Terminology

Camera shot terminology:

EWS (Extreme Wide Shot)
The view is so far from the subject that he isn't even visible. Often used as an establishing shot.

VWS (Very Wide Shot)
The subject is visible (barely), but the emphasis is still on placing him in his environment.

WS (Wide Shot)
The subject takes up the full frame, or at least as much as comfortably possible.
AKA: long shot, full shot.

MS (Mid Shot)
Shows some part of the subject in more detail while still giving an impression of the whole subject.

MCU (Medium Close Up)
Half way between a MS and a CU.

CU (Close Up)
A certain feature or part of the subject takes up the whole frame.

ECU (Extreme Close Up)
The ECU gets right in and shows extreme detail.
Variation: Choker

Cut-In
Shows some (other) part of the subject in detail.

CA (Cutaway)
A shot of something other than the subject.

Two-Shot
A shot of two people, framed similarly to a mid shot.

(OSS) Over-the-Shoulder Shot
Looking from behind a person at the subject.

Noddy Shot
Usually refers to a shot of the interviewer listening and reacting to the subject.

Point-of-View Shot (POV)
Shows a view from the subject's perspective.

Weather Shot
The subject is the weather. Can be used for other purposes, e.g. background for graphics. 

Editing terminology

cut
A visual transition created in editing in which one shot is instantaneously replaced on screen by another.
continuity editing
Editing that creates action that flows smoothly across shots and scenes without jarring visual inconsistencies. Establishes a sense of story for the viewer.
cross cutting
Cutting back and forth quickly between two or more lines of action, indicating they are happening simultaneously.
dissolve
A gradual scene transition. The editor overlaps the end of one shot with the beginning of the next one.
editing
The work of selecting and joining together shots to create a finished film.
errors of continuity
Disruptions in the flow of a scene, such as a failure to match action or the placement of props across shots.
establishing shot
A shot, normally taken from a great distance or from a "bird's eye view," that establishes where the action is about to occur.
eyeline match
The matching of eyelines between two or more characters. For example, if Sam looks to the right in shot A, Jean will look to the left in shot B. This establishes a relationship of proximity and continuity.
fade
A visual transition between shots or scenes that appears on screen as a brief interval with no picture. The editor fades one shot to black and then fades in the next. Often used to indicate a change in time and place.
final cut
The finished edit of a film, approved by the director and the producer. This is what the audience sees.
iris
Visible on screen as a circle closing down over or opening up on a shot. Seldom used in contemporary film, but common during the silent era of Hollywood films.
jump cut
A cut that creates a lack of continuity by leaving out parts of the action.
matched cut
A cut joining two shots whose compositional elements match, helping to establish strong continuity of action.
montage
Scenes whose emotional impact and visual design are achieved through the editing together of many brief shots. The shower scene from Psycho is an example of montage editing.
rough cut
The editor's first pass at assembling the shots into a film, before tightening and polishing occurs.
sequence shot
A long take that extends for an entire scene or sequence. It is composed of only one shot with no editing.
shot reverse shot cutting
Usually used for conversation scenes, this technique alternates between over-the-shoulder shots showing each character speaking.
wipe
Visible on screen as a bar travelling across the frame pushing one shot off and pulling the next shot into place. Rarely used in contemporary film, but common in films from the 1930s and 1940s.

MISE ON SCENE

REAR PROJECTION

Usually used to combine foreground action, often actors in conversation, with a background often shot earlier, on location. Rear projection provides an economical way to set films in exotic or dangerous locations without having to transport expensive stars or endure demanding conditions.

THREE-POINT LIGHTING

The standard lighting scheme for classical narrative cinema. In order to model an actor's face (or another object) with a sense of depth, light from three directions is used, as in the diagram below. A backlight picks out the subject from its background, a bright key light highlights the object and a fill light from the opposite side ensures that the key light casts only faint shadows.

HIGH-KEY LIGHTING

A lighting scheme in which the fill light is raised to almost the same level as the key light. This produces images that are usually very bright and that feature few shadows on the principal subjects

LOW-KEY LIGHTING

A lighting scheme that employs very little fill light, creating strong contrasts between the brightest and darkest parts of an image and often creating strong shadows that obscure parts of the principal subjects

DEEP SPACE

A film utilizes deep space when significant elements of an image are positioned both near to and distant from the camera. For deep space these objects do not have to be in focus, a defining characteristic of deep focus

FRONTALITY

Frontality refers to the staging of elements, often human figures, so that they face the camera square-on. This arrangement is an alternative to oblique staging.

MATTE SHOT

A process shot in which two photographic images (usually background and foreground) are combined into a single image using an optical printer. Matte shots can be used to add elements to a realistic scene or to create fantasy spaces.

OFFSCREEN SPACE

Space that exists in the diegesis but that is not visible in the frame. Offscreen space becomes significant when the viewer's attention is called to an event or presence in the diegesis that is not visible in the frame

Sound Terminology

Acousmatic sound
- sound one hears without seeing their originating cause  

Acousmêtre
- akind of invisible voice-character with mysterious powers  

Added Value
- the expressive and/or informative value with which a sound enriches a image 

Audiovisual Contract
- an agreement to forget that sound is coming from loudspeakers and picture from screen   

Anempathetic Sound
- music or sound effects that seems to exhibit conspicuous indifference to what is goingon in the film's plot 

Chronography 
-  the stabilisation of projection speed madecinema an art of time  

Empathetic Sound
- music or sound effects whose mood matches the mood of the action 

Extension(of SoundSpace) 

External logic
- the logic by which the flow of sound includes effects of discontinuity as nondiegetic interventions  

Internal logic
- the logic by which the sound flow is apparently born out of the narrative situation itself   

Magnetization (spatial)
-  "mental pan" of the sound source 

Materializing Sound Indices (M. S. I.)
- sonic details that "materialize" the sound source 

Rendering
- the use of sounds to convey the feelings or effects associated with the situation on screen

Synchresis
- the mental fusion between a sound and a visual when these occur at exactly the same time   

Temporalization
- influence of sound on the perception of time in the image 

Vococentrism
- the privilige of the voicein audiovisual media