View Full Version : Χιουμοριστικό γλωσσάρι όρων κινηματογράφου

06-07-2011, 12:02 AM
Το πήρα από ένα άρθρο που δημοσίευσε ο Stephen Fry πριν από πολλά χρόνια στην Telegraph, και πιο πρόσφατα στο βιβλίο (συλλογή κειμένων του) Paperweight. Ξεπερασμένο προφανώς, αλλά αρκετά αστείο και ίσως λίγο χρήσιμο :D

Actor insufferable layabout with opinions and a ludicrous faith in horoscopes and crystals. Actors do the least work and the most talking on any film set.
Armourer responsible for fire-arms and weaponry on set. Disturbingly disordered psyches.
Best boy second in command after the gaffer.
Boom operator holds up the large woolly sausage of a microphone. Big biceps.
Chargehand (aka property master) head of props department.
Chippy carpenter.
Clapper/loader operates the clapper-board or ‘slate’, loads the camera with film, checks its batteries, attaches the filters, polishes the lenses and wears the T-shirts.
Director of Photography (aka cinematographer or lighting cameraman) like a cricket umpire, a man who stands around with a meter and consults about the light. His lamps are called brutes, pups, misars, zaps, blondes, redheads and kittens and have attachments like barn-doors, scrims, trace, gel, flags, egg-crates, snoots and Charlie bars.
Director wears a woolly scarf. No other discernible function.
Dolly a large trolley on which the camera sits, sometimes on railway tracks (hence ‘tracking shot’). The dolly is looked after, polished and protected by the…
Dolly grip a man, necessarily of much muscle, who pushes and pulls the camera and operator backwards and forwards, lays tracks with the riggers and bends down, like a roadmender, to reveal posterior cleavage.
Dressing props dresses the set with furniture and props.
Featured artist acceptable name for what Americans call a ‘super’. Never use the word ‘extra’.
First assistant director known as The First. The lynchpin of the whole enterprise. Sort of sergeant-major, adjutant and aide-de-camp all rolled into one. Does most of the shouting and all of the work.
Focus puller responsible for operating the focus and zoom on the camera. Hopes one day to be an operator. Secretly plays with the camera during lunch-break.
Foley artist responsible for post-production sound effects like footsteps and explosions.
Gaffer capo di tutti capi in the world of sparks.
Grip one who totes or ‘grips’ the camera or related equipment, erects tripods and takes on the main burden of jean wearing.
Jenny driver drives and operates the generator lorry.
Key Grip (Amer.) chief grip.
Make-up hides the bags under actors’ eyes, but thoughtfully returns them at the end of the day.
Operator operates the camera. The only member of the crew who actually sees what the audience will see.
Producer one who visits the set round about lunchtime.
Riggers erectors of scaffolding and layers of track.
Runner gambols about; ferries cups of tea and coffee hither and thither.
Script supervisor (aka ‘continuity girl’) checks continuity between shots so that cigarettes don’t suddenly jump from one hand to the other and hats don’t disappear off heads between shots.
Second assistant director looks after the featured artists, helps with holding up traffic. Only capable of speaking through the medium of a walkie-talkie.
Sound recordist holds up filming by pretending to hear aircraft overhead.
Sparks electricians responsible for the powering, operation and installation of the lights. Frequently burn themselves.
Stand-in doubles for an actor (who is relaxing in his caravan or writing foolish articles) while the scene is being lit. Assists with crowd control and lays actors’ table for lunch.
Stand-out a stand-in who has wandered off and can’t be found.
Standby props responsible for the care of props used in the action of the film.
Stuntman drafted in to double for actors in love scenes, nude scenes and other dangerous work.
Third assistant director mufti traffic policeman. Has the unenviable task of asking motorists if they would mind waiting while a scene is completed.
Wardrobe responsible for costume. With so many socks to wash and shirts to iron, they get up the earliest and go to bed the latest. Flick invisible specks of dust from the actor’s cuff two seconds before a scene begins.
Writer see producer.