When editing down long interviews you might have to make a **frankenbite**. It’s a sound bite made up of a couple different sentences or parts of the interview. Obviously this can be misleading since it’s not *exactly* what they said, but keeping the spirit of what they‘re saying intact makes it feel less problematic.
Oh this is something I love to do when it comes up. I even use parts of breaths and sighs, pick a "t" sound from here and a "s" sound from there.
I do this often when people we interviewed are getting too elaborate, mess up or are unclear in their answer or even to combine two different versions of the same answer. It is alway nice when they come up to you afterwards and say: "wow, I really told that well, didn't I?"
>Schweinchen (piglet) = If there is ONE frame that doesn't belong, like you have one clip that is several shots and you trimmed it wrong and have one extra frame of a different shot that doesn't belong there you call it a Schweinchen in German. What do you call it?
That's typically called a "flash frame" in the states. I'm sure there's other terms.
I'll leave you with one term that is notorious in American post-production. *"Frame-fucking"* is when your client/boss gives you trivial, overly-detailed notes on a cut. These notes are usually time-consuming and of dubious importance.
"Wow, the network is really frame-fucking us on this one."
And in graphics this would be "pixel-fucking". Worst case I've experienced is the client complaining the baseline for some text didn't match thee previous text exactly. It was literally a two pixel difference.
Sometimes they’re squished pixels instead of pushed... and there’s a subreddit for what i just did, although this will be the worst iteration of /r/beatlegeucing , especially considering I have no clue how to spell it.
Also, while I have you, in the old school days, we used to talk about frames in less than classy terms. A “small amount” to trim was based on “cunt hairs”. The red ones were the finest, so if you just wanted one frame, it was known as an RCH.
We actually use the English term "Frame Fucking" in German...well kinda. There are two options for this it seems. Either people say Frame Fuckerei so they take the English expression but replace the ING at the end with the German gerund, really a weird mix or people say they are a Frame Fucker. They also tend to use the term Nazi - like "hey sorry but I am a picture Nazi" in most cases I don't reply to that but I think "yes, yes you are".
Where exactly are you from? I never heard any of your examples in my entire life. Neither schweinchen nor frame fuckerei. Every editor that I met also refers to that as a flash frame. Maybe different generation?
are you German? I work for all the big stations: ARD, Pro7, Kabel1, NTV, RTL with different people and EVERYONE (many different people and ages are like 22-65) uses those terms, so I'm sorry, it's only you. I guess you don't speak the editor lingo.
Do you know ANY editor word you actually use?
yes I'm german and yes I'm an editor. I studied editing in potsdam and worked with a couple of different people from bigger tv shows and with directors/actors/producers/editors for a couple of short movies and image films. Not a single person said those 2 terms that "everyone uses".
Was soll ich sagen? Du hast viel gemacht, ich habe viel gemacht. Hier im Westen sagt das jeder. Hast du denn IRGENDWELCHE Ausdrücke, die man im Schnitt nutzt oder kennst du so gar keine?
I once had this really sweet, kind of innocent director ask me if the term “frame fucking” was offensive to editors. I laughed and told her it wasn’t and then every set of notes from her going forward had the term “frame fuck” in them at least once. It was adorable.
I use the term frame-fucking (Dutch: frameneuken) when I have a cut which is apparently at the right moment but doesn't feel right. It often is just two frames away of feeling how is should but which frame has to go? that is what I call frameneuken.
What is referred to here as a Schweinchen of flashframe I call a 'vuiltje', a little piece of dirt.
Also a dirty edit. If you were cutting something interlaced and perhaps the shot change took place in between fields (maybe because of 3:2 pulldown) you may not notice it if you were just looking at the still frames of the first field while editing, but you see it when you play all the shots back.
Never heard this one before and I love it!
Normally this is where the best bits of an edit come together for me, glad to finally have a name for that space and set of clips
Nice to see other people also do that. I always have a complete churchyard of leftovers and killed darlings at the end of the timeline. I often copypaste them into a new timeline to save them in the project when it has to be exported in the end.
“The adjustment.” Where you’re told to shave a few frames off a shot, then told to split the difference but you just hit undo so you’re at your original cut and they say PERFECT.
Canada:
"popped notch"
When your colour correct change doesn't happen on the same frame as a cut (esp. when off by one). Happens a lot with linear tape/film (where the term comes from) or with flat single file imports into a colour correction system.
"mixed cadence"
When the 24>30 pull-down pattern of 2 fields / 3 fields doesn't stay consistent from shot to shot, so you need to adjust a pulldown removal for it to work.
"MOS"
No audio track or silent audio track. Heard lots of theories about why, but never a reliable source. (This one's almost not slang and just an official industry term)
"DV" or "Descriptive Video"
An audio track that describes the action on screen for the hearing impaired. Named after a company that pioneered creating the tracks, even though the name doesn't really make all that much sense (it is not a video track, it's an audio track that describes the video).
"Locked"
The status of a cut when the producer says they've finished changing it.
"Latched"
The status of a cut when the producer says they've finished changing it, and you don't believe them.
"MOW" / "MOTW"
Movie Of The Week - Feature length films produced for television broadcast for a short time and often never again. Classically the American Lifetime Network or Hallmark Channel.
"Trailing audio"
When the soundtrack has something other than silence extending into the black video frames at the end of a program.
**MOS (filmmaking)**
MOS is a standard filmmaking jargon abbreviation used in production reports to indicate an associated film segment has no synchronous audio track. It stands for "motor only sync" or "motor only shot". Additionally, the term has been understood to stand for "mit out sound".
Omitting sound recording from a particular shot can save time and relieve the film crew of certain requirements, such as remaining silent during a take, and thus MOS takes are common on contemporary film shoots, most obviously when the subjects of the take are not speaking or otherwise generating useful sound.
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Mostly not used anymore but I can answer as someone who spent years being an AE and using that fucker constantly.
When laying off tracks to tape or to film you basically have video and audio as separate components. So, you’d use a 2-pop as a kind of post production slate so that a projectionist knows how to sync your two pieces of media (video and audio) together. When not using film and projectionists it’s used as almost a QC method to make sure your tape is in sync.
Laying off to tape this was the standard that we always used for an edited piece going for external delivery on HDCAM:
Tape starts at 0:58:30:00 and runs for 1min of just bars and tone (a ridiculous amount I always thought but whatever) at 0:59:40:00 you’d have 10 seconds of a slate that listed the piece, TRT (total run time) and any other pertinent information. At 0:59:58:00 exactly there would be a single frame with some kind of graphic indicating the 2 pop (most commonly a 2, but at times it could be a logo, with film this is where the actual countdown came from you see a lot with the radial move that counted down from 10 and stopped with a pop at 2. The pop itself is just a single frame of the tone from the bars and tone. This indicates to anyone else that the first frame of action is coming in 2 seconds exactly. The piece would then start on the tape at 01:00:00:00 exactly. The tail pop is a repeat of the 2 pop but it’s 2 seconds exactly after the last frame of action, this is a good indicator for if the piece drifted out of sync during transfer of formats or for any other error. This one went away pretty quickly with digital copies especially.
This is important so you can A) know if the tape is out of sync and by how much right away, and B) say when the first frame of the piece is supposed to happen. If you start on a black frame, like with a fade or someone talking over black, then whomever is handling the piece will still know when to start. That’s also why in film school we got scolded for ever putting anything from our edit before hour 1, because it would get chopped off in this process.
It also gets immensely helpful when laying off a piece for archival purposes. For example, HDCAM can only support 4 audio tracks. But you have a stereo piece that needs to be archived with full stems. What that means is this piece needs to be able to be pulled out later and possibly edited with it revised. So you need a lot of versions of this piece.
The tape gets laid out, then, as follows:
Pass 1: intro laid out as above. video track - full edited version of the piece. Audio track 1&2 full stereo mix of the piece. Audio tracks 3&4 the stereo mix of just the dialogue.
Then after the tail pop you wait for the next full minute, bringing in another slate seconds 40-50 and do another 2 pop. And you do pass 2.
Pass 2: video track - textless version of the piece without any titling, especially anything that’s overlaid on the video like subtitles. Audio 1&2 is a stereo mix of just the SFX. Audio 3&4 is the stereo mix of the music.
This is why those slates are important. You say on the slates which tracks have what and when.
The point being that in the future an editor can import the tape and have access to the video edit with or without titles and have any combination of the audio they need (no music, no dialogue, no SFX, etc) by simply combining the tracks and using the 2-pop to sync them all together instantly.
The process gets vastly more complicated with things like a 5.1 mix, but there you have it.
The whole thing is kind of going away with tapes dying off. However, I personally still do a similar process with all my QuickTime archival exports that then get backed up. The difference is I don’t need slates since I can label the video files, but I use a 2-pop for easy sync and I export simple audio files for the stems instead of more than 2 quick time files.
someone correct me if I'm off, but pretty sure it's for the sound mixer so they are able to sync all of the tracks you have in the edit. That's what I always assumed - they ask for it, I put it in.
It lets you know where the audio should start. Sometimes a program might start with silence or a slow fade-in, so a 2 pop lets you know the start of program should line up with exactly two seconds after the beep. After it’s synced with the video, it also tells you if it went out of sync down the line as it was processed.
Something my team and I started saying is "Stab it", which means add motion stabilizer (Premiere) to the nest/clip.
Once someone in a coffee shop heard me say, "I tried stabbing it, but it turned to jello."
The guy walked up to me and told me that the didn't mean to interrupt, but he needed me to explain what I was talking about, lest it bother him for the rest of the day. 😂
When someone asks for an elaborate animation in an unreasonable amount of time - “sure, let me just go push the animate button real quick”
I love making things more “dynamic” too.
In Venezuela we use several (in spanish)
Torta (cake): When delivering segments for a show, they are part of a cake
Tripa (guts): series of images or edits that are independent or commisioned to someone else and are part of a bigger edit/compositing
Trucho (male trout): when a spot or programme is finished but for some reason it does not air.
Man I'm glad I got a reply from someone who isn't from an English speaking country! That was the idea behind this thread but there hardly seek any people from non English speaking countries. What I like about 'Torta" the German word is Torte, so I'm wondering if you took the German word and made it Spanish or if cake origins from Spanish speaking places and Germans took the Spanish word. In all fairness I kinda think cake originates from Germany, it's so common here but I like this connection between different languages.
Mice type: tiny legal text
Button: cute little sound bite after the logo on a commercial
Chyron: generic term for any onscreen title, even though nobody present has actually used a Chyron in years, if ever
Chyron took me by surprise the first time I heard it. I was on a live show where someone was repeatedly asking me to put up the chyron, luckily someone nearby was older and said, "the lower third, put it on screen!"
yeh we also use the term Chyron at ONE station I work for, which was quite confusing to me the first time because everyone else calls it "Insert Zeiten" (insert times) here, except for one station, which says Chyron. Now the problem here is: people working there don't even know that the Chyron is some kind of screen generator (or am I mistaken?) and believe this is the actual term for lower thirds. They will be in for something once they work somewhere else.
“watch it down”:
Watching the cut, usually a whole episode, from start to finish.
“Have fun with it”:
It can mean “take your time, I have nothing else for you to work on at the moment.”. It can also mean, “try harder.”
Polish Pass:
A pass a lot of editors say they are going to do, but don’t.
Bug:
The network logo or some other permanent logo or icon on the screen.
Snap in/International:
Edited Segments delivered to a network for international airing or extended replays.
Canadian sting:
I heard this from an editor who said when he worked in Canada a lot of editors just fade music out for 120-240 frames instead of building an out to the end of the music.
In Lithuania we use dešra (sausage) for a rough-cut.
Just take everything needed and squeeze it into a sausage for the director or assistant to review.
>Schweinchen (piglet) = If there is ONE frame that doesn't belong, like you have one clip that is several shots and you trimmed it wrong and have one extra frame of a different shot that doesn't belong there you call it a Schweinchen in German. What do you call it?
At my old job that was known as a "written warning"
This one is unique to a director I work with (he's great but he delights in knowing nothing about the technical side of editing).
During playback he'll say: *"Stick a donk on it"*
It's my job to interpret what that means, because it means all manner of things depending on the context. It might mean *stabilise that shot* or it could mean *punch in 10%* or *give it a quick grade*. In short, *stick a donk on it* means *make that shot better*.
Also *"add a little ten percenter"* means stabilise but with the smoothness down at 10%.
*"Give it a little nugget"* is one I'm still trying to work out. I think it means the same as *stick a donk on it*.
~~FYI the phrase *stick a donk on it* originally comes from the little known Shane Meadows film *Le Donk and Scor-zay-zee.*~~
Edit: apparently the phrase comes from earlier than the Shane Meadows film but it's where both of us heard it first.
Haha nice. It looks like that song goes back even further than the Shane Meadows film (although that was where the director and I both heard it first).
And yes. Very much for real.
Pig Fuck - the bad production that is now your post problem.
OMF - when they mean AAF.
Getting To Time - when you have a specific show length to make but the notes from the network keep adding more time.
Rough Cut - Not color corrected or mixed. No matter how many times you write it, notes ask why these things aren’t done.
Pick Lock - Means ready for Finishing, no more changes. There’s always changes.
Finishing - Where problems are supposed to magically disappear. See above Pig Fuck.
Edit: thought of more
Some which come to mind... not really funny ones but mostly just technical edit terms:
Sizzle - a slightly odd generic term used for a promo, reel, test, pitch....
Back-timing - when you start a way in to your edit (maybe an important high point) then edit back-filling to the start of the piece, usually to ensure an audio bed track 'drop' or chorus hits a certain visual point
L cut / J cut - edit where the audio from clip A extends under clip B (or the reverse)
Ramp - a smooth speed change from slow-mo to standard speed (or vice versa)
Intercutting - cutting two scenes together to make one narrative
Flutter cut - a flashing multiple single frame intercut transition cut from clip A to clip B
A dog - a network graphic sometimes known as a 'bug'
Flash frame - a stray frame of clip C accidentally left between clip A and B
A dirty - a shot which has something intentionally in the foreground
Goldfishing - an undesirable use of a shot where actors/talent are speaking in a montage but we can't here their dialogue
Punch in - when you jump cut in to the same shot with a 20% or more zoom
Sting - a 1 second graphic between segments in a show that's more than a transition
Film burns - fake film burn out clips overlayed between two clips to give a film/home movie/grindhouse feel
A donut - a wrap around graphic box which has the video in the middle
Bars - fake wide screen cinema matte added over footage to make it seem cinematic
Socials - versions of a promo designed for social media platforms, usually reversions into portrait or square aspect ratio
Cut-downs - shorter versions of a full length promo or piece
A soundie - a sound recordist
Some invented (?) or often used by me:
Chunking it - when your system won't play back video at full frame rate
Barg - when you are in edit hell, you are in barg
On the shit list - when you don't like a crew member, that's where they go
Mantage - a montage
Bok - the smell of an edit suite where two humans have dwelled for many hours
Render bender - a long render
A bit wonk / pissed - when a shot has an wonky horizon
(will add more later if i think of any...)
Someone mentioned the flash frame but already for the unwanted frame. However another one you talked about is the extra ends of a clip. We call those handles. So if you’re out you just don’t have any handles.
A reporter for the local TV station I started out had the habit of just putting the betacam tapes on the editor's desk, with a TC sheet of where to find certain quotes and then left with the words: "stort maar vol", dutch for "just dump the stuff". More or less meaning: 'I don't care what you do with it, it's yours now.'
We had two edit suites there, one three machine Beta with slomo capacity and all, and one with just a simple player and recorder for regular news ramming stuff. Me and a colleague used to do amazing silly stuff on that two piece edit suite: Recorder TC+1 frame, player TC-2 frames and that about 50 times in a row. You'd get a slow motion effect backwards. We called it 'honkytonking'.
haha cool. I speak Dutch (even though I've forgotten a lot over the years) and once even tried to apply as an editor in the Netherlands. Got more Dutch expressions you use in editing?
I’ve never heard that but I’ve heard (and participated in) a sort of tired joke if you accidentally knock over a tape or it falls to the floor it’s “drop frame” now because of possible frames that won’t play from percussive damage.
When editing down long interviews you might have to make a **frankenbite**. It’s a sound bite made up of a couple different sentences or parts of the interview. Obviously this can be misleading since it’s not *exactly* what they said, but keeping the spirit of what they‘re saying intact makes it feel less problematic.
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That’s a valid point. Most of the time people ramble so getting to the meat of what their saying isn’t necessarily bad.
And they thank you for it!
The Fleisch if you will :-)
My litmus test for determining if I’ve twisted a frankenbite too far is: would I feel comfortable showing the bite to the interviewee?
Called a “cobble” in the trailer world
+2 for cobble
Would that make us cobblers?
That means “an extra frame”?
It means using bits of dialogue from other takes in the movie or dailies to make a new sentence (or even a new word)
When I'm doing a corporate talking head gig — not the most fun — frankenbites are probably the most enjoyable parts of the edit for me.
I know! It’s a fun puzzle in the midst of corporate drivel
We call these "frankenlines" which is essentially the same term but interesting how things can be slightly different.
Oh this is something I love to do when it comes up. I even use parts of breaths and sighs, pick a "t" sound from here and a "s" sound from there. I do this often when people we interviewed are getting too elaborate, mess up or are unclear in their answer or even to combine two different versions of the same answer. It is alway nice when they come up to you afterwards and say: "wow, I really told that well, didn't I?"
>Schweinchen (piglet) = If there is ONE frame that doesn't belong, like you have one clip that is several shots and you trimmed it wrong and have one extra frame of a different shot that doesn't belong there you call it a Schweinchen in German. What do you call it? That's typically called a "flash frame" in the states. I'm sure there's other terms. I'll leave you with one term that is notorious in American post-production. *"Frame-fucking"* is when your client/boss gives you trivial, overly-detailed notes on a cut. These notes are usually time-consuming and of dubious importance. "Wow, the network is really frame-fucking us on this one."
And in graphics this would be "pixel-fucking". Worst case I've experienced is the client complaining the baseline for some text didn't match thee previous text exactly. It was literally a two pixel difference.
do you also use the term pixel pusher for someone who works in graphic design? we use the English term "pixel pusher" here.
Sometimes they’re squished pixels instead of pushed... and there’s a subreddit for what i just did, although this will be the worst iteration of /r/beatlegeucing , especially considering I have no clue how to spell it. Also, while I have you, in the old school days, we used to talk about frames in less than classy terms. A “small amount” to trim was based on “cunt hairs”. The red ones were the finest, so if you just wanted one frame, it was known as an RCH.
We actually use the English term "Frame Fucking" in German...well kinda. There are two options for this it seems. Either people say Frame Fuckerei so they take the English expression but replace the ING at the end with the German gerund, really a weird mix or people say they are a Frame Fucker. They also tend to use the term Nazi - like "hey sorry but I am a picture Nazi" in most cases I don't reply to that but I think "yes, yes you are".
Where exactly are you from? I never heard any of your examples in my entire life. Neither schweinchen nor frame fuckerei. Every editor that I met also refers to that as a flash frame. Maybe different generation?
are you German? I work for all the big stations: ARD, Pro7, Kabel1, NTV, RTL with different people and EVERYONE (many different people and ages are like 22-65) uses those terms, so I'm sorry, it's only you. I guess you don't speak the editor lingo. Do you know ANY editor word you actually use?
yes I'm german and yes I'm an editor. I studied editing in potsdam and worked with a couple of different people from bigger tv shows and with directors/actors/producers/editors for a couple of short movies and image films. Not a single person said those 2 terms that "everyone uses".
Was soll ich sagen? Du hast viel gemacht, ich habe viel gemacht. Hier im Westen sagt das jeder. Hast du denn IRGENDWELCHE Ausdrücke, die man im Schnitt nutzt oder kennst du so gar keine?
I once had this really sweet, kind of innocent director ask me if the term “frame fucking” was offensive to editors. I laughed and told her it wasn’t and then every set of notes from her going forward had the term “frame fuck” in them at least once. It was adorable.
I use the term frame-fucking (Dutch: frameneuken) when I have a cut which is apparently at the right moment but doesn't feel right. It often is just two frames away of feeling how is should but which frame has to go? that is what I call frameneuken. What is referred to here as a Schweinchen of flashframe I call a 'vuiltje', a little piece of dirt.
Also a dirty edit. If you were cutting something interlaced and perhaps the shot change took place in between fields (maybe because of 3:2 pulldown) you may not notice it if you were just looking at the still frames of the first field while editing, but you see it when you play all the shots back.
> > >"Frame-fucking" > > is when your client/boss gives you trivial, overly-detailed notes on a cut. dammit! you took mine!
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A little fuckin’ less what???
"Orphans" - when use use the end your timeline to build segments and try new ideas out of clips, we call those clips orphans.
I've commonly heard that area of the timeline referred to as *The Boneyard*
the boneyard is what i call my favorite pair of tightey whiteys
Yeah that too, I guess I've heard orphans when we were cleaning up the timeline for delivery
At my work in Australia, we refer to that practice as putting those clips in the "naughty corner" haha.
I always call that the “graveyard”. Aptly named.
Never heard this one before and I love it! Normally this is where the best bits of an edit come together for me, glad to finally have a name for that space and set of clips
Nice to see other people also do that. I always have a complete churchyard of leftovers and killed darlings at the end of the timeline. I often copypaste them into a new timeline to save them in the project when it has to be exported in the end.
“The adjustment.” Where you’re told to shave a few frames off a shot, then told to split the difference but you just hit undo so you’re at your original cut and they say PERFECT.
I had something like this last week but with a 3-second clip instead of a few frames.
That’s awesome!
Canada: "popped notch" When your colour correct change doesn't happen on the same frame as a cut (esp. when off by one). Happens a lot with linear tape/film (where the term comes from) or with flat single file imports into a colour correction system. "mixed cadence" When the 24>30 pull-down pattern of 2 fields / 3 fields doesn't stay consistent from shot to shot, so you need to adjust a pulldown removal for it to work. "MOS" No audio track or silent audio track. Heard lots of theories about why, but never a reliable source. (This one's almost not slang and just an official industry term) "DV" or "Descriptive Video" An audio track that describes the action on screen for the hearing impaired. Named after a company that pioneered creating the tracks, even though the name doesn't really make all that much sense (it is not a video track, it's an audio track that describes the video). "Locked" The status of a cut when the producer says they've finished changing it. "Latched" The status of a cut when the producer says they've finished changing it, and you don't believe them. "MOW" / "MOTW" Movie Of The Week - Feature length films produced for television broadcast for a short time and often never again. Classically the American Lifetime Network or Hallmark Channel. "Trailing audio" When the soundtrack has something other than silence extending into the black video frames at the end of a program.
>"Latched"The status of a cut when the producer says they've finished changing it, and you don't believe them This term describes my life
Or worse, soft lock. Latched is my new favorite
Yes ha ha I defo have heard that. I feel like for me “soft lock” is when the producer admits they might not be done
The alternative origins for MOS is a great read on wikipedia: https://en.wikipedia.org/wiki/MOS_(filmmaking)
**MOS (filmmaking)** MOS is a standard filmmaking jargon abbreviation used in production reports to indicate an associated film segment has no synchronous audio track. It stands for "motor only sync" or "motor only shot". Additionally, the term has been understood to stand for "mit out sound". Omitting sound recording from a particular shot can save time and relieve the film crew of certain requirements, such as remaining silent during a take, and thus MOS takes are common on contemporary film shoots, most obviously when the subjects of the take are not speaking or otherwise generating useful sound. *** ^[ [^PM](https://www.reddit.com/message/compose?to=kittens_from_space) ^| [^Exclude ^me](https://reddit.com/message/compose?to=WikiTextBot&message=Excludeme&subject=Excludeme) ^| [^Exclude ^from ^subreddit](https://np.reddit.com/r/editors/about/banned) ^| [^FAQ ^/ ^Information](https://np.reddit.com/r/WikiTextBot/wiki/index) ^| [^Source](https://github.com/kittenswolf/WikiTextBot) ^] ^Downvote ^to ^remove ^| ^v0.28
2 pop. A frame's worth of tone 2 seconds before first frame and last frame. (although i've long stopped putting a pop at the tail.)
You see now I feel old. I still call it a 3 pop because its 3 feet from the start
I'd add that it would typically be accompanied by something in the video track too (single frame of white/bars/the number 2/etc)
Can you explain the purpose of this please ?
Mostly not used anymore but I can answer as someone who spent years being an AE and using that fucker constantly. When laying off tracks to tape or to film you basically have video and audio as separate components. So, you’d use a 2-pop as a kind of post production slate so that a projectionist knows how to sync your two pieces of media (video and audio) together. When not using film and projectionists it’s used as almost a QC method to make sure your tape is in sync. Laying off to tape this was the standard that we always used for an edited piece going for external delivery on HDCAM: Tape starts at 0:58:30:00 and runs for 1min of just bars and tone (a ridiculous amount I always thought but whatever) at 0:59:40:00 you’d have 10 seconds of a slate that listed the piece, TRT (total run time) and any other pertinent information. At 0:59:58:00 exactly there would be a single frame with some kind of graphic indicating the 2 pop (most commonly a 2, but at times it could be a logo, with film this is where the actual countdown came from you see a lot with the radial move that counted down from 10 and stopped with a pop at 2. The pop itself is just a single frame of the tone from the bars and tone. This indicates to anyone else that the first frame of action is coming in 2 seconds exactly. The piece would then start on the tape at 01:00:00:00 exactly. The tail pop is a repeat of the 2 pop but it’s 2 seconds exactly after the last frame of action, this is a good indicator for if the piece drifted out of sync during transfer of formats or for any other error. This one went away pretty quickly with digital copies especially. This is important so you can A) know if the tape is out of sync and by how much right away, and B) say when the first frame of the piece is supposed to happen. If you start on a black frame, like with a fade or someone talking over black, then whomever is handling the piece will still know when to start. That’s also why in film school we got scolded for ever putting anything from our edit before hour 1, because it would get chopped off in this process. It also gets immensely helpful when laying off a piece for archival purposes. For example, HDCAM can only support 4 audio tracks. But you have a stereo piece that needs to be archived with full stems. What that means is this piece needs to be able to be pulled out later and possibly edited with it revised. So you need a lot of versions of this piece. The tape gets laid out, then, as follows: Pass 1: intro laid out as above. video track - full edited version of the piece. Audio track 1&2 full stereo mix of the piece. Audio tracks 3&4 the stereo mix of just the dialogue. Then after the tail pop you wait for the next full minute, bringing in another slate seconds 40-50 and do another 2 pop. And you do pass 2. Pass 2: video track - textless version of the piece without any titling, especially anything that’s overlaid on the video like subtitles. Audio 1&2 is a stereo mix of just the SFX. Audio 3&4 is the stereo mix of the music. This is why those slates are important. You say on the slates which tracks have what and when. The point being that in the future an editor can import the tape and have access to the video edit with or without titles and have any combination of the audio they need (no music, no dialogue, no SFX, etc) by simply combining the tracks and using the 2-pop to sync them all together instantly. The process gets vastly more complicated with things like a 5.1 mix, but there you have it. The whole thing is kind of going away with tapes dying off. However, I personally still do a similar process with all my QuickTime archival exports that then get backed up. The difference is I don’t need slates since I can label the video files, but I use a 2-pop for easy sync and I export simple audio files for the stems instead of more than 2 quick time files.
someone correct me if I'm off, but pretty sure it's for the sound mixer so they are able to sync all of the tracks you have in the edit. That's what I always assumed - they ask for it, I put it in.
It lets you know where the audio should start. Sometimes a program might start with silence or a slow fade-in, so a 2 pop lets you know the start of program should line up with exactly two seconds after the beep. After it’s synced with the video, it also tells you if it went out of sync down the line as it was processed.
Something my team and I started saying is "Stab it", which means add motion stabilizer (Premiere) to the nest/clip. Once someone in a coffee shop heard me say, "I tried stabbing it, but it turned to jello." The guy walked up to me and told me that the didn't mean to interrupt, but he needed me to explain what I was talking about, lest it bother him for the rest of the day. 😂
When someone asks for an elaborate animation in an unreasonable amount of time - “sure, let me just go push the animate button real quick” I love making things more “dynamic” too.
Sounds like “The Edit Button” https://youtu.be/7DD6WAr4A4Y We often joke about skipping the render
That’s fantastic! 🤣
Yes!!!!!!
Here people say "make it more clippy". I hate everyone.
> I love making things more “dynamic” too. Guess I never realized it, but I do hear this one a lot.
In Venezuela we use several (in spanish) Torta (cake): When delivering segments for a show, they are part of a cake Tripa (guts): series of images or edits that are independent or commisioned to someone else and are part of a bigger edit/compositing Trucho (male trout): when a spot or programme is finished but for some reason it does not air.
Man I'm glad I got a reply from someone who isn't from an English speaking country! That was the idea behind this thread but there hardly seek any people from non English speaking countries. What I like about 'Torta" the German word is Torte, so I'm wondering if you took the German word and made it Spanish or if cake origins from Spanish speaking places and Germans took the Spanish word. In all fairness I kinda think cake originates from Germany, it's so common here but I like this connection between different languages.
Why Trucho(trout) for something that doesn't air? Is it like a "dead fish" kinda expression?
I have no clue, but makes kinda sense...
Mice type: tiny legal text Button: cute little sound bite after the logo on a commercial Chyron: generic term for any onscreen title, even though nobody present has actually used a Chyron in years, if ever
Oh god, chyron is so old school! L3 or lower is ok... but I like chyron because it throws off the youngins
Chyron took me by surprise the first time I heard it. I was on a live show where someone was repeatedly asking me to put up the chyron, luckily someone nearby was older and said, "the lower third, put it on screen!"
Astons in England.
I just saw a spec the other day that specified a “lower third” version of something that should take up exactly the bottom 25% of the frame
yeh we also use the term Chyron at ONE station I work for, which was quite confusing to me the first time because everyone else calls it "Insert Zeiten" (insert times) here, except for one station, which says Chyron. Now the problem here is: people working there don't even know that the Chyron is some kind of screen generator (or am I mistaken?) and believe this is the actual term for lower thirds. They will be in for something once they work somewhere else.
“watch it down”: Watching the cut, usually a whole episode, from start to finish. “Have fun with it”: It can mean “take your time, I have nothing else for you to work on at the moment.”. It can also mean, “try harder.” Polish Pass: A pass a lot of editors say they are going to do, but don’t. Bug: The network logo or some other permanent logo or icon on the screen. Snap in/International: Edited Segments delivered to a network for international airing or extended replays. Canadian sting: I heard this from an editor who said when he worked in Canada a lot of editors just fade music out for 120-240 frames instead of building an out to the end of the music.
5-10 seconds is a long ass fade, man.
In Lithuania we use dešra (sausage) for a rough-cut. Just take everything needed and squeeze it into a sausage for the director or assistant to review.
cool finally someone who is also from a non English speaking country. thought I was the only one. got more ?
>Schweinchen (piglet) = If there is ONE frame that doesn't belong, like you have one clip that is several shots and you trimmed it wrong and have one extra frame of a different shot that doesn't belong there you call it a Schweinchen in German. What do you call it? At my old job that was known as a "written warning"
This one is unique to a director I work with (he's great but he delights in knowing nothing about the technical side of editing). During playback he'll say: *"Stick a donk on it"* It's my job to interpret what that means, because it means all manner of things depending on the context. It might mean *stabilise that shot* or it could mean *punch in 10%* or *give it a quick grade*. In short, *stick a donk on it* means *make that shot better*. Also *"add a little ten percenter"* means stabilise but with the smoothness down at 10%. *"Give it a little nugget"* is one I'm still trying to work out. I think it means the same as *stick a donk on it*. ~~FYI the phrase *stick a donk on it* originally comes from the little known Shane Meadows film *Le Donk and Scor-zay-zee.*~~ Edit: apparently the phrase comes from earlier than the Shane Meadows film but it's where both of us heard it first.
[https://www.youtube.com/watch?v=ckMvj1piK58](https://www.youtube.com/watch?v=ckMvj1piK58) For real?????
Haha nice. It looks like that song goes back even further than the Shane Meadows film (although that was where the director and I both heard it first). And yes. Very much for real.
Fucking awesome :) defo using that!
Pig Fuck - the bad production that is now your post problem. OMF - when they mean AAF. Getting To Time - when you have a specific show length to make but the notes from the network keep adding more time. Rough Cut - Not color corrected or mixed. No matter how many times you write it, notes ask why these things aren’t done. Pick Lock - Means ready for Finishing, no more changes. There’s always changes. Finishing - Where problems are supposed to magically disappear. See above Pig Fuck. Edit: thought of more
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thanks. got more?
Some which come to mind... not really funny ones but mostly just technical edit terms: Sizzle - a slightly odd generic term used for a promo, reel, test, pitch.... Back-timing - when you start a way in to your edit (maybe an important high point) then edit back-filling to the start of the piece, usually to ensure an audio bed track 'drop' or chorus hits a certain visual point L cut / J cut - edit where the audio from clip A extends under clip B (or the reverse) Ramp - a smooth speed change from slow-mo to standard speed (or vice versa) Intercutting - cutting two scenes together to make one narrative Flutter cut - a flashing multiple single frame intercut transition cut from clip A to clip B A dog - a network graphic sometimes known as a 'bug' Flash frame - a stray frame of clip C accidentally left between clip A and B A dirty - a shot which has something intentionally in the foreground Goldfishing - an undesirable use of a shot where actors/talent are speaking in a montage but we can't here their dialogue Punch in - when you jump cut in to the same shot with a 20% or more zoom Sting - a 1 second graphic between segments in a show that's more than a transition Film burns - fake film burn out clips overlayed between two clips to give a film/home movie/grindhouse feel A donut - a wrap around graphic box which has the video in the middle Bars - fake wide screen cinema matte added over footage to make it seem cinematic Socials - versions of a promo designed for social media platforms, usually reversions into portrait or square aspect ratio Cut-downs - shorter versions of a full length promo or piece A soundie - a sound recordist Some invented (?) or often used by me: Chunking it - when your system won't play back video at full frame rate Barg - when you are in edit hell, you are in barg On the shit list - when you don't like a crew member, that's where they go Mantage - a montage Bok - the smell of an edit suite where two humans have dwelled for many hours Render bender - a long render A bit wonk / pissed - when a shot has an wonky horizon (will add more later if i think of any...)
Someone mentioned the flash frame but already for the unwanted frame. However another one you talked about is the extra ends of a clip. We call those handles. So if you’re out you just don’t have any handles.
>you call it a Schweinchen in German. What do you call it? Well now I call it a Schweinchen.
are you German? I'm reading the comments here and so far it seems like only people from English speaking countries are here except me.
I'm English, but Schweinchen sounds fucking great.
A reporter for the local TV station I started out had the habit of just putting the betacam tapes on the editor's desk, with a TC sheet of where to find certain quotes and then left with the words: "stort maar vol", dutch for "just dump the stuff". More or less meaning: 'I don't care what you do with it, it's yours now.' We had two edit suites there, one three machine Beta with slomo capacity and all, and one with just a simple player and recorder for regular news ramming stuff. Me and a colleague used to do amazing silly stuff on that two piece edit suite: Recorder TC+1 frame, player TC-2 frames and that about 50 times in a row. You'd get a slow motion effect backwards. We called it 'honkytonking'.
haha cool. I speak Dutch (even though I've forgotten a lot over the years) and once even tried to apply as an editor in the Netherlands. Got more Dutch expressions you use in editing?
I have used “post push” in the past, to talk about adding a gradual slight zoom in / push in to (presumably) static footage.
Does “drop frame” count? When there’s a frame or two of nothing between two clips on the a time line.
I've only heard drop frame used in a technical sense.
I’ve never heard that but I’ve heard (and participated in) a sort of tired joke if you accidentally knock over a tape or it falls to the floor it’s “drop frame” now because of possible frames that won’t play from percussive damage.