 8.2
panning dialogue center — 33.6
paper / radio edit (previewed) — 17.5
paper edit (interview form) — 30.1
paper edit, the — 29.2
Parallax — 8.3
parallel action — 28.5
participatory mode — 21.1
Pass-by wipe — 8.5
Payment schedule — 38.2, 38.6
performance — 10.3
Performance compositing — CS1
personal brand (defined) — 39.5
perspective (vs. lens) — 4.1
phantom power (+48V) / plug-in power — 14.3
phone grid / level guide — 23.1
phone lenses (ultra-wide / main / telephoto) — 4.4
phone-first audio path (cheap lav / get close) — 14.2
photosensitivity safety (flashing < 3/sec) — 34.5
photosensitivity-safe motion (≤3 flashes/s) — 36.5
photosite — 2.1
picture lock — 30.6
picture lock (before audio post) — 33.1
picture profile — 3.4
pilot certification / licensing (commercial drone) — 25.1
Placement rule (third opposite the look/motion) — 6.2
placement: close, on-axis, out of frame — 14.4
plane of focus — 4.3
Planimetric (flat, head-on) framing — 6.3
platform delivery spec (defined) — 36.3
platform interface / UI overlay (username, buttons, progress bar) — 23.1
platform re-encode — 36.2, 36.3
platform specs (defined) — 23.4
playhead — 26.1
plosives — 15.3, 15.5
Pointers (project file as) — 37.6
polar pattern — 14.3
portfolio (defined) — 39.1
portfolio site (one-page) — 39.4
portrait mode (computed depth of field) — 4.4
position relative to the light (principle) — 13.1
positioning sentence — 39.5
post-production — 1.2
POV shot (point-of-view) — 7.2
power window — 32.4
practical light — 11.5
pre-production — 1.2
pre-production document set — 16 (Summary)
presence range (3-5 kHz) — 33.3
preview (PVW) vs program (PGM) — 24.3
Pricing — 38.1
Pricing to value vs. to fear — 40.3
Primary correction — 31.1, 31.6
Primary-correction workflow — 31.6
prime lens — 4.4
Problem → Solution → Result (testimonial arc) — 22.3
problem-solving on the day — 18.6
producer (role on set) — 18.1
Producer / director (career stage) — 40.1
product tabletop setup — 22.4
product video (defined) — 22.4
production (stage) — 1.2
Production assistant (PA) — 40.1
program feed (defined) — 24.3
progressive vs interlaced (p vs i) — 2.2
Project handoff — 37.6
Project portability — 37.6
Project rate (flat / fixed bid) — 38.1
Property / location release — 38.4
ProRes / DNxHR (as master codec) — 36.2, 36.4
Protecting highlights — 5.5
proxies (previewed) — 2.2, 3.1, 3.6
proximity (inverse-square, for reverb) — 15.2, 15.5
proximity / get the mic close — 14.1, 14.4
proxy — 27.3
proxy round-trip — 27.3
proxy settings (starting point) — 27.3
Psycho, shower scene (case study) — case-study-01
Public domain — 38.5
pull-out (drone move) — 25.1
Pull-out (pull-back) — 8.3
punch-in (4K to 1080p) — 19.6
punch-in / focus magnification — 4.5
Push-in — 8.3
Push-in vs. zoom (parallax) — 8.3
Push-to-black — 8.5

Q

QC the exported file (not the timeline) — 36.6
qualifier — 32.4
quality mode (constant quality vs restrict to bitrate) — 36.1, 36.2
quality of light (hard vs soft) — 11.1
question design — 19.4
quiet and stillness (on set) — 18.4
quieting the room (cheapest upgrade) — CS2
Quote / estimate — 38.1

R

radio cut — 30.1
radio edit, the — 30.1
radio string-out — 30.2
RAID (not a backup) — 37.3
range vs coherence — 39.2
Rates / day rate / project rate (career context) — 40.3
ratio, measured on the waveform — 12.5
RAW (video) — 3.5
re-enactment / reconstruction (signaled) — 21.5
reacting silently (director) — 10.5
Reaction shot — 7.5, CS-01
reading light (direction, quality, color) — 13.1
reading the audio meter — 14.5
reading the client (client interview) — 22.1
reading the curve (cliff, sag, bump) — 23.6
README / manifest (00_README) — 37.1, 37.5, 37.6
reality arc — 17.5
Rec.2020 — 3.4
Rec.709 (grade output / delivery) — 32.2, 32.6
Rec.709 (scope target) — 31.4
recce — 16.6
recce: five domains (picture, sound, light, logistics, permissions) — 16.6
recording voiceover (closet booth) — 21.3
REDCODE / Canon Cinema RAW Light — 3.5
redundancy (batteries, cards) — 18.6
redundancy (event) — 24.1
Reel (career context) — 40.3
reel arc (hook/build/peak/sign-off) — 39.2, 39.3
reel length (60–90s) — 39.1, 39.3
reel loudness (~-14 LUFS) — 39.3
reel, what it proves — 39.1
Reel-selects habit (harvest at delivery) — 40.3
Reference photo (continuity still) — 9.5
Referrals / repeat business — 38.6
reframe headroom — 2.2, 2.6
Reframing across ratios — 6.5
registration (drone) — 25.1
relationships and referrals (as the channel) — 39.6
Relative vs absolute paths — 37.6
relaxing a nervous subject — 10.5
releases for a public reel — 39.6
relight in post — 32.4
relink to originals (for export) — 27.3
render range (entire timeline vs in/out) — 36.1
rent vs. borrow vs. buy — 16.5
repurposing (horizontal to vertical) — 23.5
resolution (1080 × 1920) — 23.4
resolution (defined) — 2.2
resolution/frame rate match the timeline — 36.1, 36.6
Restraint (in movement) — 8.6
restraint (specialty capture) — 25.6
restraint (the grade) — 32.6
result-direction (directing the result) — 10.3
Retainer — 38.6
retention / watch time (defined) — 23.6
reveal (drone move) — 25.1, 25.6
Reveal (move) — 8.5
reveal-and-return rhythm — 30.5
reverb (seating voices in a space) — 33.6
reverberation (echo), taming — 15.5
Revision policy — 38.3
Revision round — 38.3
revision rounds — 22.6
Revision vs. new request — 38.3
rewatches / loops — 23.6
RGB light — 12.6
RGB parade — 31.2, 31.3
rhythm (in the edit) — 29.3
rhythm (of cuts) — 26.4
rhythm of the cut (cross-cut tension) — 28.5
riches in niches (narrow to widen) — 39.5
riding levels / automation — 33.3, 33.6
riding the fader — 15.4
rim/back light — 11.4
roamer camera (reactions/details) — 24.2
Roger Deakins — case-study-01
roll early / roll long — 10.5
roll early, stop late, never chase — 24.1
rolling shutter — 2.5
room tone (as edit glue / bed) — 28.1
room tone (as noise print / ambience seed) — 33.2, 33.5
room tone (first mention) — 1.6
room tone (interview practice) — 19.3
room tone (organizing/binning) — 27.2
room tone (practice; term from Ch.14) — 15.6
room tone (term; practice owned by Ch.15) — 14.1
room tone under B-roll (see Chs.14–15) — 20.6
Roto / rotoscoping — 35.4
rough cut / first cut — 27.5
Royalty-free — 38.5
royalty-free music — 33.4
RTMP / SRT (ingest protocols) — 24.4
Rule of thirds — 6.2, 6.5
run-of-show — 24.1

S

S-Log / C-Log / V-Log / Log-C — 3.4
safe zones (defined) — 23.1
Safe zones / safe areas — 6.5
Safety (locked-off version of a moving shot) — 8.3
safety calls (flags, points, hot points) — 18.4
safety on set — 18.4
safety track — 15.4
sandbagging / rigging safety — 18.4
scanning stills / resolution for stills — 21.4
scene and take numbering — 18.3
schedule — 16.4
Scope creep — 38.3
scope creep (previewed; owned by Ch.38) — 22.6
Scope scales (percent / IRE / code values) — 31.4
Scopes — 31.2
scouting at shoot time of day — 16.6
scratch / room mic (backup + sync) — 24.6
Scratch disk / cache — 37.4
scratch track — 14.6
scratch track (as sync reference) — 27.4
scratch track (reference track) — 15.1
Screen direction — 9.2
screen direction (across a cut on action) — 28.2
Screen direction (introduced; owned Ch.9) — 7.3
Screen evenness / flat lighting — 35.2
Screen replacement — 35.5
screenplay (master-scene format) — 16.2
scrim (for text legibility) — 34.2
script — 16.2
script as paper edit — 16.2
Script supervisor (continuity role) — 9.5, 9.6
secondary — 32.4
Secondary correction (previewed, Ch.32) — 31.1
select — 30.2
selection (montage craft) — 28.4
selection vs fabrication — 21.2, 21.5
selects (used here; owned Ch.30) — 27.5
selects / string-out (previewed) — 17.5
selects bin (labeled by content) — 30.2
self-consciousness (on camera) — 10.5
self-slate — 18.3, 18.5
sensor — 2.1
sensor readout speed — 2.5
sensor size — 2.5
separation (subject from background) — 11.4
Separation (subject-to-screen distance) — 35.2
sequence, shooting (defined) — 20.2, 20.3
set etiquette — 18.4
set-and-forget levels — 15.4
shadow edge (reading hardness) — 13.1
shadow edge (transition zone) — 12.1
shallow depth of field — 4.3
shape (from shadow) — 11.1
shape of a shoot day — 18.2
shareable URL (one link) — 39.4
shares and saves — 23.6
Ship something every month — 40.6
shock mount — 15.5
shoot five, use one (see Ch.1) — 20.6
shoot for the edit — 1.2, 1.3
shoot once, cut many — 22.5
shoot-day timeline — 18.2
Shooting "through" a foreground element — 6.3
shooting fast / beating the clock — 13.3
shooting order vs. story order — 16.4
short telephoto / portrait lens — 4.1
short-term / momentary loudness — 33.6
shot duration / shot length — 26.4
Shot list — 7.6
shot list — 16.3
shot list as external memory — 16.3
shot list as on-set checklist — 18.3
shot priority (must-have / want / if-time) — 16.3
Shot size vs. importance (Hitchcock principle) — 7.1
Shot sizes — 7.1
Shot-reverse-shot — 7.4
Shot-size ladder — 7.1
shotgun (lobar) pattern — 14.3
shotgun mic — 14.2
show, don't tell (documentary) — 21.2
show-don't-tell (defined) — 17.4
show-don't-tell as a B-roll list (see Ch.17) — 20.4
shutter angle — 2.4
shutter speed — 2.4
Side fee (of an exposure control) — 5.1
sidecar (closed) captions — 36.5
sidechain — 33.4
sign-off card (end card) — 39.3
signal flow (mouth → mic → preamp/gain → recorder) — 14.5, CS2
simple animated elements (count-up, underline wipe, logo sting, callout, location card) — 34.5
single-camera interview — 19.6
single-system sound — 15.1
Size vs. method (feet vs. zoom) — 7.1
skin on the vectorscope — 32.5
Skin tone, exposing / placing — 5.4, 5.5
skin tones (protecting) — 32.5
skin tones and complexion (saturation/luma vs. angle) — 32.5
Skin-tone line — 31.2, 31.5
slate — 18.3
Slider — 8.3
slow motion — 2.3
slow-motion frame-rate math (slow factor = capture fps ÷ playback fps) — 25.4
soap opera effect — 2.3
social presence — 39.6
social proof — 22.3
soft light — 11.1
softbox — 12.2
solo shoot — 18.5
sound effects / SFX (defined) — 33.5
sound is half the picture — 1.3
sound is half the picture (payoff) — 33.1
sound is half the picture (threshold concept) — 14.1
sound masking an edit — 33.5
sound recordist / mixer (on set) — 18.1
sound scout — 16.6
sound-off / muted viewing — 22.5
sound-off viewing — 23.3
soundbite — 30.2, 30.3
soundbite (self-contained) — 19.5
Soviet montage theory — 28.5
specialty capture (definition/overview) — 25 overview, 25.6
specific questions ("walk me through") — 19.4
specifics vs applause (testimonial) — 22.3
specs change ("typical / at time of writing") — 36.3
Spill (green spill) — 35.2
spine question (documentary) — 21.2
split color temperature (warm/cool on one face) — 12.4, case study 1
split edit — 28.1
spot effects — 33.5
squinting (facing the sun) — 13.3
Stabilization ladder — 8.4
stacked / letterbox layout — 23.5
staffing a shoot (crew size) — 18.1
staged approval — 22.6
staggered call times — 18.2
stand-in (marking focus/frame solo) — 18.5
standard profile / Rec.709 — 3.4
Start and end on a composition — 8.2, 8.3
Statement of work (SOW) — 38.2
staying calm on set — 18.6
staying in your lane — 18.4
Steadicam — 8.4
steal the take (after "wrap") — 10.5
stems (dialogue/music/SFX/ambience) — 33.1
Sticks (tripod) — 8.1
stitch line (360) — 25.5
Stock elements — 35.5
stop (of dynamic range) — 3.4
Stop (of light) — 5.1
stop (of light, previewed → Ch. 5) — 4.2
stops of fill (outdoor) — 13.5
Storage vs backup — 37.3
story beat (defined) — 17.1
story is the boss — 1.3
story is the boss (Theme 1) — 17 (Overview, 17.1, 17.6)
storyboard — 16.3
storyboarding, when to use — 16.3
straight cut (vs. split edit) — 28.1
string-out — 30.2
string-out (used here; owned Ch.30) — 27.5
strongest shot first (the hero shot) — 39.2
structure (as attention) — 17.1
style kit — 34.6
SubRip (.srt) / WebVTT (.vtt) — 36.5
subtractive EQ — 33.3
subtractive lighting — 13.5
sun as key / backlight / rim — 13.3
sunk-cost fallacy (in editing) — 29.6
Super 35 / APS-C — 2.5
supercardioid / hypercardioid — 14.3
surveillance mic / rifle mic (directional at distance) — CS1
switcher (defined) — 24.3
switching live vs cutting in post — 24.3
Syd Field (three-act paradigm) — 17.2
Symmetrical (formal) balance — 6.4
sync — 15.1
sync (in the edit) — 27.4
Sync (not a backup) — 37.3
sync by timecode — 27.4
sync by waveform (auto-sync) — 27.4
Sync license — 38.5
sync sound (as audio proof on a reel) — 39.3
sync, waveform auto- — 15.1
synced clip / merged clip — 27.4
syncing type to speech/beat — 34.5
Synthetic media — 35.6
Synthetic media ethics (career context) — 40.4

T

T-stop (vs f-stop) — 4.6
take log — 18.3
talk to one person — 10.6
talking-head (assembling Project 1) — 26.6
talking-head (settings baseline) — 2.6
talking-head mic shoot-along — CS2
talking-head setup (directing the performance) — 10.5, case study 2
Tangent (edges near-touching) — 6.4
Tasks vs. judgment (AI) — 40.4
taste (as legible judgment) — 39.1, 39.5
Taste (as the human's job / the moat) — 40.4
taste / restraint (motion graphics) — 34.6
teal-orange (the trap) — 32.6
technical / conversion LUT — 32.3
telephoto / long lens — 4.1
telling vs showing (translation) — 17.4
Temperature and tint — 31.3
template (motion graphics) — 34.6
Template project (_TEMPLATE_PROJECT) — 37.1
ten-second read (hirer's appraisal) — 39.1
testimonial (defined) — 22.3
Text-based editing (edit video by editing the transcript) — 40.4
the 180-degree line (across cameras) — 24.2
The 180-degree rule — 7.3
the 180-degree shutter rule — 2.4
The 30-degree rule — 9.4
the ask (tailored, one link) — 39.6
the beautiful shot of nothing (unmotivated B-roll) — 20.2, 20.6
the brand kit — 22.2
the brief is the boss (threshold) — 22.1
the button (closing beat) — 21.6
the Café Scene — 1.5
the Café Scene B-roll (steam, hands, sign) — 20.4
The Café Scene, last look — 40.5
the ceremony must-get list — 24.5
the clap (sync point) — 18.3
The Conversation (1974, Coppola / Murch) — CS1
the coverage mindset — 20.6
the coverage plan (defined) — 20.5
the customer-voiced CTA — 22.3
the cut as a thought (the blink) — 29.3
the delivery checklist — 36.6
the demo — 22.4
the disaster reveal — 22.6
The dolly — 8.3
the edit (as storytelling) — 1.3
the event mindset — 24.1
the exhale (interview pacing) — 30.5
the export dialog (fields) — 36.1
the eyes-closed pass (radio test) — 30.6
the fine cut — 29.4
the fine cut (interview form) — 30.6
the five jobs of a graphic (identify/orient/clarify/brand/guide the eye) — 34.1
The Fog of War (2003) — CS1
the four jobs of B-roll (cover cuts, show, compress time, pace) — 20.1
the four setups — 1.5
the four setups (deliver a piece) — 36.3
the frame — 1.1
The frame as a choice (edges as decisions) — 6.1
the Frame Log — 1.5
the full-sentence answer — 19.5
the funnel (awareness/consideration/conversion) — 22.5
the handoff (face to B-roll) — 30.4
the hero shot — 22.4
the hold (choosing not to cut) — 26.4
the hook (defined) — 17.3
the hook is assembled in the edit — 23.2
the hook vs. the social hook — 23.2
the information layer — 34.1
the Interrotron — CS1
the interview setup — 19.1
the interview-edit pipeline — 30.6
the Ken Burns effect — 21.4
the L-cut (as the engine of interview editing) — 30.4
The line (180-degree) — 9.2 (owned by Ch.7)
The line / axis of action — 7.3
the look — 32.1
the loop (seamless replay) — 23.3
the lying cutaway / noddy — 21.5
the magic closing question — 19.4
the mix (defined) — 33.1
the mix (final balance) — 33.6
the non-answer — 19.4
the one message — 22.1
the one shot you cannot leave without — 18.6
the pause / silence technique — 19.5
the platform sets the shape — 22.5
the reality arc (defined) — 21.2
the retention curve — 23.6
the safety-net shots — 20.6
the short-doc structure — 21.6
the shot — 1.1
the social hook (defined) — 23.2
the social hook (see Ch.23) — 17.3
the sound-off pass (mute test) — 30.6
the soundbite spine — 21.6
the specialist as lower-risk hire — 39.5
the spine (soundbite spine) — 30.3
the story spine — 17.6
the streaming signal chain — 24.4
the testimonial setup — 22.3
the three projects — 1.5
the toggle test (grade off/on) — 32.6
the turn (documentary) — 21.2
the twelve principles of animation (slow in/slow out) — 34.4
the vertical teaser (Production Checkpoint) — 23 Production Checkpoint
the walk-up order (setting a camera) — 2.6
there is no second take — 24.1
Thirds grid / power points — 6.2
three currencies (money, time, favors) — 16.5
three stages of production — 1.2
three-act structure (defined) — 17.2
three-point interview look — 19.2
three-point lighting — 11.4
three-point lighting, as starting grammar — 11.4
tight camera (the emotion) — 24.2
tighten without gutting — 29.4
tightening ("cut it 20% shorter") — 26.4, 26.5
Tilt — 8.2
timecode — 15.1
timecode (on the timeline) — 26.1
timelapse — 25.3
timelapse math (clip length; shooting time) — 25.3
timeline frame rate (matching footage) — 26.1
timeline, the — 26.1
title (defined) — 34.2
title-safe / action-safe margins — 34.2
tone (on set) — 10.1
tone of voice (brand) — 22.2
top-down / nadir (drone move) — 25.1
top-heavy fill (low bounce fix) — 13.4
topic vs. logline — 16.1
track (V1, V2, A1, A2) — 26.1
tracking (a power window) — 32.4
Tracking shot — 8.4
transcode / transcoding — 3.1, 3.6
transcoding / platform re-compression — 23.4
transcript (as edit tool) — 30.1, 30.4
transcripts (accessibility + paper edit) — 27.4
transition — 26.3
translating client feedback — 22.6
treatment — 16.1
trending audio — 23.3
triage (on-set problems) — 18.6
trimming (heads and tails) — 26.2, 26.5
true peak (dBTP) — 33.6
true-peak limiter (-1 dBFS ceiling) — 33.6
Twelve-month plan (reel to paid work) — 40.6
Two rights in a recording (composition + master) — 38.5
Two-camera / shot-reverse-shot matching — 31.5
two-camera interview — 19.6
Two-camera interview (avoiding jump cuts) — 9.4
two-column script (A/V script) — 16.2
two-mic safety — 19.3
two-mic safety (lav + boom) — 14.4, 19
two-person shoot — 18.5
typeface / font voice — 34.2
typography for screen — 34.2

U

UHS Speed Class (U1/U3) — 3.2
ultra-wide lens — 4.1
unifying grade (across projects) — 39.3
unmotivated light — 11.5
upload / upstream speed — 24.4
upload higher than the platform keeps (re-encode) — 36.2

V

Value-based pricing — 38.1
vanity metrics (views, likes) — 23.6
Variable ND filter — 5.3
Vectorscope — 31.2
venetian-blind low-key (film noir) — 12.5, case study 1 refs
verbal protocol of a take — 18.4
verified copy — 27.1
Verified copy / checksum — 37.3, 37.5
Versioning / version naming (_vNN) — 37.2
vertical framing / composing vertically — 23.1
vertical social delivery spec (9:16) — 36.3
vertical video (defined) — 23.1
VFX (visual effects) — 35.1
video hosting (clean player vs public platform) — 39.4
video production (defined) — 1.1
Video Speed Class (V30/V60/V90) — 3.2
vignette (power window) — 32.4, case-study-02
vision mixer — 24.3
Visual balance — 6.4
Visual effects vs. practical/special effects — 35.1
Visual weight — 6.4
voice of God narration — 21.3
voiceover / narration (defined) — 21.3
vérité (defined) — 21.1

W

Walk-and-talk — 8.4
wall-to-wall B-roll (pacing failure) — 30.5
Walter Murch — further-reading, CS1
Waveform (in color) — 31.2, 31.4
Waveform (monitor / scope) — 5.4
Ways of working (comparison) — 40.2
weakest-shot principle (reel judged by) — 39.1
wedding coverage playbook — 24.5
what carries the viewer across (the master question) — 28.6
What changes vs. what won't — 40.5
Whip pan (swish pan) — 8.5
white balance — 12.3
White balance (in post) — 31.3
white balance (set in camera; free in RAW) — 3.4, 3.5, 3.6
white balance to the key source — 13.6
white balance, creative (deliberate warm/cool) — 12.3
White point — 31.4
wide / medium / detail (the sequence recipe) — 20.3
Wide lens (hides shake) — 8.4
wide lens / wide-angle — 4.1
Wide shot (WS) / long shot (LS) — 7.1
wild sound (under B-roll) — 30.4
wild sound / nat sound — 20.6
wind protection — 15.5
window as motivated key (Café) — 11.5
window as natural key (Café Scene) — 13.2, 13.6
window light — 13.2
window-key interview — 19.2
windscreen (foam) — 15.5
wipe (and fancy transitions) — 26.3
wired vs wireless lav — 14.2, CS2
Work-for-hire — 38.5
workflow checklist (why it beats memory) — 27.6
Working drive — 37.4
working in passes (solo) — 18.5
wrap time — 18.2, 18.4
wrapper / container: .mp4 vs .mov vs .mxf — 36.2
writing for the ear (narration) — 16.2
writing narration to picture — 21.3
writing the brief back — 22.1

Y

you shoot for the edit (Theme 3) — 20 (Overview, 20.1, 20.3, 20.4)
YouTube delivery spec — 36.3

Z

Zebras — 5.4
Zero-padding (filenames) — 37.2
zoom lens — 4.4