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The Glossary of Film Production Terms by KIPA
Poniższy słowniczek jest zbiorem terminologii, która została omówiona w ramach branżowego kursu j. angielskiego KIPA Film Language Lab, rozbudowana o dodatkowe hasła. Zależy nam, aby korzystanie z niego było jak najbardziej przydatne w Waszej codziennej pracy, ma służyć na dłużej, całej branży.
Jeśli macie uwagi, brakuje Wam pojęć, których często używacie, a co do których macie wątpliwości językowe – dajcie nam o tym znać na adres biuro@kipa.pl z tytułem: Słowniczek.
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| TERM | DEFINITION | POLISH TRANSLATION OR EQUIVALENT | SECTION: CATEGORY |
|---|---|---|---|
| cast | the actors in a film, play, or show | obsada | Development: Crew |
| casting director | a person responsible for casting the Actors | reżyser obsady | Development: Crew |
| consultant (production) | a person using their knowledge to advise filmmakers in the subject area of their expertise | konsultant | Development: Crew |
| executive producer (EP) | the head producer who supervises other producers in the creation of a body of work. An executive producer may work independently or on behalf of the studio, financiers or the distributors | producent wykonawczy | Development: Crew |
| leading producer | the producer that initiates work on the film and hires others to help them achieve their mission. Typically owns most right to the finished film | główny producent | Development: Crew |
| line producer | a type of film producer who is the key manager during daily operations. Usually works on one film at a time. They are responsible for human resources and handling any problems that come up during production. Line producers also manage the budget | producent liniowy (odpowiedzialny za całościową realizację filmu oraz budżet filmu) | Development: Crew |
| location scout | someone whose job is finding suitable places for filming television programmes, films, etc. | scout lokacji filmowych | Development: Crew |
| location scouting | finding suitable places for filming | poszukiwanie lokacji, scouting | Development: Crew |
| minority producer | a producer of national origin providing less than the largest share of financing | producent mniejszościowy | Development: Crew |
| script supervisor / continuity supervisor / script | oversees the continuity of the film including wardrobe, props, set dressing, hair, makeup and the actions of the actors in a scene. Their notes are used to help the editor cut the scene. They also keep track of the film production unit's daily progress | sekretarka planu, script | Development: Crew |
| talent pool | talent available for work when required or considered as a resource | pula talentów | Development: Crew |
| above-the-line costs | portion of the budget that covers major creative participants (writer, director, actors and producer) including script and story development costs | koszty związane z pracą części twórców, zgodnie z podziałem i strukturą ekipy w krajach anglosaskich (US, UK) | Development: Finance & Contracts |
| accounting | keeping records of the money a person or organisation earns and spends | księgowość, rachunkowość | Development: Finance & Contracts |
| adjusted gross participation | gross participation minus certain costs, such as cost of advertising and duplication. Also called 'Rolling Gross'. If many deductions are allowed, the participant is essentially getting a 'net profit' deal | wpływy pomniejszone o koszty P&A oraz inne zatwierdzone przez strony (np. koszty collection agency) | Development: Finance & Contracts |
| advance | up-front payment that counts against monies that may be payable at some time in the future. Non-recoupable advances are payments that are not refundable even if future monies are never due | zaliczka | Development: Finance & Contracts |
| affirm | to ratify or approve | zatwierdzać | Development: Finance & Contracts |
| aforesaid | previously said | wyżej wymieniony, wcześniej wspomniany | Development: Finance & Contracts |
| agreement, deal | a decision or arrangement, often formal and written, between two or more groups or people | porozumienie, umowa | Development: Finance & Contracts |
| amend | to change, modify | poprawiać, korygować | Development: Finance & Contracts |
| ancillary rights | ancillary rights refer to all rights that are related to exploiting property in ways that are different from their original format. | prawa zależne (prawo do opracowań cudzego utworu np. tłumaczenie, przeróbka, adaptacja) oraz uprawnienia do korzystania z elementów filmu /merchandising, sequele, seriale tv, sztuki teatralne, książki, seriale internetowe, ścieżki dźwiękowe, komiksy, gry | Development: Finance & Contracts |
| assign | to transfer | cedować | Development: Finance & Contracts |
| assignee | a person receiving property by assignment | cesjonariusz, beneficjent | Development: Finance & Contracts |
| assignor | a person giving or transferring property to another | cedent | Development: Finance & Contracts |
| attorney-in-fact | a person authorised to act for another | pełnomocnik prawny | Development: Finance & Contracts |
| audit | an examination of the accounts of a business to check that they have been done according to accepted standards | audyt | Development: Finance & Contracts |
| back end compensation | a way for the author of the source material, or anybody else participating who may be eligible to get some 'profit participation'. This means that they are then paid some of the profit the film makes after it breaks even | dodatkowy wpływ po zwrocie wkładów koprodukcyjnych i inwestycyjnych, a przed podziałem zysku netto między wszystkich udziałowców | Development: Finance & Contracts |
| balance sheet | a statement that shows the value of a company's assets (= things of positive value) and its debts | zestawienie bilansowe | Development: Finance & Contracts |
| bank opinion letter | a statement issued by the bank at the request of the account owner, which describes important facts related to the possession and use of a bank account and possibly a loan | opinia bankowa | Development: Finance & Contracts |
| bank statement | a record of the money put into and removed from a bank account | wyciąg z konta | Development: Finance & Contracts |
| below-the-line costs | the technical expenses and labour including set construction, crew, camera equipment, film stock, developing and printing | koszty związane z organizacją produkcji i planu zdjęciowego oraz ekipy technicznej | Development: Finance & Contracts |
| benefit of the bargain | the advantage that would be or have been gained under a contract if completed as agreed specifically, the difference between the actual value of property and the value of property as it is represented | korzyści płynące z tranzakcji | Development: Finance & Contracts |
| box office | "a measure of how popular and financially successful a film or actor is; the place in a cinema or theatre where tickets are sold" | wpływy z biletów osiągnięte przez film, kasa biletowa | Development: Finance & Contracts |
| breach of contract | the act of breaking an agreement | naruszenie umowy, niedotrzymanie umowy | Development: Finance & Contracts |
| cashflow | the amount of money moving into and out of a business | przepływ gotówki | Development: Finance & Contracts |
| chain of title | a series of documents which establishes proprietary rights in a film | dokumentacja potwierdzająca kolejność właścicieli praw i ich pełne nabycie | Development: Finance & Contracts |
| completion bond | a promise by an insurance company to the person or financial organisation financing a project that it will provide the money needed to complete the project, even if something unexpected happens | ubezpieczenie powodzenia produkcji / ukończenia realizacji filmu | Development: Finance & Contracts |
| contingency | a sum of money set aside in case the film goes over budget | rezerwa budżetowa | Development: Finance & Contracts |
| copyright | the legal right to control all use of an original work, such as a book, play, movie, or piece of music, for a particular period of time | prawa autorskie do dzieła | Development: Finance & Contracts |
| cost report | a formal summary of the production and cost activity within a department for a reporting period | raport kosztowy | Development: Finance & Contracts |
| court | a place where trials and other legal cases happen, or the people present in such a place, especially the officials and those deciding if someone is guilty | sąd | Development: Finance & Contracts |
| deal memo | an term used to describe a document which summarises the key points of a contract between two or more parties, signed before the actual, long, detailed agreement | dokument będący hasłowym skrótem najważniejszych założeń współpracy, podpisywany przed szczegółową finalną umową | Development: Finance & Contracts |
| deduct | subtract | odejmować, odliczać | Development: Finance & Contracts |
| deferred payment | in a deferral deal, cast or crew or a vendor agrees to defer all or part of their pay until the production has the money to pay them or the film sells | płatność odroczona za porozumieniem stron | Development: Finance & Contracts |
| direct costs | film costs associated with physically producing a film, as well as allocations of production overhead and capitalised interest. Examples of these direct costs are cast compensation, post-production, set construction, sound synchronisation, story costs, and wardrobe | koszt bezpośredni | Development: Finance & Contracts |
| dispute | an argument or disagreement, especially an official one | spór | Development: Finance & Contracts |
| escrow account | an account managed by a neutral third-party to safeguard financial transactions | rachunek zabezpieczony, rachunek powierniczy | Development: Finance & Contracts |
| fee | an amount of money paid for a particular piece of work or for a particular right or service | opłata, stawka | Development: Finance & Contracts |
| financial investment | the act of providing money for a business rather than other forms of investment such as effort or time or the money provided | inwestycja finansowa | Development: Finance & Contracts |
| financial statement | a piece of paper that lists financial details | sprawozdanie finansowe | Development: Finance & Contracts |
| first-dollar gross | the practice in filmmaking, in which the participant receives a percentage of gross revenue from the box office starting from a film's first day of release. The participant begins to share in the profits from the first ticket sale, without waiting for the film studio to make a profit | praktyka, która umożliwia stronie umowy otrzymanie procentu przychodu kasowego brutto od pierwszego dnia premiery filmu | Development: Finance & Contracts |
| flat rate | a charge that remains the same regardless of the length of work, no. of shooting days etc. | zryczałtowana opłata | Development: Finance & Contracts |
| fringes | supplementary wage and nonwage payments or benefits one receives from their employer / producer | dodatkowe świadczenia finansowe | Development: Finance & Contracts |
| gross | in total before tax or other contributions | brutto | Development: Finance & Contracts |
| gross participation | a piece of gross receipts without any deductions for distribution fees or expenses or production costs. However, deductions for checking and collection costs, residuals and taxes are usually deductible. A 'piece of the gross' is the most advantageous type of participation from the participant’s point of view. In an audit, it is the most easily verified form of participation | udział brutto | Development: Finance & Contracts |
| in perpetuity | forever | na zawsze / bez ograniczeń czasowych | Development: Finance & Contracts |
| in-kind investment | the contribution of properties other than cash to the investment object such as a company in the expectation of some benefit in the future | wkład rzeczowy | Development: Finance & Contracts |
| interest | money that is charged by a bank or other financial organisation for borrowing money | odsetki | Development: Finance & Contracts |
| irrevocable | that which cannot be revoked or recalled | nieodwołalny | Development: Finance & Contracts |
| lawsuit | a problem taken to a law court by an ordinary person or an organisation rather than the police in order to obtain a legal decision | pozew | Development: Finance & Contracts |
| lawyer | someone whose job is to give advice to people about the law and speak for them in court | prawnik | Development: Finance & Contracts |
| licensee | a person who is given a license or permission to do something | licencjobiorca | Development: Finance & Contracts |
| licensor | a person who gives or grants a license | licencjodawca | Development: Finance & Contracts |
| limited partnership | a form of business enterprise commonly used to finance films. General partners initiate and control the partnership; limited partners are the investors and have no control of the running of the partnership business and no legal or financial liabilities beyond the amount they have invested | spółka komandytowa | Development: Finance & Contracts |
| litigation | a lawsuit. Proceedings in a court of law | proces, spór sądowy | Development: Finance & Contracts |
| maximise | to make something as great in amount, size, or importance as possible | maksymalizować | Development: Finance & Contracts |
| minimise | to reduce something to the least possible level or amount | minimalizować, redukować | Development: Finance & Contracts |
| minimum guarantee | the fee that the distributor agrees to pay a producer for the right to distribute the completed film | minimum gwarantowane / MG | Development: Finance & Contracts |
| negative cost | actual cost of producing a film including the manufacture of a completed negative (does not include costs of prints or advertising). It may be defined to include overhead expenses, interest and other expenses, which may inflate the amount way beyond what was actually spent to make the film | koszt netto potrzebny do wyprodukowania i nakręcenia filmu, z wyłączeniem takich wydatków jak dystrybucja i promocja | Development: Finance & Contracts |
| net | the amount of profit that a business has left after tax has been paid | netto | Development: Finance & Contracts |
| net profit | what is left, if anything, after all allowable deductions are taken. This usually amounts to zero. Typically expressed in terms of a portion of 100% of net profits, such as 5% of 100% | zysk netto | Development: Finance & Contracts |
| non-disclosure agreement (NDA) | a confidentiality agreement; a legally binding contract in which one party agrees to give a second party confidential information about its business or products and the second party agrees not to share this information with anyone else for a specified period of time. NDAs are used to protect sensitive information and intellectual property by outlining in detail what information must remain private and what information can be shared or released to the public | umowa o zachowaniu poufności | Development: Finance & Contracts |
| obligation | a duty imposed by law, courtesy or contract | zobowiązanie | Development: Finance & Contracts |
| occasional | not happening or done often or regularly | okazjonalny | Development: Finance & Contracts |
| own contribution | one's own input | wkład własny | Development: Finance & Contracts |
| pari passu | equitably, without preference, i.e. according to the amount of each investor’s investment divided by the total recoupable cost of production | proporcjonalny (inaczej 'parytetowy') podział np. zysków lub należności | Development: Finance & Contracts |
| parties of an agreement | people or sides involved in a formal agreement | strony umowy | Development: Finance & Contracts |
| per-diem | for each day; an amount of money paid for each day that an employee works away from their home or their office, used to pay for food, travelling, etc. | dieta | Development: Finance & Contracts |
| personal investment | a financial investment by a person, rather than by a business or a financial institution | inwestycja osobista | Development: Finance & Contracts |
| pro rata | a pro rata contribution or recoupment is one that is provided or received in proportion to the contributor / recipient's interest in the project | płatność proporcjonalna | Development: Finance & Contracts |
| quitclaim | to release or relinquish a claim. To execute a deed of quitclaim | rezygnacja z roszczeń | Development: Finance & Contracts |
| rank | to have a position higher or lower than others, or to be considered to have such a position | stopień, ranga | Development: Finance & Contracts |
| recce | a pre-filming visit to a location to determine its suitability for shooting | dokumentacja | Development: Finance & Contracts |
| receipt | something such as a piece of paper or message proving that money, goods, or information have been received | pokwitowanie, paragon | Development: Finance & Contracts |
| receipts | revenues; the amount of money received during a particular period by a business or government | przychody, wpływy | Development: Finance & Contracts |
| recoupment | to get back money that you have spent, lost or invested | stopniowy zwrot inwestycji lub nakładów | Development: Finance & Contracts |
| registry documents | legal documents confirming the existence and running of a business or company | dokumenty rejestrowe | Development: Finance & Contracts |
| related rights or neighbouring rights | the rights of performers, phonogram producers and broadcasting organisations | prawa pokrewne - prawa do artystycznych wykonań: artystów wykonawców np. aktorów, wokalistów, lektorów oraz producentów fono i wideogramów, organizacji radiowych, telewizyjnych czy wydawców | Development: Finance & Contracts |
| rescind (rescission) | to cancel the contract in such a way as if it had never been signed | odstąpić od umowy | Development: Finance & Contracts |
| rider | an addition to an official or legal document | załącznik do umowy | Development: Finance & Contracts |
| royalties | money that a writer or musician earns in royalty payments (= payments received for each book, dialogue) | tantiemy | Development: Finance & Contracts |
| scale | the minimum salary permitted by the guilds | minimalna płaca dozwolona przez gildie czy związki | Development: Finance & Contracts |
| stake | a share or a financial involvement in something such as a business | udział (w interesie) | Development: Finance & Contracts |
| subtract | to deduct; to take away an amount or part of a total, to remove a number from another | odejmować | Development: Finance & Contracts |
| successor-in-interest | one who follows another in ownership or control of property | następca prawny w przedmiotowej działalności | Development: Finance & Contracts |
| successors | persons entitled to property of a decedent by will or as an heir | spadkobiercy | Development: Finance & Contracts |
| tax ID | tax identification number | identyfikator podatkowy (NIP) | Development: Finance & Contracts |
| to file a complaint | to submit a formal statement to complain | złożyć skargę, złożyć zażalenie | Development: Finance & Contracts |
| warranty | "a promise. An assurance by one party as to the existence of a fact upon which the other party may rely " | gwarancja | Development: Finance & Contracts |
| waterfall | an overview of how money from foreign sales and domestic distribution deals flows to the filmmaker. The top of the waterfall is the money source, and the bottom of the waterfall is the filmmaker | kolejność i wysokość wypłacania należności | Development: Finance & Contracts |
| wire money | to send money using an electrical communication system | przelewać pieniądze | Development: Finance & Contracts |
| antagonist | a character that puts barriers in the way of a protagonist’s progress or objective | antagonista / przeciwnik | Development: Script / Characters |
| archetype | a universal character modelled upon all the characters appearing in narrative history | archetyp, pierwowzór | Development: Script / Characters |
| character | a person, animal, or spiritual entity that figures importantly in the telling of a story | postać | Development: Script / Characters |
| character development | the gradual revelation of information about a character that the audience needs to know in order to understand the character’s motivations and intent | rozwój postaci | Development: Script / Characters |
| dynamic character | when the character’s attitude changes throughout a story | bohater dynamiczny | Development: Script / Characters |
| protagonist | the main character whom the audience identifies with or cares about in a story | protagonista | Development: Script / Characters |
| static character | when a character’s attitude remains the same throughout a story | bohater statyczny | Development: Script / Characters |
| supporting character | a subplot character or minor character who helps to raise the stakes for the main protagonist, or who reflects the same problems or issues of the protagonist, while providing texture or dimensionality to the setting | postać drugoplanowa | Development: Script / Characters |
| transformational arc | the parabolic shift in polar attitudes of a character from a point A to a point B during the course of a story | zmiana losów postaci | Development: Script / Characters |
| ambience | the overall quality of mood, tone or atmosphere in a film | nastrój | Development: Script / General |
| atmosphere | the dominant mood or emotional tone of a film | atmosfera | Development: Script / General |
| catharsis | the emotional effect achieved through fulfilment, redemption sharing a secret that was weighing on a character etc. | katharsis, oczyszczenie | Development: Script / General |
| climax | the point of highest intensity and suspense just before a resolution | punkt kulminacyjny | Development: Script / General |
| denouement | the final resolution to an intricate plot | zwieńczenie, rozwiązanie historii / przebiegu akcji | Development: Script / General |
| foreshadowing | an indication of events yet to come | zapowiedź wydarzeń | Development: Script / General |
| motif | a recurring image, sound, line, action or other element that makes a symbolic, allegorical, metaphoric or thematic point in a film | motyw przewodni, leitmotiv | Development: Script / General |
| ordeal | a very unpleasant and prolonged experience | męka, gehenna, ciężka próba | Development: Script / General |
| pace | the intensity, rhythm or speed of a story’s plot action | tempo akcji | Development: Script / General |
| tone | the attitude toward a subject or story that is being expressed by the writer or director of a screenplay or film (such as cynicism, hope, anger, optimism, sadness, or wonder) | wydźwięk, nastrój | Development: Script / General |
| action | the overt, physical actions that happen on screen, such as 'He falls down the stairs' or 'She pulls a gun, hands shaking'. | akcja, ruch | Development: Script / General |
| adaptations | derivative works. When a motion picture is based on a book, the movie has been adapted from the book | adaptacje | Development: Script / General |
| ally | a person or organisation that cooperates with or helps another in a particular activity | sprzymierzeniec, sojusznik | Development: Script / General |
| alter | to slightly change something, improve | zmieniać, modyfikować, ulepszać | Development: Script / General |
| ambiguous | not clear and decided | dwuznaczny, niejednoznaczny, niesprecyzowany | Development: Script / General |
| anxiety | a feeling of worry, nervousness or unease about something | lęk, stres, spięcie, obawa | Development: Script / General |
| artsy | arty; Making a strong affected, or pretentious display of being artistic or interested in the arts. | pretensjonalny | Development: Script / General |
| assertive | confident and not frightened to say what they want or believe | stanowczy, asertywny | Development: Script / General |
| at stake | at risk | zagrożony, na szali | Development: Script / General |
| authenticity | the quality of being real or true | autentyczność, oryginalność | Development: Script / General |
| blank slate | tabula rasa; something with no existing restraints that can be freely developed | pierwotny stan umysłu człowieka, niezapisana karta, tabula rasa | Development: Script / General |
| blueprint | an early plan or design that explains how something might be achieved | plan, strategia, model działania | Development: Script / General |
| buddy film (movie) | a popular film genre in which two protagonists (often confidantes) are in pursuit of the same objective (willingly or unwillingly) and sometimes trade off as catalysts to one another | film o przyjaźni (zazwyczaj męskiej) | Development: Script / General |
| camaraderie | friendliness | koleżeństwo | Development: Script / General |
| come across as | appear or sound in a specified way; give a specified impression | sprawiać wrażenie, wydawać się | Development: Script / General |
| coming-of-age film | a film that depicts one or more young protagonists facing a key moment of personal growth from childhood to adulthood | film o dojrzewaniu | Development: Script / General |
| convey | to express a thought, feeling, or idea so that it is understood by other people | wyrażać, przekazywać (np. emocje, treść) | Development: Script / General |
| cross-genre | two or more genres combined to create a richer and more complex movie (e.g., Witness is a cross genre of an “action thriller” and a “tragic love story”) | film międzygatunkowy | Development: Script / General |
| dialogue | any spoken lines in a film by an actor/actress based upon a script; may be considered overlapping if two or more characters speak simultaneously | dialog | Development: Script / General |
| dimensionality | richness of atmosphere or texture added to a film by means of smaller elements, such as supporting characters, background actions or dialogue and small details of design | wymiarowość | Development: Script / General |
| diverse | including many different types of people or things | różnorodny, rozmaity, odmienny, zróżnicowany | Development: Script / General |
| diversity | the fact of there being people of many different groups in society, within an organization, etc. | różnorodność, rozmaitość | Development: Script / General |
| emerge | to appear by coming out of something or out from behind something | wyłaniać, się, ukazywać się | Development: Script / General |
| encounter | to meet | spotykać, napotkać, natknąć się | Development: Script / General |
| ensemble | a group of things or people acting or taken together as a whole, especially a group of musicians who regularly play together | zespół muzyków, śpiewaków lub aktorów; ansambl | Development: Script / General |
| face off | to take up an attitude of confrontation, especially at the start of a fight or game | starcie | Development: Script / General |
| fiery | having a passionate and quick-tempered nature | ognisty, zapalczywy | Development: Script / General |
| flesh out | to add more details or information to something | uszczegółowić | Development: Script / General |
| flop | a failure | film, który jest porażką (głównie finansową), klapa | Development: Script / General |
| genre | a style or category of art, music, or literature | gatunek | Development: Script / General |
| graphic | giving clear and vividly explicit details | obrazowy | Development: Script / General |
| have a crush on | be infatuated by someone | być zadurzonym w kimś, podkochiwać się w kimś | Development: Script / General |
| heap sth on sb | direct a great deal of praise, abuse, criticism, etc. at (someone or something) | kierować w czyjąś stronę pochwały lub krytykę | Development: Script / General |
| heist film (movie) | a film that focuses on the planning, execution and aftermath of a large robbery | podgatunek filmu kryminalnego o grupie ludzi, którzy próbują coś ukraść (np. pieniądze) | Development: Script / General |
| hireability | the quality of being hireable or the likelihood of being hired | jakość i możliwość zatrudnienia | Development: Script / General |
| humility | the quality of having a modest or low view of one's importance | pokora, skromność, łagodność, nieśmiałość | Development: Script / General |
| immersive | generating a three-dimensional image which appears to surround the user | pochłaniający, wciągający | Development: Script / General |
| in pursuit of | following, chasing | w pogoni za | Development: Script / General |
| inaugural | marking the beginning of an institution, activity, or period of office | inauguracyjny, wstępny | Development: Script / General |
| longline | a one-sentence summary or description of a movie, it distils the important elements of the screenplay—main character, setup, central conflict, antagonist | jedno-, dwuzdaniowa sentencja określająca bohatera, konflikt i stawkę historii | Development: Script / General |
| mandate | an official order or requirement to do something | rozkaz, zlecenie, polecenie | Development: Script / General |
| nail | to perform perfectly, succeed | dać radę, zrobić coś dobrze | Development: Script / General |
| nuance | a subtle difference in or shade of meaning, expression or sound | subtelny szczegół, niuans | Development: Script / General |
| open-ended | having no predetermined end, limit or boundary | nieokreślony, stwarzający możliwość dowolnej interpretacji | Development: Script / General |
| oppose | to actively resist; disagree with | sprzeciwić się, przeciwstawiać się | Development: Script / General |
| out of order | not in the correct sequence; not working properly or at all | niezgodny z porządkiem, niesprawny, niedziałający | Development: Script / General |
| permit | an official document that allows you to do something or go somewhere | pozwolenie | Development: Script / General |
| pitch deck or sales deck | usually a series of slides. It is a valuable tool to verbally sell a script to studio executives, producers or anyone else within the industry. It explains why the film is being made. It allows to delve into the specifics of overall style, visual impact, tone of the film casting, location, crew, and more | krótka prezentacja opisująca główne założenia filmu, mająca na celu przekonanie innych do wspólnej realizacji projektu | Development: Script / General |
| praise | to express warm approval or admiration | chwalić, wychwalać | Development: Script / General |
| prequel | a film, book, or play that develops the story of an earlier film, etc. by telling you what happened before the events in the first film, etc. | film o wydarzeniach wcześniejszych niż opisane w pierwowzorze | Development: Script / General |
| repeat collaboration | a collaboration that happens more than once | powtórna współpraca | Development: Script / General |
| report | to give a description of something or information about it to someone | raportować | Development: Script / General |
| respectively | separately or individually and in the order already mentioned (used when enumerating two or more items or facts that refer back to a previous statement) | odpowiednio (w wymienionej kolejności, np. kosztowały odpowiednio 30 i 50 dolarów) | Development: Script / General |
| risk | the possibility of something bad happening | ryzyko | Development: Script / General |
| scene | an event that takes place entirely in one location or time. If we go outside from inside, it's a new scene. If we cut to five minutes later, it's a new scene | scena | Development: Script / General |
| scramble | to make one's way quickly or awkwardly up a steep gradient or over rough ground by using one's hands and feet | nieudolna wspinaczka, gramolenie się (pod górę) | Development: Script / General |
| sequel | the second instalment in a series, the continuation of an existing story | kontynuacja istniejącej historii, druga część opowieści | Development: Script / General |
| setting | the time and the place in which the action of a book, film, play, etc. happens | sceneria | Development: Script / General |
| shooting script | a later version of the screenplay in which each separate shot is numbered and camera directions are indicated | scenopis | Development: Script / General |
| showcase | to show the best qualities or parts of something | wystawiać na pokaz, promować, przedstawiać | Development: Script / General |
| slasher | a film in which people, especially young women, are killed very violently with knives | horror, w którym popełniane są morderstwa, zazwyczaj na młodych kobietach | Development: Script / General |
| sleeper hit | an entertainment product that was projected to be moderately successful, but surprisingly became a hit | niespodziewany sukces | Development: Script / General |
| slugline (scene heading) | basic set description at the top of a script scene, written in all caps, providing information as to whether the scene is interior vs. exterior, etc. | didaskalia / informacje o scenie (czas, lokacja, warunki pogodowe, itp.) | Development: Script / General |
| soulful | expressing deep feelings or emotion, spiritual | pełen emocji, głębokich uczuć, uduchowiony | Development: Script / General |
| sprawling | existing or reaching over a large area | rozciągnięty, rozwlekły | Development: Script / General |
| spur | to encourage an activity or development or make it happen faster | zachęcać | Development: Script / General |
| stale | no longer new and interesting or exciting; no longer fresh (food) | przestarzały | Development: Script / General |
| star-studded | with a lot of famous people in it | w gwiazdorskiej obsadzie | Development: Script / General |
| story analyst or reader | a person employed by a studio or producer to read submitted scripts, synopsize and evaluate them | recenzent scenariuszowy | Development: Script / General |
| sub-genre | a subdivision of a genre of film such as e.g. chick flicks, courtroom dramas, etc. | podgatunek | Development: Script / General |
| suited for | right or appropriate for something | nadający się, dopasowany do, odpowiedni do | Development: Script / General |
| synopsis | a short, often one-paragraph description of the contents of something such as a film or book | synopsis, streszczenie | Development: Script / General |
| tackle | to try to deal with something or someone | uporać się z czymś, stawiać czoło problemom | Development: Script / General |
| the craft of acting | the skill of acting | rzemiosło aktorskie | Development: Script / General |
| theme | an underlying philosophical, social or spiritual message that gives the plot meaning | motyw | Development: Script / General |
| three act structure | the beginning, middle, and end of a story, played out in linear sequence (setup, confrontation, resolution) | struktura trzech aktów | Development: Script / General |
| trait | feature, characteristic | cecha charakteru | Development: Script / General |
| treatment | a prose account of the story line of a film. Usually between 10 and 50 pages. Comes after an outline and before first draft screenplay | treatment, opis fabuły, zarys scenariusza | Development: Script / General |
| triquel | the third instalment in a series, the continuation of an existing story | kontynuacja istniejącej historii, trzecia część opowieści | Development: Script / General |
| ultimately | finally, after a series of things have happened | ostatecznie, w końcu, finalnie, koniec końców | Development: Script / General |
| undercut | to weaken, undermine, damage or cause the failure of something | podważyć coś, psuć coś | Development: Script / General |
| unfold | develop, become clear to other people | rozwijać się (o fabule), toczyć się (o akcji) | Development: Script / General |
| villain | a character whose evil actions or motives are important to the plot | czarny charakter | Development: Script / General |
| wit | the capacity for inventive thought and quick understanding | inteligencja, rozum, dowcip (umiejętność mówienia rzeczy zabawnych i sprytnych) | Development: Script / General |
| catalyst (catalytic) | a character, event or circumstance that forces the protagonist into a quest or achieving a goal | postać, wydarzenie lub okoliczności, które zmuszają protagonistę do wykonania jakiegoś zadania lub osiągnięcia celu | Development: Script / Plot |
| conflict | opposition, controversy, struggle or antipathy between a character and themselves, their situation, another character, society etc. | konflikt | Development: Script / Plot |
| falling action | when the tension eases in the story; events after the climax, leading to the resolution | opadające napięcie akcji | Development: Script / Plot |
| linear structure | a plot structure that runs in a chronological or logical cause-and-effect sequence | liniowa konstrukcja fabularna / sekwencja przyczynowo-skutkowa | Development: Script / Plot |
| objective | the goal or desire of a protagonist(s) | cel, zamiar, dążenie (protagonisty) | Development: Script / Plot |
| obstacle | a barrier or reversal that presents a challenge to a protagonist’s achievement of an objective | przeszkoda (na drodze protagonisty do osiągnięcia celu) | Development: Script / Plot |
| outcome | the resolution of a story in terms of the protagonist’s objective | wynik losów protagonisty | Development: Script / Plot |
| red herring | a false lead, assumed outcome or obvious solution that a writer plants in a story to fool the audience | fałszywy trop | Development: Script / Plot |
| rising action | the section of a story that leads toward its climax | rosnące napięcie akcji | Development: Script / Plot |
| sequence | a scene, or a series of connected scenes, that present a succession of related events or idea that constitute and advance a distinct component of the story narrative, plot and/or character development | sekwencja /sceny powiązanych wydarzeń stanowiące pewną zamkniętą całość | Development: Script / Plot |
| setback | something that interferes with progress | przeszkoda, komplikacja, niepowodzenie | Development: Script / Plot |
| subplot | a secondary plot line that enhances a main plot and intersects with it at a crucial point in the climax | wątek poboczny | Development: Script / Plot |
| turning point | an action point that is a reaction to an obstacle in the way of a protagonist’s objective; turning points raise the stakes, move the action in a different direction or to a different playing area and force the protagonist to take a new or different tack | punkt zwrotny | Development: Script / Plot |
| angle on | used to emphasise a specific object in a shot to indicate that a different camera angle is to be used to show it | "ujęcie na" - zmiana kąta kamery na dany obiekt | Development: Script / Technical |
| back to / back to scene | the camera reverts to its original scene, shot position or location | powrót do wspomnianej wcześniej sceny lub ustawienia | Development: Script / Technical |
| background (b.g.) | any action or object(s) which is secondary to the main action and which appears far behind the main action, and which serves as a backdrop for that action | tło | Development: Script / Technical |
| beat | in a screenplay, this term is used to indicate a pause in a character's speech or action. Also refers to actions or incidents within scenes | chwila zawahania, krótka pauza, sekunda czasu ekranowego | Development: Script / Technical |
| CLOSE SHOT | a camera shot that includes only the head and shoulders of a character. Always typed in capital letters | plan bliski | Development: Script / Technical |
| CLOSEUP (C.U.) | a camera shot that closely emphasizes (isolates) a detail in a person, animal or object. Always typed in capital letters and is usually abbreviated | zbliżenie | Development: Script / Technical |
| CUT / CUT OUT | instantaneous transition (change) from a scene (or a shot, or another person) to another. Always typed in capital letters | natychmiastowe przejście do następnego ujęcia lub sceny | Development: Script / Technical |
| DOLLY, DOLLY IN / OUT | camera movement towards or away from a subject, involving physical movement of the camera. Always typed in capital letters | jazda, najeżdżać i odjeżdżać kamerą | Development: Script / Technical |
| EXTERIOR, ext. | denotes a shot taken outdoors | ujęcie w plenerze | Development: Script / Technical |
| EXTREME CLOSEUP (E.C.U.) | a camera shot that is extremely close to a subject, used to emphasise some particular detail. Usually typed out in full in capital letters | duże zbliżenie | Development: Script / Technical |
| EXTREME LONG SHOT | a camera shot usually taken from a long distance away from the subject. Always typed out in full in capital letters | plan totalny | Development: Script / Technical |
| FADE IN / FADE OUT | a smooth, gradual transition from complete blackness to a scene (fade in); gradual transition from a scene to complete blackness (fade out). Always typed out in full in capital letters | wygasanie / rozjaśnianie się ekranu do / z czerni, przejście między scenami | Development: Script / Technical |
| foreground (f.g.) | the area of the scene (objects or action) which is closest to the camera | pierwszy, przedni plan | Development: Script / Technical |
| freeze frame | camera direction (which is really an optical printing or other effect) where a single frame is repeated over time to give the illusion that all action has stopped | stop-klatka | Development: Script / Technical |
| I/E (INT.EXT.) | refers to shots taken in both an interior and an exterior location. For example, I/E would be used for a scene in which shots alternate between the interior and the exterior of a car. It will be up to the director and then the editor to determine when we see the inside of the location (the car) and the outside | scena mająca miejsce zarówno we wnętrzu, jak i w plenerze | Development: Script / Technical |
| INTERIOR, int. | denotes a shot taken indoors | ujęcie we wnętrzu | Development: Script / Technical |
| isolate | a tight focus on an object or person | ujęcie skupiające się na danym zbliżeniu, niezależnie od tego, co dzieje się z innymi postaciami lub przestrzeniami w scenie | Development: Script / Technical |
| long shot, wide shot | camera shot that is taken at a considerable distance from the subject, usually containing a large number of background objects. Always spelled out in capital letters | plan ogólny | Development: Script / Technical |
| magic hour | in film and video production, it is the period just before sunrise or just after sunset when the sun is not visible, yet its light is diffused evenly and has a soft quality that is considered ideal for creating atmospheric images | złota godzina; pora dnia po wschodzie oraz przed zachodem słońca, w której występuje szczególne oświetlenie | Development: Script / Technical |
| match cut | an edit in which physical elements or actions in the first shot greatly resemble actions or physical elements in the next shot | rodzaj przejścia montażowego - w obu scenach postacie lub przedmioty ustawione są w podobny sposób | Development: Script / Technical |
| medium shot (med. shot) | camera shot often used to describe a shot of character from approximately the waist up | plan średni | Development: Script / Technical |
| montage | a scene heading which indicates a rapid succession of shots | montaż, szybka sukcesja scen tworzących pewną narracyjną całość | Development: Script / Technical |
| moving / moving shot | camera shot which follows whatever is being filmed | ujęcie w ruchu | Development: Script / Technical |
| narration | off-screen commentary, which is heard over the action. Also referred to as a voice over | narracja | Development: Script / Technical |
| offscreen (O.S.) | indicates that the character speaking is not visible in the frame. Always abbreviated in all capital letters and enclosed in parentheses. Not the same as Voice Over (V.O.), in which the narrator is not one of the characters playing in the scene | poza kadrem, np. wypowiedź postaci, której nie ma na ekranie | Development: Script / Technical |
| pan | a camera shot (from the word panorama) where the camera moves gradually from right to left or left to right, without stopping; to slowly move to another subject or setting without cutting the action | ujęcie panoramiczne lub szwenk | Development: Script / Technical |
| point of view (P.O.V.) | a camera position that views a scene from the viewpoint of a particular character. Always abbreviated in capital letters with periods after each letter | ujęcie realizowane z punktu widzenia konkretnej postaci | Development: Script / Technical |
| storyboard | a series of drawings or images showing the planned order of shots | storyboard / scenorys, scenopis obrazkowy, seria szkiców będących wskazówkami przy filmowaniu | Development: Script / Technical |
| SUPER (superimpose) | the effect of showing one image over another. Always typed in capital letters | podwójna ekspozycja | Development: Script / Technical |
| two-shot | camera shot of two people, usually from the waist up | ujęcie z dwiema osobami w kadrze | Development: Script / Technical |
| voiceover (V.O.) | audio from an unseen narrator accompanying video, heard above background sound or music | voice over, głos lektora | Development: Script / Technical |
| wipe | a wide variety of patterned transitions in which images seem to move (or push) other images off the screen | roletka (sposób montażu filmu, w którym jedna klatka stopniowo zastępuje drugą) | Development: Script / Technical |
| zoom in / zoom out | a quick transition from a long shot to a close shot or the reverse, usually achieved by manipulating the camera's lens | przejście z planu ogólnego do bliskiego i odwrotnie | Development: Script / Technical |
| 10-1 | the walkie-talkie code for the bathroom | kod walkie-talkie dot. potrzeby skorzystania z toalety | Production |
| 1st AC (First Assistant Cameraman) | keeps the camera in focus | ostrzyciel / focus puller | Production |
| abby singer | named after Abner Singer, a well-known Production Manager in Hollywood’s heyday, refers to the second-to-last shot of the day. Abner always called out the penultimate shot of a setup, scene, and day | przedostatnie ujęcie dnia | Production |
| action | this is the Principal Actors cue to start | akcja | Production |
| aerial shot | a shot from the sky using drones or helicopters, to get dramatic high, low and sweeping angles | ujęcie wykonane podczas lotu dronem, helikopterem, itd. | Production |
| apple or apple box | a wooden crate that comes in several sizes used for all sorts of purposes, from adding a few extra inches to a shorter actor to propping up a dolly track. Apple boxes are managed by the grip department | drewniane skrzynie dostępne w kilku rozmiarach, na planie używana do różnych celów, np. jako podest dla aktora albo mocowanie dla kamery. Zajmuje się nimi grip | Production |
| art department | the team responsible for creating the overall look of a television show or feature film, as determined by the director | pion scenograficzny | Production |
| aspect ratio | the aspect ratio of an image is the ratio of its width to its height, and is expressed with two numbers separated by a colon, such as 16:9, sixteen-to-nine. For the x:y aspect ratio, the image is x units wide and y units high. Common aspect ratios are 1.85:1 and 2.39:1 for cinema, 4:3 and 16:9 for TV and 3:2 for stills | format obrazu, proporcje obrazu, współczynnik proporcji | Production |
| assistant cameramen | performs other tasks related to running the camera department, like managing the gear or working the clapper board. Works under the cinematographer or director of photography. A person in this role will recommend cameras, lenses and other support gear | asystent operatora kamery /może to być np. 1st AC = focus puller/ostrzyciel lub 2nd AC = clapper loader/asystent kamery - techniczny itd. | Production |
| backlot | americanism. An open air part of the studio where sets can be constructed | duży obszar używany przez studio filmowe do budowy dekoracji, zazwyczaj mieszczący się na tyłach studio czy hali | Production |
| base camp | the area at or near a shooting location from where the company operates. This is the location where the equipment of vehicles are parked, along with wardrobe, hair, makeup, crafty, and trailers for talent. | kamp, baza | Production |
| best boy | the person who helps the gaffer (= the person responsible for the electrical work) when a film or television programme is being made | oświetlacz | Production |
| bird's eye view | a shot from high in the sky looking down on a subject and/or their surroundings. Also called an overhead shot | ujęcie z lotu ptaka | Production |
| blocking | the process of working out where to position all the cameras and lights, based on where the actors are going to be standing and moving throughout a scene | ustalenie ruchów kamery w odniesieniu do inscenizacji i ruchów danego autora | Production |
| bluescreen | sometimes called greenscreen or chroma-key. Filming takes place against a blue or green background. The background can then be replaced by a different location | tło koloru niebieskiego lub zielonego (greenscreen) służące do filmowania, zastępowane następnie obrazem jakiejś lokalizacji | Production |
| body cast | a cast made of part of your body or even your whole body | odlew sylwetki lub części ciała | Production |
| bridging shot | a shot is a shot that indicates the passage of time between two scenes, like a montage of seasons or newspaper headlines changing | ujęcie w filmie wskazujące na upływ czasu pomiędzy dwiema scenami | Production |
| call sheet | a daily report normally produced by the 2nd AD. Given to the crew so they know what is being filmed that day | zdjęciowy plan pracy | Production |
| call time | the time to report to a given location | godzina, na którą nalży pojawić się na danej lokacji | Production |
| casting director | a perosn responsible for casting the Actors | reżyser obsady | Production |
| check the gate | checking a part of the camera to ensure no unwanted objects such as hairs have gone across the lens | polecenia sprawdzenia czy żadne niepożądane zanieczyszczenia nie dostały się na obiektyw | Production |
| clapper loader | the person who loads the film into the camera | asystent kamery odpowiedzialny za ładowanie negatywu do kamery | Production |
| clapper, clapboard, clacker, slate | person operating the slate in order help the editor synchronize sound and vision in postproduction | klapser | Production |
| close up | type of shot where only a small part of an actor's body (typically a face) or object is visible in the frame | zbliżenie | Production |
| cold brick | a dead walkie-talkie battery | rozładowana bateria walkie-talkie | Production |
| confirmed booking | a firm commitment to work on a particular day | potwierdzone zlecenie pracy w konkretnym dniu | Production |
| continuity | a sequence filming over more than one day, or more than shot. It is therefore essential that nothing changes to upset the continuity of the scene | kontynuacja, ciągłość akcji | Production |
| continuous working day/night | a filming day or night with no meal break, a running buffet is provided while filming continues | realizacja zdjęć bez przerwy na posiłek, w trakcie filmowania zapewniony jest bufet | Production |
| costume fitting | trying on a costume fitted before filming | przymiarka kostiumów | Production |
| craft services | tea, coffee and water station | catering na planie | Production |
| crane shot | the camera may pan up at great height. A crane is used to lift the camera into the air | ujęcie z kranu/dźwigu | Production |
| creative producer | a person involved to partake in every aspect of the creative processes bringing a great story to life through film. From conception to development, funding, pre-production, filming, post-production, release and distribution | producent kreatywny | Production |
| crew | a group of people who work together on set, excluding the talent (actors etc.) | ekipa filmowa | Production |
| crowd assistant director | coordinates larger crowds of extras for the background of scenes, helping to organise the transport and logistics of shooting with a crowd. They may also direct members of the public or keep them off-set | koordynator ds. statystów | Production |
| crowd base | the gathering area where the cast waits before being called onto set (also known as holding area) | miejsce, w którym obsada czeka przed wezwaniem na plan | Production |
| cut | the cue to stop the scene | cięcie | Production |
| deep focus | it refers to a technique where all elements of an image—foreground, middle ground, and background—are all in sharp focus | pełna głębia ostrości | Production |
| diegetic sound | diegetic sound is any sound that emanates from the story world of the film. The source of diegetic sound doesn't necessarily need to be seen on screen, as long as the audience understands that it is coming from something within the film | dźwięk diagetyczny (dialog postaci widocznych w kadrze lub muzyka płynąca ze źródła, które jest obecne w obrazie lub którego źródło zakładamy, że jest) | Production |
| DoP, DP, director of photography | also known as the DP (US), DoP (world) or cinematographer, is the person responsible for creating the look of a film. The DP controls everything that affects what the camera is able to capture (i.e. composition, exposure, lighting, filters, and camera movements). The director of photography is the head of the camera and lighting crews on set, and also selects the cameras, lenses, and filters to be used on a shoot | operator filmu, autor zdjęć | Production |
| double | a person used when the actor is not available. Usually from long distance or from behind, or for a part of the body such as hands and feet | dubler | Production |
| electrician/spark | a person working for the gaffer in the light department, operating lighting gear | oświetlacz | Production |
| equity | a union that represents actors in the UK, US and Canada | związek zawodowy aktorów (w Wielkiej Brytanii, USA i Kanadzie) | Production |
| establishing shot | a general view of any location or building | plan ogólny, plan total, ujęcie wprowadzające nową scenę | Production |
| eye line | it is where actors look while acting in a scene | linia wzroku | Production |
| first AD (first assistanat director) | the director's right hand, handles the logistics of running the set during production. They are the liaison between the director and the rest of the crew. They create and manage the shooting schedule and shot lists, coordinating with all department heads | II reżyser planowy | Production |
| from the top | to start the scene from the beginning | rozpoczęcie sceny od początku | Production |
| gaffer | the person responsible for the lights and other electrical equipment used when making a film or television programme | mistrz oświetlenia | Production |
| gel | a transparent coloured material that is used in theatre, event production, photography, videography and cinematography to colour light and for colour correction | filtr foliowy barwny | Production |
| generator/genny | a machine that produces electrical power | agregat | Production |
| grip | a technician who handles and maintains equipment (such as cameras and their dollies and cranes) | gripowiec | Production |
| hold the red | a cue that another take is about to happen | komenda komunikująca, że wkrótce nastąpi kolejne ujęcie | Production |
| honey wagon | a portable outdoor toilet | toaleta samojezdna lub ciągana | Production |
| hot brick | a fully charged walkie-talkie battery | w pełni naładowana bateria walkie-talkie | Production |
| hot set | a film set in which furniture and props have been positioned for an imminent shoot, so labelled to prevent said items from being moved and thus compromising continuity in the finished product | plan gotowy do rozpoczęcia zdjęć, odpowiednio oznakowany na potrzeby kontynuacji | Production |
| insert | a shot within a scene which calls attention to a specific piece of information, usually an inanimate object | ujęcie niewynikające zazwyczaj z akcji w danej scenie, wstawione w nią w celu przekazania informacji lub skupiania uwagi widza na szczególe, który inaczej nie byłby do wychwycenia | Production |
| key grip | the person in a film crew who is in charge of additional camera equipment, such as dollies, cranes, etc. | główny gripowiec | Production |
| lavalier | a lav mic or clip mic, is a small, discreet microphone attached to the performer's body to pick up sound during filming | mikrofon krawatowy (przyczepiany np. do marynarki), mikroport | Production |
| location | a place where a filming happens when it's not done at a studio | lokacja / plan zdjęciowy | Production |
| location department | people responsible for securing filming locations | pion osób odpowiedzialnych za znalezienie i zakontraktowanie lokacji do filmu | Production |
| long shot, wide shot | camera shot that is taken at a considerable distance from the subject, usually containing a large number of background objects. Always spelled out in capital letters | plan ogólny | Production |
| martini shot | last shot of the day | ostatnie ustawienie kamery w ciągu dnia | Production |
| master shot | a wide shot that covers the main action throughout | długie, nieprzerwane ujęcie całej sceny | Production |
| matte | it refers to the static, painted landscape in the background of a live-action scene that gives the illusion of a sprawling environment | ujęcie, którego tło może być zmienione | Production |
| mid shot | a shot of the top half of the body | plan średni | Production |
| mise-en-scène | the stage design and arrangement of actors in scenes for a theatre or film production, both in visual arts through storyboarding, visual theme, and cinematography, and in narrative storytelling through direction | inscenizacja | Production |
| night shoot | filming through the night. No set hours but could start as early as 4pm and finish as late as 7am | zdjęcia nocne | Production |
| pencilled booking | a provisional booking, yet to be confirmed | wstępna rezerwacja terminu, do potwierdzenia | Production |
| pick up | a small, relatively minor shot filmed or recorded after the fact to augment footage already shot | krótkie ujęcie filmowane w celu uzupełnienia już nakręconego materiału filmowego | Production |
| production designer | makes decisions regarding elements related to set design, as well as deals with the creation and/or rental of such pieces | scenograf | Production |
| production office | the headquarters behind the set, usually headed by the Production Manager | biuro produkcji | Production |
| prop | any object you may be given in addition to your costume that is movable, such as a sword or rifle | rekwizyt | Production |
| prop(s) master (property master) | responsible for purchasing, acquiring, manufacturing, properly placing, and/or overseeing any props needed for a production | rekwizytor | Production |
| prosthetic | an artificial body part, applied in the make-up dept | proteza, np. sztuczny nos, podbródek, itp. | Production |
| rehearsal | a try out of a scene before filming | próba sceny | Production |
| reset | moving the camera to a different position | przestawienie kamery w inne miejsce, czasem też powrót do oryginalnego ustawienia | Production |
| runner or PA (Production Assistent) | can be instructed do anything at all to support the ADs and Production Office. From collecting people to and from the set to taking lunch orders or picking up faxes | dyżurny planu | Production |
| rushes | the initial prints of a scene or scenes before editing, usually prepared daily | nieobrobiona kopia robocza materiału z danego dnia | Production |
| second AD (second assistanat director) | creates the daily call sheets from the production schedule, in cooperation with the production coordinator. The 'second' also serves as the 'backstage manager', liaising with actors, putting cast through make-up and wardrobe, which relieves the 'first' of these duties | II reżyser biurowy | Production |
| second unit | a completely separate crew, filming different scenes to the main unit, often insert or pick-up shots | druga ekipa robiąca zdjęcia do tego samego filmu, które nie wymagają udziału głównych aktorów | Production |
| set | a place where filming takes place | plan zdjęciowy | Production |
| shot/reverse shot or shot/countershot | a film technique where one character is shown looking at another character (often off-screen), and then the other character is shown looking back at the first character | przeciwujęcie, kontrplan | Production |
| sides | the pages of the script that are being shot during that day in production | strony scenariusza na dany dzień zdjęciowy | Production |
| socket, plug | where you plug-in electrical devices | gniazdko elektryczne, wtyczka | Production |
| soundstage | a soundproof, large structure, building, or room with large doors and high ceilings, used for the production of theatrical film-making and television productions, usually located on a secured movie or television studio property | studio filmowe | Production |
| special FX | special effects can be anything used in shot such as fire, wind, rain or snow | wizualne efekty specjalne, często komputerowe | Production |
| stand by | this is a warning that filming is about to commence | być w pogotowiu | Production |
| stand in | a person used in place of an actor to set up initial lighting and camera. Usually of a similar height age and skin tone to the actor | dubler (zastępujący aktora) | Production |
| steadicam | a harness that allows the camera to be attached to a camera operator. This reduces or eliminates the unsteadiness of the motion by the operator | stabilizacja kamery | Production |
| stunt | an exciting action, usually in a film, that is dangerous or appears dangerous and usually needs to be done by someone skilled | popis kaskaderski | Production |
| stunt coordinator | usually an experienced stunt performer, hired by a TV, film or theatre director or production company for stunt casting | koordynator kaskaderów | Production |
| stuntman / stuntwoman | a person who performs dangerous acts usually within the television or film production industry | kaskader, kaskaderka | Production |
| swing gang | people who perform several tasks, which are not specific to other departments, like moving large furniture at a set decorator's request or setting up catering tables before lunch | dyżurni | Production |
| take | filming of a particular sequence | ujęcie | Production |
| third AD (third assistanat director) | coordinates the movements and direction of extras and maintains a clear channel of communication between cast and crew | asystent reżysera / II reżysera | Production |
| tilt | the camera moves either up or down | płynny ruch kamery w linii pionowej | Production |
| tracking shot or dolly | the camera moves smoothly forwards or backwards by running on tracks | ujęcie z wózka | Production |
| unit base | this is where the production team will base itself on any given day when on location | baza produkcji w plenerze | Production |
| wardrobe department | the team responsible for making, arranging, and taking care of all of the costumes and accessories that are worn by actors and extras in a television or film production | pion kostiumografa | Production |
| what's your 20? | What is your location? | zapytanie o czyjąś lokalizację | Production |
| wild track | a recording of atmospheric sound | nagranie dźwiękowe mające być zsynchronizowane z filmem lub wideo, ale będące zarejestrowane osobno | Production |
| wrap | this indicates the end of the filming day | koniec zdjęć | Production |
| digital reconstruction | the process of improving the quality of the footage, including improvement of resolution, removing dirt and scratches, image cleaning, and additionally replacing objects in 3D from time to time | cyfrowa rekonstrukcja | Post-production: 35mm Workflow |
| dust-busting | removal of visible dust and scratches after film has been digitised | czyszczenie negatywu | Post-production: 35mm Workflow |
| film stock | an analog medium that is used for recording motion pictures or animation. It is recorded on by a movie camera, developed, edited, and projected onto a screen using a movie projector | taśma filmowa | Post-production: 35mm Workflow |
| reels | it's traditional to discuss the length of theatrical motion pictures in terms of 'reels'. The standard length of a 35 mm film reel is 1,000 feet (305 m), which runs approximately 11 minutes for sound film (24 frames per second) and about 15 minutes for silent film at the more-or-less standard speed of 18 frames per second | rolka filmu | Post-production: 35mm Workflow |
| colour correction or grading | the process by which the colour and luminance values of video footage is altered for colour accuracy and image fidelity | korekcja barwna | Post-production: Colour Grading |
| colour decision list (CDL) | a format for the exchange of basic primary colour grading information between equipment and software from different manufacturers | format wymiany podstawowych informacji o decyzjach kolorystycznych między sprzętem i oprogramowaniem różnych producentów | Post-production: Colour Grading |
| contrasty | (of a photograph, film, or television picture) showing a high degree of contrast | kontrastowy | Post-production: Colour Grading |
| grading artist / colourist | colourists contribute to the mood and look of a film by defining its colours. They work with the director and director of photography to decide the palette; whether it's restrained or hyper-coloured, whether it uses milky colours or primary ones | kolorysta | Post-production: Colour Grading |
| high dynamic range (HDR) | a modern standard of colour coding that significantly improves the visual quality of an image. This generates additional costs due to the slightly longer colour correction process and the production of an additional master. Today, HDR-enabled cinemas are opening up, and broadcasters treat HDR as the broadcasting standard | wysoka rozpiętość tonalna | Post-production: Colour Grading |
| LUT | stands for Look-up Table. A tool that lets filmmakers, editors, and colourists save particular colour grades as a template. Think of a LUT as a colour preset that a filmmaker can readily turn to when working on a project | LUT | Post-production: Colour Grading |
| nit | a luminous intensity unit | nit | Post-production: Colour Grading |
| P3 | DCI-P3; a colour space or set of colours, created by the Digital Cinema Initiatives (DCI) and Society of Motion Picture and Television Engineer (SMPTE) in an attempt to standardize the colours used in the film industry | P3 | Post-production: Colour Grading |
| alpha channel | a channel in an image or movie clip that controls the opacity region | kanał alfa | Post-production: Digital Intermediate |
| anamorphic | footage (widescreen) that has been stretched vertically in-camera or during the post production process that results in the widescreen image filling up the whole of a screen | Anamorficzny /anamorfotyczny materiał filmowy (panoramiczny), który został zwężony lub rozciągnięty | Post-production: Digital Intermediate |
| bit depth | refers to the colour information stored in an image. The higher the bit depth of an image, the more colours it can store. The simplest image, a 1 bit image, can only show two colours, black and white. That is because the 1 bit can only store one of two values, 0 (white) and 1 (black) | głębia bitowa | Post-production: Digital Intermediate |
| cinemascope | an anamorphic system used for filming widescreen movies raised in the 1950s | pierwszy system filmu panoramicznego, sposób realizacji szerokoekranowej umożliwiający projekcję filmów o proporcjach obrazu 2.66:1, dwukrotnie dłuższego od standardowego 1.33 | Post-production: Digital Intermediate |
| codec | a piece of software designed to encode and/or decode video data into a form readable by a computer | kodek, oprogramowanie przeznaczone do kodowania i/lub dekodowania danych wideo do postaci czytelnej dla komputera | Post-production: Digital Intermediate |
| colour pipeline | represents the essential colour space definitions, transforms, and deliverables for a project. This usually requires knowledge of the source(s), working, and final delivery colour spaces to ensure that all points in a colour pipeline are aligned. This must be defined in coordination with all departments responsible for viewing, sending, and receiving images on a production | zarządzanie kolorem | Post-production: Digital Intermediate |
| colour space | a model describing the way colours can be represented. Due to the complexity of digital workflows nowadays, it is important to pay extra attention to the colour-pipeline throughout the whole process of post-production. Different colour spaces might cause different film looks on different devices. Most common colour spaces are called REC709 (TV/Internet), P3 (cinema), REC2020 (HDR ready). | przestrzeń barw | Post-production: Digital Intermediate |
| conforming process | the process of replacing lower-quality media in an edit or a shot with higher-quality media, usually camera-original files | konforming | Post-production: Digital Intermediate |
| data pipeline | "a series of data-processing steps from the camera recording up to the final mastering process, including all important information about process and parties involved" | zarządzanie danymi | Post-production: Digital Intermediate |
| DPF, TIFF, EXR | file formats of frames exported from raw footage for colour correction and VFX. The choice of format depends on the needs and workflow of a given post-production studio | DPF, TIFF, EXR | Post-production: Digital Intermediate |
| frame | a frame is one of the many still images which compose the complete moving picture | kadr, klatka | Post-production: Digital Intermediate |
| frame rate | the frequency (rate) at which consecutive images (frames) are captured or displayed | klatki na sekundę | Post-production: Digital Intermediate |
| handle | extra material beyond the in and out points to allow a clip to be extended and provide additional material for transitions | zakładka | Post-production: Digital Intermediate |
| interlace | an image that consists of two half-height fields that combine to create a full image. This is the opposite of progressive scanning, in which the image is comprised of single frames | przeplot | Post-production: Digital Intermediate |
| metadata | "information that is given to describe or help use of other information or data; In post-production, metadata is crucial to optimize the workflow by efficient sorting, managing and analysing of the material recorded, enabling proper grading, as well as managing VFXs etc." | metadane | Post-production: Digital Intermediate |
| reference monitor | characterised by the perfect reproduction of the image, it is used to evaluate the recorded material, in particular its colours. A monitor is considered reference if it covers the entire colour space in which a movie is created. Used to record professional effects and create 3D animations, it is also distinguished by high contrast and high brightness. An additional function is the control panel that allows for remote control | monitor referencyjny | Post-production: Digital Intermediate |
| render time | the time it takes an editing computer to composite source elements and commands into a single video file so the sequence, including titles and transition effects, can play in full motion | czas renderowania | Post-production: Digital Intermediate |
| slow motion | a shot in which action takes place at a slower than normal speed. It is achieved by speeding up the camera during recording and then playing back the frames at a slower frame rate. | zwolnione tempo | Post-production: Digital Intermediate |
| standard dynamic range (SDR) | the current standard for video and cinema displays (0,05 - 100 cd/m2). It is limited by its ability to only represent a fraction of the dynamic range that HDR is capable of | standardowa rozpiętość tonalna | Post-production: Digital Intermediate |
| titling | process or result of incorporating on-screen text as credits, captions or any other alphanumeric communication | nadawanie tytułów | Post-production: Digital Intermediate |
| VFX pulls | the process of extracting or “pulling” a shot to deliver for VFX work | wydanie klatek do efektów | Post-production: Digital Intermediate |
| what you see is what you get WYSIWYG | a workflow setup that reassures that the way something is displayed on any screen is the way it will displayed in any further post-production stage, as well as in the final master. It’s important from the creative perspective, but also for the technology specialists to be able to spot any issues. The director should see the same (or similar) looking image on set, in the edit and in all further steps | akronim stosowany dla określenia metod postprodukcyjnych, które zapewniają wyświetlanie takiego samego obrazu na różnych ekranach w kolejnych etapach postproduckji i w ostatecznej wersji materiału | Post-production: Digital Intermediate |
| white balance | The process of adjusting a digital camera so that it interprets the brightest areas of the image as pure white. This prevents unrealistic colour casts. | balans bieli | Post-production: Digital Intermediate |
| colour gamut | describes a range of colours within the spectrum of colours, or a colour space, that can be reproduced on an output device. Depending on how wide the gamut is, every screen will display different quantities of colour | gamut | Post-production: Digital Intermediate & Grading |
| assistant editor | prepares footage files for editing, synchronises audio with image, exports previews, and is often responsible for pre-editing of certain scenes or sequences. Assistant Editor can be considered the gatekeeper of an editing project | asystent montażysty | Post-production: Editing |
| cloud video editing | modern technology allows editors to work remotely. In practice, footage files stored in the cloud allow the editor and assistant editor to access them anywhere with the appropriate editing software | montaż w chmurze | Post-production: Editing |
| cross-fade (also dissolve, fade) | simultaneous fade-in of one audio or video source as another fades out so that they overlap temporarily. Also called a dissolve | przenikanie | Post-production: Editing |
| cut | instantaneous change from one shot to another | cięcie | Post-production: Editing |
| cutaway | shot of something other than principal action (but peripherally related), frequently used as transitional footage or to avoid a jump cut | krótkie ujęcie wmontowane w ujęcie podstawowe | Post-production: Editing |
| data burn-in | a test in which a system or component is made to run for an extended period of time to detect problems | wypalanie danych w obrazie | Post-production: Editing |
| director's cut | an edited version of a film (or video game, television episode, music video, or commercial) that is supposed to represent the director's own approved edit in contrast to the theatrical release. 'Cut' explicitly refers to the process of film and game editing; in preparing a film for release, the director's cut is preceded by the assembly and rough editor's cut and usually followed by the final cut meant for the public film release and video game release | wersja reżyserska | Post-production: Editing |
| edit | process or result of selectively sequencing video and/or audio clips into a new video file. Typically involves reviewing raw footage and transferring desired segments from source footage into a new predetermined sequence | montaż | Post-production: Editing |
| edit timeline | "timeline is a graphical depiction of audio and video tracks. It consists of clips, put in sequences. Graphical representation enables efficient communication around the editing process and keeps track of the changes" | timeline montażowy lub tzw. 'listwa' | Post-production: Editing |
| editor's cut | made by the film editor on their own, or working with the film director. The editor tapes together the first cut of the film, the 'editor's cut', arranging the separate takes into a coherent story according to the plan communicated by the director. The editor's version of the film will often be as much as two hours beyond the final running time of the film | układka montażowa | Post-production: Editing |
| ingest editing station | "a station at the image post-vendor facility where the assistant editor is able to work on the project (parallel to the editor). It can be accessed remotely. It speeds up the workflow, as the sync of audio and project management may happen at the same time as the edit. Usually, an ingest station is cheaper for the producer to rent than a second editing room" | stanowisko ds. montażu | Post-production: Editing |
| jump cut | unnatural, abrupt switch between shots identical in subject but slightly different in screen location, so the subject appears to jump from one screen location to another | cięcie skokowe, przeskok montażowy | Post-production: Editing |
| montage sequence | a montage sequence is a number of scenes put together to present a longer period of time in shorter screen time, for example to present the process of making bread in just one minute, or the training montage sequence from Rocky. There is usually background music and a selection of scenes put together to represent the time passing. There are also famous montage sequences from the Goodfellas, Wolf of Wallstreet etc. | sekwencja montażu | Post-production: Editing |
| picture lock | picture lock is the last stage in the editing of a film, when all changes to the film cut have been done and approved by all parties. The edited film is then sent to subsequent stages in the process, such as colour grading, VFX, audio mixing etc. | zamknięcie obrazu | Post-production: Editing |
| producer's cut | this stage comes after the director's cut and before the picture lock. It is a version of the footage developed by the producer and creators which is presented at the pre-release review | układka producencka | Post-production: Editing |
| rough cut | preliminary edit of footage in the approximate sequence, length and content of a finished program | próbny montaż | Post-production: Editing |
| rushes for editorial / proxy editorial files / MXFs | as the material recorded by the camera is heavy, it would be impossible to preview and edit the OCFs themselves. Therefore, optimized, light-weight editorial proxy files are generated in the .MXF format. They enable the editor to work with optimized media on his workstation. After the edit is done, the conforming process re-links the original media again and recreates full quality again. The most common format of the optimized media is DNXHD36 in the .MXF container. This is why they are called just MXFs. | pliki do montażu | Post-production: Editing |
| transition | any visual changes between two discrete scenes. Cuts, dissolves, fades and wipes are the most common types of transitions | przejście montażowe | Post-production: Editing |
| post-production | any video production activity following initial recording. Typically involves editing, the addition of background music, voice over, sound effects, titles, and/or various visual effects. Results in completed production | postprodukcja | Post-production: General |
| post-production coordinator | supports PPSupervisor | koordynator postprodukcji | Post-production: General |
| post-production supervisor | the department head of the edit and post-production teams - a producer for post-production | kierownik postprodukcji | Post-production: General |
| waveform | the curved shape of graph that shows a wave | wykres reprezentujący poziom sygnału | Post-production: General |
| aspect ratio | the aspect ratio of an image is the ratio of its width to its height, and is expressed with two numbers separated by a colon, such as 16:9, sixteen-to-nine. For the x:y aspect ratio, the image is x units wide and y units high. Common aspect ratios are 1.85:1 and 2.39:1 for cinema, 4:3 and 16:9 for TV and 3:2 for stills | format obrazu, proporcje obrazu, współczynnik proporcji | Post-production: On-set Workflow |
| backup strategy | a plan to structure and work with active data, and how to create and maintain backups, and long term archives. There are different risks associated with different types of storage and performance vs security vs price trade-offs | strategia tworzenia kopii zapasowych | Post-production: On-set Workflow |
| check sum | a small-sized block of data derived from another block of digital data for the purpose of detecting errors that may have been introduced during its transmission or storage | suma kontrolna | Post-production: On-set Workflow |
| data wrangler (also known as 'Loader') | secures the retrieval of unedited, raw footage from cameras and sound recorder cards | data wrangler | Post-production: On-set Workflow |
| digital imaging technician (DIT) | supports the director of photography (DP). They work on colour correction on the set and the technological integrity of the data recorded on cameras. | asystent kamery - DIT | Post-production: On-set Workflow |
| disk array | a disk storage system consisting of multiple disk drives where a backup of all original camera files (OCF) can be stored | macierz dyskowa | Post-production: On-set Workflow |
| linear tape-open (LTO) | a technology for long-term data storage on magnetic tape that provides greater data security than disks | Kaseta LTO | Post-production: On-set Workflow |
| live grading | the modification and interactive manipulation of the show LUT during shooting done on set | korekcja kolorów na planie | Post-production: On-set Workflow |
| original camera files (OCF) | files recorded by the camera on set, most likely in raw (uncompressed) format | oryginalne pliki kamerowe | Post-production: On-set Workflow |
| proper hard drives | the footage is the producer's treasure. In the new 4K resolution standard, the average weight of 1 hour of footage ranges from 0.7 TB to even 1.5 TB. Therefore, when buying disks, pay attention to their read/write speed | odpowiednie dyski twarde | Post-production: On-set Workflow |
| RAID (Redundant Array of Independent Disks) | a method of configuring hard drives to increase data access speed, reliability or some combination of both | RAID | Post-production: On-set Workflow |
| sensor format | sometimes referred to as “optical format” or “sensor size”, refers to the shape and size of the image sensor in a digital camera | format matrycy (w kamerze) | Post-production: On-set Workflow |
| shooting ratio or 'Bertolo code' | the ratio between the total duration of its footage created for possible use in a project and that which appears in its final cut. A film with a shooting ratio of 2:1 would have shot twice the amount of footage than was used in the film | stosunek między materiałem wykorzystanym, a całością materiału nagranego | Post-production: On-set Workflow |
| 2K, 4K or HD | today’s technology sets 4K resolution as the standard for the final image. Its pixel count is about 4 times that of 2K or HD. Nevertheless, most cinemas around the world are equipped with 2K projectors, so DCP copies are made in 2K, but masters for VOD platforms usually | 2K, 4K lub HD | Post-production: Quality Control & Mastering |
| A/B-roll editing | A/B rolling is a technique used in film editing to hide ugly splices. When a splice (two pieces of film stuck together with splicing tape or glued with cement) rolls through a projector, the area of tape or glue will appear fuzzy. To eliminate this nasty blip in a finished film, the negative is a/b rolled | montaż z różnych źródeł na urządzenie nagrywające | Post-production: Quality Control & Mastering |
| aliasing | an effect that causes different signals to become indistinguishable (or aliases of one another) when sampled. It also often refers to the distortion or artifact that results when a signal reconstructed from samples is different from the original continuous signal | uproszczenie krawędzi | Post-production: Quality Control & Mastering |
| artifact | a type of the digital picture error. Might be related to the colour-space mismatch, pixel errors or the chroma aberration around the objects in the frame | artefakt | Post-production: Quality Control & Mastering |
| audio clipping | a form of waveform distortion that occurs when an amplifier is overdriven and attempts to deliver an output voltage or current beyond its maximum capability. Driving an amplifier into clipping may cause it to output power in excess of its power rating | przesterowanie | Post-production: Quality Control & Mastering |
| chroma contamination | is the improper bleeding of colour values adjacent to each other in frame or enhanced noise/ over-saturation within elements in a shot | zanieczyszczenie chromatyczne | Post-production: Quality Control & Mastering |
| credits | the list of the names of people and organizations who helped to make a movie or television program which is shown at the beginning or the end of it | napisy początkowe i końcowe | Post-production: Quality Control & Mastering |
| deliverables list | a list of things that must be completed or provided as part of a project | spis materiałów wyjściowych | Post-production: Quality Control & Mastering |
| digital cinema initiative distribution master (DCDM) | a set of uncompressed and unencrypted files that represent moving image content optimized for the electronic playback in theatres | master cyfrowy w postaci nieskompresowanych plików | Post-production: Quality Control & Mastering |
| digital cinema package (DCP) | a digital version of a 35mm film print created so that cinemas can display the video using a digital projector. It is recognised and accepted all over the world. It can be created and reproduced in multiple language copies according to the requirements of each cinema, country or festival | cyfrowa kopia kinowa | Post-production: Quality Control & Mastering |
| frame error | consists of a difference between the information presented in the frame and the intended information | błąd klatki | Post-production: Quality Control & Mastering |
| interoperable master format (IMF) | it evolved out of the Digital Cinema Package (DCP). It is designed to simplify the creation of multiple customised versions of the same content to suit different audiences, alternate languages or territorial compliance, among others. Its length can be easily adapted by a distributor or a sales agent to a given distribution medium | IMF jest plikowym formatem multimedialnym, który upraszcza dostarczanie i przechowywanie audiowizualnych plików wzorcowych (masterów) przeznaczonych na wiele terytoriów i platform. Jest przystosowany przede wszystkim do dostarczania treści na platformy streamingowe na całym świecie | Post-production: Quality Control & Mastering |
| intertitle or title card | a piece of filmed, printed text edited into the midst of (i.e. inter-) the photographed action at various points. Intertitles used to convey character dialogue are referred to as 'dialogue intertitles', and those used to provide related descriptive/narrative material are referred to as 'expository intertitles'.[1] In modern usage, the terms refer to similar text and logo material inserted at or near the start or end of films and television shows | plansza tekstowa | Post-production: Quality Control & Mastering |
| luminance keying | "setting the brightness level, and all brighter or darker pixels from the set level are turned off and will be transparent. A second clip or image can be inserted behind to show where the pixels have been turned off. Luminance keying is used when working with grayscale images. Compare with chroma key, which uses colours instead of brightness for transparency" | kluczowanie jasności | Post-production: Quality Control & Mastering |
| luminance shift or flicker | refers to a change/ multiple changes in the brightness levels within a shot/ scene | przesunięcie w jasności / błyski | Post-production: Quality Control & Mastering |
| mastering | the digital cinema mastering process starts with the creation of a Digital Cinema Distribution Master (DCDM), a master version of the film that has been prepared for cinema exhibition. This means it conforms to the correct frame rate, aspect ratio, colour space and picture format | mastering | Post-production: Quality Control & Mastering |
| material out of sync (MOS) | incompatible files | materiał asynchroniczny | Post-production: Quality Control & Mastering |
| non-graded archival master | a fully texted image sequence of the non-colour graded, fully conformed and locked picture, including final VFX, rendered | kopia archiwizacyjna z wszystkimi elementami, bez korekcji barwnej | Post-production: Quality Control & Mastering |
| pixel error | refers to one or several pixels in a frame which do not display the correct captured information as the pixels surrounding them | błąd piksela | Post-production: Quality Control & Mastering |
| qc protocol | a table containing a list of all errors in the image and sound along with the indication of the place of their occurrence | tabela zawierającą zestawienie wszystkich błędów w obrazie i dźwięku wraz z oznaczeniem miejsca ich występowania | Post-production: Quality Control & Mastering |
| qc-blocker | the QC operator’s note to the image or audio that needs to be fixed. The final master will not be approved until it is resolved | błąd wymagający korekty | Post-production: Quality Control & Mastering |
| qc-issue | the QC operator’s note to the image or audio that raises a red flag but not necessarily needs to be fixed. It needs to be responded to in terms of whether it can or cannot be fixed or it is a Creative Intent from the beginning | problem z obrazem lub dźwiękiem, który może, ale nie musi zostać naprawiony (w przeciwieństwie do blockera) | Post-production: Quality Control & Mastering |
| quality control operator (qc operator) | a person who sets up playback devices, QC bays and monitors/ scopes according to established specifications. Verifies correct format, aspect ratio, audio configuration and file metadata based on client specifications and previous title history. Takes accurate line count and video/ audio measurements using industry standard waveform scopes and audio meters. Performs thorough mastering level quality control inspection noting any and all audio/ video impairments and anomalies. | operator kontroli jakości | Post-production: Quality Control & Mastering |
| rendering | the processing a computer undertakes when creating an applied effect, transition or composite | renderowanie | Post-production: Quality Control & Mastering |
| snowball | a term used by Netflix for a large disk array on which the final output and original camera and audio files are delivered | określenie Netflixa na dużą macierz dyskową, na której dostarczane są finalne materiały wyjściowe oraz oryginalne pliki kamerowe i audio | Post-production: Quality Control & Mastering |
| AAF | a file format used to transfer audio between programs it retains all of the region names, placement, length, handles (so it can still be edited), volume data, clip gain, cross fades, fade ins/outs, pans, markers, and some fx | AAF | Post-production: Sound & Music |
| audio description (AD) | a third person commentary added to film and television productions to make them accessible for visually impaired audiences. Traditionally, AD is added to productions after they have been completed, meaning that the creative and accessibility teams do not work together to produce the accessible version of the production | audiodeskrypcja | Post-production: Sound & Music |
| automated dialog recording (ADR) | in film is the process of re-recording audio in a more controlled and quieter setting, usually in a studio. It involves the re-recording of dialog by the original actor after filming as a way to improve audio quality or reflect dialogue changes | postsynchrony | Post-production: Sound & Music |
| comping | compiling the best portions of multiple takes into one superior take | comping | Post-production: Sound & Music |
| DME (Dialogue Music Effects) | a file with dialogue, music, and effects split into separate stems | plik z dialogami, muzyką i efektami podzielonymi na osobne ścieżki | Post-production: Sound & Music |
| dolby atmos | an encoding technology that enables the transmission of an unlimited number of audio tracks, which are then dynamically transferred to the cinema’s speakers, according to its equipment and configuration possibilities. This means that Atmos allows us to define a specific place in the cinema hall from which a given sound should be heard by the recipient | standard dźwięku przestrzennego | Post-production: Sound & Music |
| foley | created by the sound artist mimicking the actual sound source in a recording studio | imitowany efekt dźwiękowy | Post-production: Sound & Music |
| lip sync | proper synchronization of video with audio, lip movement with audible speech | synchronizacja według ruchu ust dialogu z obrazem | Post-production: Sound & Music |
| loop | a short section of recorded music that is repeated all through a song or part of a song | loop, pętla | Post-production: Sound & Music |
| loop groups | is when a group of actors go into a recording booth to fill the landscape of sound for all the extras, crowd scenes and sometimes actors’ dialogue | gwary / nagrania gwarów | Post-production: Sound & Music |
| M&E (Music and Effects) | a sound mix of a film without any original dialogue | ton międzynarodowy, tj. wersja dźwięku filmu pozbawiona dialogów | Post-production: Sound & Music |
| nonsynchronous sound | audio without precisely matching visuals. Usually recorded separately, includes wild sound, sound effects, or music incorporated in post-production | dźwięk niesynchroniczny | Post-production: Sound & Music |
| premix | preliminary mix of all tracks performed multiple times during audio post-production before the final mix is completed | premiks | Post-production: Sound & Music |
| re-recording (RR) | the process by which the audio track of a film or video production is created. An audio re-recording is often called a re-recording of music. As sound elements are mixed and combined the process necessitates 're-recording' all of the audio elements, such as dialogue, music, sound effects, by the sound re-recording mixer(s) to achieve the desired result, which is the final soundtrack that the audience hears when the finished film is played | zgranie | Post-production: Sound & Music |
| score | original music written specifically to accompany a film. The score comprises a number of orchestral, instrumental, or choral pieces called cues, which are timed to begin and end at specific points during the film in order to enhance the dramatic narrative and the emotional impact of the scene in question | muzyka filmowa | Post-production: Sound & Music |
| sound bite | any short recorded audio segment for use in an edited material | fragment nagranego audio (np. fragment wywiadu) użytego w zmontowanym już materiale jako highligh | Post-production: Sound & Music |
| sound effects | contrived audio, usually pre-recorded, incorporated with a video soundtrack to resemble a real occurrence. Blowing on a microphone, for example, might simulate wind to accompany hurricane images | efekty dźwiękowe | Post-production: Sound & Music |
| sound facility | a recording studio specialised in sound recording, mixing, and audio production of instrumental or vocal musical performances, spoken words, and other sounds | studio dźwiękowe | Post-production: Sound & Music |
| soundtrack | the audio portion of a video recording, often multifaceted with natural sound, voiceovers, background music, etc. | ścieżka dźwiękowa | Post-production: Sound & Music |
| stems | audio tracks in separate files | ścieżki audio w osobnych plikach | Post-production: Sound & Music |
| sweetening | post-production process of adding music and sound effects or otherwise enhancing the existing audio with filters and other effects | proces postprodukcji polegający na dodawaniu muzyki i efektów dźwiękowych lub w inny sposób ulepszaniu istniejącego dźwięku za pomocą filtrów i innych efektów | Post-production: Sound & Music |
| synchronous sound | audio recorded with images so the words sync with the mouth | dźwięk synchroniczny | Post-production: Sound & Music |
| temporary music or scores | compilations of placeholder music—typically from other film scores—that are edited to punctuate an early cut of a movie. For the composer, a temp score may serve as a guide to what the filmmakers hope to achieve in terms of tone, tempo, and intensity for the final score | muzyka referencyjna podkładana na etapie montażu, najczęściej z innych filmów | Post-production: Sound & Music |
| timecode (TC) | a sequence of numeric codes used to record video and audio that keeps both tracks in sync. Today’s technology allows for more precise ongoing revision of the uniformity of sound and image. This is one of the basic pieces of information required to keep working on the next post-production steps, i.e. image and sound editing, conforming, VFX and colour correction. The source timecode is the basis of the work. When editing is complete, an output timecode is created and it determines the length of the assembled footage | kod czasowy | Post-production: Sound & Music |
| voiceover (V.O.) | audio from an unseen narrator accompanying video, heard above background sound or music | voice over, głos lektora | Post-production: Sound & Music |
| 2D, 2.5D & 3D | 2D in VFX refers to a type of compositing in which an element is added or removed in two dimensions without the depth perception typical of 3D. 2.5D is a clever combination of the two, where the main compositing is in 2D, but contains animated elements that simulate a three-dimensional appearance, when in fact they are not 3D | 2D, 2.5D & 3D | Post-production: VFX |
| 3D environment | it can be taken as a computer-controlled digital setting, which appears as a background in the videogames and animated movies. It is created with the illusion of depth. It can be done for both: outdoor and indoor location with the help of each location setting, the viewer can get visually specific sensations | środowisko 3D | Post-production: VFX |
| clean-up | removing any unwanted characters, objects, effects from the footage and audio | czyszczenie | Post-production: VFX |
| compositing | combining two or more layers of an image. These can be both filmed shots and digitally generated layers. In order to achieve the final shot | łączenie warstw obrazu | Post-production: VFX |
| computer-generated imagery (CGI) | computer graphics, generated digitally and applied to a camera shot | obrazy generowane internetowo | Post-production: VFX |
| digital matte painting (DMPs) | a digital representation of a landscape, set, or distant location that allows filmmakers to create the illusion of an environment that is not present at the filming location. It's created using photo references, 3-D models, and drawing tablets. Matte painters combine their digitally matte painted textures within computer-generated 3-D environments, allowing for 3-D camera movement | cyfrowa warstwa obrazu, tzw. 'cyfrowa podmalówka' | Post-production: VFX |
| keyframes / keyframing | keyframing is the simplest form of animating an object. Based on the notion that an object has a beginning state or condition and will be changing over time, in position, form, colour, luminosity, or any other property, to some different final form | klatki kluczowe | Post-production: VFX |
| keying | the process of separating the layers of the image based on the given parameters (e.g. brightness or colour) | kluczowanie | Post-production: VFX |
| rigging | the process of creating the bone structure of a 3D model. This bone structure is used to manipulate the 3D model like a puppet for animation | dodawanie cyfrowego szkieletu do zaprojektowanego modelu postaci. Rigging, umożliwia wprowadzenie postaci w ruch i rozpoczęcie animacji | Post-production: VFX |
| rotoscoping | the technique of manually creating a matte or mask for an element on a live-action plate so it may be composited over another background | rotoskopia | Post-production: VFX |
| VFX breakdown | a table compiling all the effects in the film. It contains information about the shot, its characteristics, its location in the film and the scope of works | tabela zawierająca listę wszystkich efektów użytych w filmie wraz z informacjami o danym ujęciu, umiejscowieniu w filmie, jego charakterystyce i zakresie wykonanych prac | Post-production: VFX |
| VFX spotting | "the term spotting is used in the motion-picture and video production industries to refer to the process of deciding where within a film the specific elements (VFX, Sound effects) will be located. It happens during the screening of (most likely) the locked-cut" | spotting, tzw. 'pokaz przeglądowy, sesja przeglądowa' | Post-production: VFX |
| virtual production | a range of processes and technologies that combine physical and virtual elements using a suite of software tools. Studios can film on a stage and view virtual graphics together in real-time | produkcja wirtualna | Post-production: VFX |
| mask | used to apply changes to a specific area of the image. Track masks follow a moving subject through either manual or automatic animation of the mask’s parameters | maska | Post-production: VFX & Grading |
| applicable law | the laws of a jurisdiction that apply to a particular transaction or agreement | prawo właściwe | Distribution: Agreement |
| back end | the conditions that are part of an agreement that refer to providing the author, screenwriter, or others that participate in the deal with a right to some of the profits that come after the film sells | warunki będące częścią umowy, które odnoszą się do przyznania autorowi, scenarzyście lub innym osobom, np. producentowi, prawa do zysków, które pojawią się po osiągnięciu przez film progu rentowności, niezależnie od przychodów wynikających z wkładów finansowych | Distribution: Agreement |
| billing block | a performing arts term used in referring to the order and other aspects of how credits are presented for plays, films, television, or other creative work | stopka z nazwiskami i/lub logotypami firm zaangażowanymi w produkcję | Distribution: Agreement |
| deal terms | the conditions that are part of an agreement or arrangement | warunki umowy | Distribution: Agreement |
| exploitation period | the period specified in the terms of the contract during which the exploitation activities may take place | okres eksploatacji | Distribution: Agreement |
| film poster | a poster used to promote and advertise a film primarily to persuade paying customers into a cinema to see it | plakat filmowy | Distribution: Agreement |
| gross receipts | money from sales, before costs and taxes are taken away | wpływy brutto | Distribution: Agreement |
| licensee | a person who is given a license or permission to do something | licencjobiorca | Distribution: Agreement |
| licensor | a person who gives or grants a license | licencjodawca | Distribution: Agreement |
| materials delivery | a process of providing a licensee with physical or digital video materials, publicity materials and legal materials related to the film | dostawa materiałów | Distribution: Agreement |
| net receipts | money from sales, after costs and taxes are taken away | wpływy netto | Distribution: Agreement |
| payment terms | instructions on how to process the payment | warunki płatności | Distribution: Agreement |
| recoupable distribution costs | all direct, verifiable, out-of-pocket, reasonable and necessary costs and expenses, exclusive of salaries and overhead, less any discounts, credits, rebates or similar allowances, actually paid by Distributor for exploiting each Licensed Right | odzyskiwalne koszty dystrybucji | Distribution: Agreement |
| recoupment | to get back the equivalent of the some of money invested | odzyskiwalne koszty dystrybucji | Distribution: Agreement |
| statements | a document that identifies all gross receipts received, all recoupable costs paid (and to whom they are paid), and all exchange rates applicable to each licensed territory | dokument, który identyfikuje uzyskane wpływy brutto, zapłacone koszty podlegające zwrotowi oraz kursy wymiany zastosowane dla każdego licencjonowanego terytorium | Distribution: Agreement |
| sub-distribution fees | fees of any Third Party or any Affiliate of Distributor that has entered into a written agreement with Distributor for the distribution of Products anywhere in the Territory | opłaty subdystrybucyjne | Distribution: Agreement |
| termination for default | "exercise of the contractual right to completely or partially terminate a contract because of the contractor's actual or anticipated failure to perform its contractual obligations For further information on TERMINATION, DEFAULT, BREACH AND REMEDIES please see IFTA® INTERNATIONAL STANDARD TERMS" | rozwiązanie / wypowiedzenie umowy z powodu niedotrzymania warunków | Distribution: Agreement |
| territory | an area in which a party operates, such as a 'sales territory'. A territory's size and the degree of exclusivity are often important commercial consideration in international trade specially in distribution agreements | terytorium | Distribution: Agreement |
| digital distribution | a distribution method in which media content, such as video, is delivered without the use of physical media, typically by downloading or streaming from the internet | dystrybucja cyfrowa | Distribution: Direct and Retail |
| educational distribution | often part of 'non-theatrical' rights and generally refers to distribution to schools and libraries (not film festivals or theatres) | dystrybucja w celach edukacyjnych | Distribution: Direct and Retail |
| capped expenses | an expense limit | ograniczenie na wydatki | Distribution: Finance |
| cross-collateralisation | "the act of using an asset that's collateral for an initial loan as collateral for a second loan. In film distribution, it means cross-securing of the programme receivables under the rights to the programme granted to the Licensee For further information please see IFTA® INTERNATIONAL STANDARD TERMS" | zabezpieczenie krzyżowe należności za program w ramach udzielonych Licencjobiorcy praw do programu | Distribution: Finance |
| licence fee | money paid for a right or ability to use a film on the terms specified in the licence agreement | opłata licencyjna | Distribution: Finance |
| minimum guarantee (MG) | a minimum guarantee is an initial sum that is paid to the producer by the distributor irrespective of how the film performs | gwarancja minimalna | Distribution: Finance |
| revenue | money that a company receives, especially from selling goods or services | przychód | Distribution: Finance |
| revenue sharing | the practice of sharing a business's profits and losses among different groups within or associated with that business | udział w zyskach i stratach | Distribution: Finance |
| accreditation | the fact of being officially recognised, accepted, or approved of, or the act of officially recognising, accepting, or approving of something. At film festivals, accreditation entitles the holder first priority admission to press and industry screenings, the possibility to see all selected films of the festival and to request tickets for public screenings that have no priority access for pass holders, among others | akredytacja | Distribution: General |
| box office results | income from ticket sales | wyniki box office | Distribution: General |
| broadcast | to transmit | nadawać program | Distribution: General |
| broadcaster | an organisation that broadcasts programmes on television or radio, or over the internet | nadawca | Distribution: General |
| catch-up TV | a service enabling authorised subscribers to stream TV content over the Internet via a website operated by an authorised broadcaster for a limited period of time after it was broadcast | telewizja catch-up; usługa pozwalająca na oglądanie w późniejszym terminie programów telewizyjnych za pomocą Internetu przez użytkowników zarejestrowanych na platformie należącej do nadawcy programu | Distribution: General |
| day-and-date release or simultaneous release | the release of a film on multiple platforms—most commonly theatrical and home video—on the exact same day, or in very close proximity to each other. This is in contrast to the industry standard of having a window of exclusivity (usually 90 days) between the theatrical and home video releases | premiera filmu na różnych platformach w tym samym terminie | Distribution: General |
| distributor | company responsible for the marketing and distribution of films to the general public. It may be the same with, or different from, the production company | dystrybutor | Distribution: General |
| dubbing | the replacement of a soundtrack in one language by one in another language | dubbing | Distribution: General |
| exhibition stand | a section of an exhibition where a particular company shows their products or information about their products | stoisko wystawowe, stoisko targowe | Distribution: General |
| festival screening | a showing of a film at the festival | pokaz festiwalowy | Distribution: General |
| film markets | trade events for the film industry (finding distributors, selling films to different territories, etc.) | targi filmowe | Distribution: General |
| first run | first release on a given TV channel | premiera nadania w kanale telewizyjnym | Distribution: General |
| geo-blocking | the practice of restricting access to internet content based on your location. These restrictions usually apply to international borders. Online media companies, streaming services and subscription plans use geo-blocking to comply with licensing deals among media properties, certain countries’ legal systems, or other agreements and regulations | blokowanie geograficzne | Distribution: General |
| holdback period | a contractual provision requiring the distributor to refrain from exploiting or permitting the exploitation of any licensed rights until the end of a specified period | postanowienie umowne zobowiązujące dystrybutora do niekorzystania i niezezwalania na korzystanie z licencjonowanych praw przez określony w umowie okres | Distribution: General |
| local premiere | the first regular screening within the territory of the producer | premiera na terytorium producenta | Distribution: General |
| number of runs | "the amount of times a film is shown or broadcasted on TV withing a specified period For further information please see IFTA® INTERNATIONAL SCHEDULE OF DEFINITIONS" | ilość emisji lub nadań filmu na danym kanale telewizyjnym | Distribution: General |
| prime time | the peak viewing time on television, for which advertising rates are the highest | godziny największej oglądalności, szczyt oglądalności | Distribution: General |
| release date | a fixed date on which a film is due to become available for the public to see or buy | data premiery | Distribution: General |
| rerun | a film, play, series, etc, that is broadcast or put on again; repeat | powtarzać, ponownie emitować | Distribution: General |
| return on investment (ROI) | "a performance measure used to evaluate the efficiency or profitability of an investment or compare the efficiency of a number of different investments. To calculate ROI, the benefit (or return) of an investment is divided by the cost of the investment. The result is expressed as a percentage or a ratio" | zwrot z inwestycji | Distribution: General |
| sales agent | an agent appointed by the producer to act as agent for the sale of the film | agent sprzedaży | Distribution: General |
| screener | an advance screening of a film sent to critics, awards voters, video stores, and other film industry professionals, including producers and distributors | promocyjna kopia filmu w formie cyfrowej | Distribution: General |
| selling point | a characteristic of a product that will persuade people to buy it | zalety (cechy, które nakłaniają ludzi do kupna czegoś), mocny punkt | Distribution: General |
| subtitles | words shown at the bottom of a film or television picture to explain what is being said | napisy | Distribution: General |
| talents | actors, writers and other artistically contributing members of a production | aktorzy, pisarze oraz inne osoby zaangażowane artystycznie w produkcję | Distribution: General |
| theatrical premiere | a premiere screening in the theatre, usually only by invitation, gathering creators, talents, media and others involved in the marketing and distribution of the film | premiera kinowa | Distribution: General |
| time slot | the time when a programme is broadcast | przedział czasowy, okienko czasowe | Distribution: General |
| videogram | a cassette, disc, or comparable magnetic or electronic storage device designed to be used with a device that causes a film copy to be visible on a television screen for private viewing | obraz zapisany na nośniku | Distribution: General |
| worldwide premiere | the first screening anywhere in the world | premiera światowa | Distribution: General |
| ancillary rights | ancillary rights refer to all rights that are related to exploiting property in ways that are different from their original format. | prawa zależne (prawo do opracowań cudzego utworu np. tłumaczenie, przeróbka, adaptacja) oraz uprawnienia do korzystania z elementów filmu / merchandising, sequele, seriale tv, sztuki teatralne, książki, seriale internetowe, ścieżki dźwiękowe, komiksy, gry | Distribution: Licence Rights & Exploitation Fields |
| cinematic rights | "theatrical, nontheatrical and public video exploitation of a motion picture For further information please see IFTA® INTERNATIONAL SCHEDULE OF DEFINITIONS" | prawa do pokazywania filmów w salach kinowych, szkołach, kościołach, bibliotekach, ambasadach itp. lub jako część videogramu pokazywanego w miejscach publicznych | Distribution: Licence Rights & Exploitation Fields |
| public video rights | rights to exploit a film copy embodied in a videogram only for direct exhibition before an audience in a mini-theatre or other venues that charge an admission and are not licensed as a conventional cinema | prawa do pokazów publicznych | Distribution: Licence Rights & Exploitation Fields |
| television rights | "the right to make available, distribute or otherwise exploit the programme as part of a free or pay TV programming service. For further information on Pay and Free TV rights please see IFTA® INTERNATIONAL SCHEDULE OF DEFINITIONS" | prawa telewizyjne | Distribution: Licence Rights & Exploitation Fields |
| theatrical rights | rights to the linear exploitation of a film copy only for direct exhibition in conventional or drive-in theatres, licensed as such in the place where the exhibition occurs, that are open to the general public on a regularly scheduled basis and that charge an admission fee to view the film | prawa kinowe | Distribution: Licence Rights & Exploitation Fields |
| video on demand rights | "rights to make a digital film copy available by the means of AdVOD, FVOD, SVOD and TVOD only. For further information please see IFTA® INTERNATIONAL SCHEDULE OF DEFINITIONS" | prawa dot. wideo na żądanie | Distribution: Licence Rights & Exploitation Fields |
| electronic or press kit (EPK) | a press kit equivalent in electronic form containing promotional materials of the film for PR purposes | elektroniczny folder z zestawem materiałów promocyjnych filmu dla celów PR | Distribution: Materials |
| footage | a piece of film, usually raw, unedited footage originally shot with a film camera | fragment materiału filmowego, zarejestrowanego kamerą przed docelowym montażem | Distribution: Materials |
| making of | is a documentary film that features the production of a film or television programme | dokument pokazujący kulisy powstawania filmu | Distribution: Materials |
| pitch | a speech or act that attempts to persuade someone to buy or do something | prezentacja sprzedażowa | Distribution: Materials |
| sales deck or pitch deck | a standard film pitch deck is set up as a series of slides. It is a valuable tool to verbally sell a script to studio executives, producers, or anyone else within the industry. It explains why the film is being made. It allows to delve into the specifics of overall style, visual impact, tone of the film casting, location, crew, and more | krótka prezentacja opisująca główne założenia filmu i jego twórców | Distribution: Materials |
| DIY Release | a type of distribution that bypasses the distributor - the producer himself concludes contracts with cinemas and broadcasters | dystrybucja filmu z pominięciem dystrybutora - producent sam zawiera umowę z kinami i nadawcami | Distribution: Theatrical Releases |
| limited release | a distribution strategy of releasing a film in selected markets | ograniczone rozpowszechnianie | Distribution: Theatrical Releases |
| special screening | a distribution strategy of releasing a film in selected markets | jednorazowy pokaz specjalny, który może odbyć się w kinie, muzeum, kampusie uniwersyteckim, centrum sztuki itp. | Distribution: Theatrical Releases |
| advertising-supported video on demand (AVOD) | access to video content with ads to users, often for free, since the platforms rely on selling ads to generate revenue | wideo na życzenie w modelu, w którym użytkownicy końcowi nie płacą za możliwość obejrzenia audycji, ale audycje przerywane są emisjami reklam wykupionymi przez reklamodawców. 'A' w AVOD oznacza advertising (ang. reklama) | Distribution: VOD |
| free video on demand (FVOD) | VOD programming offered free of charge by the content provider | program na życzenie oferowany przez dostawcę programu bezpłatnie | Distribution: VOD |
| subscription video on demand (SVOD) | a VOD model that allows users unlimited access to a bundled set of content for a fixed fee during a specific time period (typically one month) | model VOD umożliwiający użytkownikom nieograniczony dostęp do pakietu treści za stałą opłatą przez określony czas (zazwyczaj jeden miesiąc) | Distribution: VOD |
| transactional video on demand (TVOD) | a VOD model with access to a single programme upon paying a fixed fee | dostęp do programu na życzenie za opłatą | Distribution: VOD |
| video on demand (VOD) | wideo na życzenie | wideo na życzenie | Distribution: VOD |
| advertiser | a person or business that pays to advertise a product or a service | reklamodawca, agencja reklamowa | PR & Marketing |
| awareness | what marketing seeks to create, i.e. when audiences know something about the content of a film (stars, plot premise etc.) and when it is going to be released | świadomość, wiedza, znajomość | PR & Marketing |
| billboard ad | in the US, a very large board on which advertisements are shown, especially at the side of a road | reklama billboardowa | PR & Marketing |
| buzz | a positive word-of-mouth | pozytywny szum wokół filmu lub innego wydarzenia | PR & Marketing |
| cameo | a small character part in a play or film, played by a distinguished actor or a celebrity | rola epizodyczna gwiazdy | PR & Marketing |
| cross-platform marketing | also multi-channel marketing; a method of promoting a film to appeal to a full range of potential audiences, i.e. an official website for the film, a viral campaign, using teasers and trailers on YouTube with associated hashtags, adverts or interviews with the stars in the print media, press releases, theatrical and TV trailers, actors on talk shows, the use of marchandise | marketing wielokanałowy | PR & Marketing |
| cross-promotion | the use of one product or service to promote another | promocja krzyżowa | PR & Marketing |
| film-goer (UK) | also a moviegoer (US), a person who goes to the cinema, especially when they do it regularly | kinoman, widz kinowy | PR & Marketing |
| found footage | "a film subgenre in which all or a substantial part of the work is presented as if it were discovered film or video recordings" | technika filmowa, w której film stylizowany jest na znalezione amatorskie nagranie | PR & Marketing |
| hold over | to extend the original period of screening, usually due to large audiences or the film winning an award | przedłużenie pierwotnego okresu projekcji filmu w kinie, zazwyczaj z powodu dużego zainteresowania publiczności lub zdobycia przez film nagrody | PR & Marketing |
| junket | a promotional event, held either on the set or at a hotel, where members of the press are invited to meet the talent, doing either round table or one-one interviews | impreza promocyjna podczas której prasa ma możliwość spotkania i przeprowadzenia wywiadów z twórcami | PR & Marketing |
| key art | the central concept or design used in posters and print ads | kluczowa grafika pojawiająca się w reklamach przedstawiających dany materiał (np. film, grę komputerową) | PR & Marketing |
| key set or key stills | a sequentially numbered set of selected film stills which were taken before, during and after a film is made. They are distributed free to magazines for publicity purposes | zestaw wybranych fotosów filmowych wykonanych przed, w trakcie i po nakręceniu filmu. Są one bezpłatnie dystrybuowane np. do czasopism w celach reklamowych | PR & Marketing |
| marketing campaign | a planned series of marketing activities used to promote a given product or event | kampania marketingowa | PR & Marketing |
| marketing power | the ability of a company to encourage people to buy their product or service | zdolność firmy do zachęcenia konsumentów do zakupu ich produktu lub usługi | PR & Marketing |
| merchendising | the process of manufacturing, distributing, licensing, and sale of promotional goods that contain characters or designs from a film | działalność skupiona na wykorzystywaniu znanych produktów w celu poprawy sprzedaży innych | PR & Marketing |
| pimary audience | the main target audience of a film, those who are likely to go and see it on its opening weekend, or eve start queuing up to six months before it is released | proces produkcji, dystrybucji, licencjonowania i sprzedaży towarów promocyjnych zawierających np. wizerunki postaci lub inne motywy z filmu | PR & Marketing |
| playdate or release date | a date of release of a film in a specific market | data premiery filmu na danym rynku | PR & Marketing |
| r-rated | only allowed to be watched by people younger than 17 if they are with an adult. R stands for restricted | dozwolony dla osób poniżej 17. roku życia jedynie pod opieką dorosłego | PR & Marketing |
| secondary audience | the audience who will only go and see a film after they have heard about it and were persuaded (by reviews or friends) that it is worth seeing | druga grupa docelowa | PR & Marketing |
| stills | a still photograph taken from a scene of a film and used for promotional purposes | fotosy | PR & Marketing |
| tagline | the one-liner that appears on poster summing up the story and may appear a long time before the actual release ( 6-8 months) | slogan (krótka, łatwa do zapamiętania fraza reklamowa) | PR & Marketing |
| teaser trailer | a short trailer, it doesnt give away a lot about a film. It is design to arouse curiosity and | wstępna zapowiedź filmu | PR & Marketing |
| tie-in | the activity of marketing a product by connecting it to a film, event, TV show, etc. | reklama powiązana, reklama łączona | PR & Marketing |
| trailer | "a 'sample' of the best points of the film which works to create awareness in audiences, aiming to raise questions that can only be answered by seeing the whole film. It can be anything from 30-180 seconds long" | zwiastun | PR & Marketing |
| unique selling point (USP) of film | a film logline that quickly conveys what will compel the target audience to pay to view a given film or TV show | unikatowa cecha filmu | PR & Marketing |
| visuals | a picture, piece of film, or display used to illustrate or accompany something | materiał ilustracyjny | PR & Marketing |
| word-of-mouth | general public attitude to a movie - what people tell each other about it. This is thought to be the most importnat ingredient for box office successs | przekaz ustny, poczta pantoflowa | PR & Marketing |
| chain of title | a series of documents which establishes proprietary rights in a film | dokumentacja potwierdzająca kolejność właścicieli praw i ich pełne nabycie | Legal: Development Agreement |
| condition precedent | a condition or an event that must occur before a right, claim, duty, or interests arises | warunek zawieszający | Legal: Development Agreement |
| polish | to improve or refine a script | szlifować, dopracowywać (np. treść umowy) | Legal: Development Agreement |
| redraft or second draft | a draft of a script or treatment after revision and amendments | projekt umowy po poprawkach | Legal: Development Agreement |
| underlying work | an original screenplay, book, article or short story on the basis of which a new film script is created | oryginalny scenariusz, książka, artykuł lub opowiadanie, na podstawie którego powstaje nowy scenariusz filmowy | Legal: Development Agreement |
| annex | an appendix; an addition to existing contract | załącznik, aneks | Legal: Form of Agreement |
| deal memo | an term used to describe a document which summarises the key points of a contract between two or more parties, signed before the actual, long, detailed agreement | dokument będący hasłowym skrótem najważniejszych założeń współpracy, podpisywany przed szczegółową, finalną umową | Legal: Form of Agreement |
| letter of intent | a document declaring the preliminary commitment of one party to do business with another | list intencyjny, który wyraża intencje, ale nie stanowi 'twardego' zobowiązania | Legal: Form of Agreement |
| long form agreement | the primary contract for the transaction; usually a follow up to the exchange of deal memo or term sheet | umowa pełna | Legal: Form of Agreement |
| offer | a promise to do or refrain from doing something in exchange for something else, in other words - a statement of the terms. An offer must be stated and delivered in a way that would lead a reasonable person to expect a binding contract to arise from its acceptance | oferta | Legal: Form of Agreement |
| term sheet | a document which sets out certain terms of a transaction agreed in principle between parties, and is typically negotiated and signed at the beginning of a transaction | dokument, który zawiera zestawienie kluczowych warunków biznesowych dotyczących zasad współpracy | Legal: Form of Agreement |
| amendment | a formal or official change made to a contract or other legal document | poprawka | Legal: Negotiations |
| clause / provision | a section of a legal document | klauzula, postanowienie | Legal: Negotiations |
| draft contract | an agreement that has not yet been finalised | projekt umowy | Legal: Negotiations |
| execute | to sign an agreed contract | podpisać umowę | Legal: Negotiations |
| track changes, redline | a feature within most word processing applications that enables a user to keep track of the entire different types of alterations, changes or deletions made to a specific document | śledzenie zmian, tekst w trybie śledzenia zmian | Legal: Negotiations |
| contractual penalty | obligation to pay a certain sum of money in case of a breach of the contract | kara umowna | Legal: Standard Terms Co-production Agreement (CPA) / Default |
| force majeure | a provision in a contract that frees both parties from obligation if an extraordinary event directly prevents one or both parties from performing | siła wyższa | Legal: Standard Terms Co-production Agreement (CPA) / Default |
| inability | a lack of ability to fulfil contractual terms | niezdolność | Legal: Standard Terms Co-production Agreement (CPA) / Default |
| indemnify | to protect one party of a transaction from the risks or liabilities created by the other party of the transaction | zabezpieczać, zwalniać z odpowiedzialności | Legal: Standard Terms Co-production Agreement (CPA) / Default |
| rescind (rescission) | to cancel the contract in such a way as if it had never been signed | odstąpić od umowy | Legal: Standard Terms Co-production Agreement (CPA) / Default |
| withdraw | to pull back from the contract within a period of time after the contract has been entered into | wypowiedzieć umowę | Legal: Standard Terms Co-production Agreement (CPA) / Default |
| collection manager | the only party with access to the revenues received in the Collection Account and is the one who will allocate and distribute the revenues amongst the beneficiaries of the film | niezależna od stron finansujących film, zewnętrzna firma lub osoba odpowiedzialna za zarządzanie i redystrybucję przychodów z eksploatacji pomiędzy uprawnione strony | Legal: Standard Terms Co-production Agreement (CPA) / Distribution & Promotion |
| costs off the top deal (C.O.T) | a distribution agreement where distribution expenses are deducted from gross receipts and the balance is then divided between the distributor and the producer in agreed shares | umowa dystrybucyjna, w której koszty dystrybucji są odejmowane od przychodów brutto, a saldo jest następnie dzielone pomiędzy dystrybutora i producenta w uzgodnionych udziałach | Legal: Standard Terms Co-production Agreement (CPA) / Distribution & Promotion |
| domestic rights | distribution rights in respect of the US (in case of American coproductions) or domestic territory (in other, non-American coproductions) | prawa do dystrybucji na terytorium USA (w koprodukcjach amerykańskich) lub na dany rynek krajowy (w koprodukcjach bez amerykańskiego partnera) | Legal: Standard Terms Co-production Agreement (CPA) / Distribution & Promotion |
| errors & omissions (E&O) | insurance that covers all of the potential legal liabilities and defence costs against lawsuits alleging unauthorized use of titles, formats, ideas, characters, plots, plagiarism, unfair competition or privacy, and breach of contract. It also protects against alleged libel, slander, defamation of character or invasion of privacy. Errors & Omissions is a requirement for distribution deals with studios, television, cable networks, DVD and Internet sites prior to the release of any film production | ubezpieczenie od błędów i zaniedbań/braków | Legal: Standard Terms Co-production Agreement (CPA) / Distribution & Promotion |
| fair use | a doctrine in United States law that permits limited use of copyrighted material without having to first acquire permission from the copyright holder | dozwolony użytek | Legal: Standard Terms Co-production Agreement (CPA) / Distribution & Promotion |
| holdback period | a contractual provision requiring the distributor to refrain from exploiting or permitting the exploitation of any licensed rights until the end of a specified period | postanowienie umowne zobowiązujące dystrybutora do niekorzystania i niezezwalania na korzystanie z licencjonowanych praw przez określony w umowie okres | Legal: Standard Terms Co-production Agreement (CPA) / Distribution & Promotion |
| P&A | prints and advertising | koszt wytworzenia kopii i promocja | Legal: Standard Terms Co-production Agreement (CPA) / Distribution & Promotion |
| print and advertising (P&A) | the sum of the technical costs of theatrical exploitation such as film copies ('prints'), dubbing, etc. as well as the costs for advertising ('advertising') and public relations | koszt wytworzenia kopii i promocja | Legal: Standard Terms Co-production Agreement (CPA) / Distribution & Promotion |
| rest of the world (ROW) rights | rights related to countries outside a specific (reserved) reserved territory | prawa na kraje poza terytorium zastrzeżonym | Legal: Standard Terms Co-production Agreement (CPA) / Distribution & Promotion |
| window | an agreed period of time in which a film may appear on a given medium and field of exploitation | ustalony okres czasu w którym film może się pojawić na danym medium i polu eksploatacji | Legal: Standard Terms Co-production Agreement (CPA) / Distribution & Promotion |
| back end | the conditions that are part of an agreement that refer to providing the author, screenwriter, or others that participate in the deal with a right to some of the profits that come after the film sells | warunki będące częścią umowy, które odnoszą się do przyznania autorowi, scenarzyście lub innym osobom, np. producentowi, prawa do zysków, które pojawią się po osiągnięciu przez film progu rentowności, niezależnie od przychodów wynikających z wkładów finansowych | Legal: Standard Terms Co-production Agreement (CPA) / Money |
| collection account | a bank account set up set up in the name of a neutral third party to receive the revenues generated by international distribution of a film project. It functions as a neutral bank account outside the control of any of the parties with a financial interest in the film, like the producers, the sales agent, or the financiers | rachunek bankowy zakładany przez neutralną stronę trzecią (Collective Agenta), na który wpływają przychody z międzynarodowej dystrybucji filmu. Rachunek pozostaje poza kontrolą którejkolwiek ze stron finansujących (koproducentów, inwestorów, agentów sprzedaży / dystrybutorów) | Legal: Standard Terms Co-production Agreement (CPA) / Money |
| corridor | a privilege of one of the financial partners regarding the priority in recovery of returns usually in a way of a flat rate while others recoup the rest on pari passu basis | tzw. korytarz, przywilej jednego z partnerów finansowych w zakresie pierwszeństwa w odzyskiwaniu przychodów | Legal: Standard Terms Co-production Agreement (CPA) / Money |
| deferred payment | in a deferral deal, cast or crew or a vendor agrees to defer all or part of their pay until the production has the money to pay them or the film sells | płatność odroczona za porozumieniem stron | Legal: Standard Terms Co-production Agreement (CPA) / Money |
| pari passu | equitably, without preference, i.e. according to the amount of each investor’s investment divided by the total recoupable cost of production | proporcjonalny (inaczej 'parytetowy') podział np. zysków lub należności | Legal: Standard Terms Co-production Agreement (CPA) / Money |
| pro rata | a pro rata contribution or recoupment is one that is provided or received in proportion to the contributor/recipient's interest in the project | płatność proporcjonalna | Legal: Standard Terms Co-production Agreement (CPA) / Money |
| residuals | financial compensations paid to any above the line talent in cases of reruns, syndication, DVD release, or online streaming release of a film (mainly in US, as provided by the guilds) | płatności dodatkowe, najczęściej regulowane umowami / porozumieniami wdrażanymi przez amerykańskie gildie | Legal: Standard Terms Co-production Agreement (CPA) / Money |
| above the line (ATL) | the term relates to both the division of a film’s budget, and the division of a film’s crew - top talent (actors, directors, producers), screenwriter and others involved in the high level financial and creative direction of the film and any costs related to their activity on the production | określenie dotyczące głównych twórców filmu i kosztów związanych z ich pracą | Legal: Standard Terms Co-production Agreement (CPA) / Rights & Talent |
| below the line (BTL) | the term relates to both the division of a film’s budget, and the division of a film’s crew, i.e. in budgetary terms, any production costs that are not 'above the line'. This can include film crew salary, publicity, music rights, and cutting together a trailer. It also denotes the roles on a film crew which are technical in nature and do not provide guidance or leadership on the creative side of a film | określenie dotyczące ekipy filmowej (poza głównymi twórcami) i kosztów związanych z jej usługami | Legal: Standard Terms Co-production Agreement (CPA) / Rights & Talent |
| credits | the list of the names of people and organizations who helped to make a movie or television program which is shown at the beginning or the end of it | napisy początkowe i końcowe | Legal: Standard Terms Co-production Agreement (CPA) / Rights & Talent |
| derrivative work | "a work based on or derived from one or more already existing works. Common derivative works include translations, musical arrangements, motion picture versions of literary material or plays, art reproductions, abridgments, and condensations of pre-existing works" | utwór zależny | Legal: Standard Terms Co-production Agreement (CPA) / Rights & Talent |
| droit moral (moral rights) | the rights of creators of copyrighted works | autorskie prawa osobiste | Legal: Standard Terms Co-production Agreement (CPA) / Rights & Talent |
| pay or play | a commitment by a producer—a studio, network, production company, or individual—to pay the artist even if the producer later decides that the artist's services won't be required | zobowiązanie producenta do zapłaty artyście, nawet jeśli jego usługi nie będą ostatecznie wymagane | Legal: Standard Terms Co-production Agreement (CPA) / Rights & Talent |
| publishing right | in film production agreements, they may refer to the right to publish a book based on a script | prawa wydawnicze | Legal: Standard Terms Co-production Agreement (CPA) / Rights & Talent |
| right of publicity | the right to control the commercial exploitation of a person's name, image or persona | prawo do ochrony wizerunku | Legal: Standard Terms Co-production Agreement (CPA) / Rights & Talent |
| affiliate | or affiliated entity; a company with a parent company that possesses a certain % ownership of the affiliate | podmiot powiązany | Legal: Standard Terms Co-production Agreement (CPA) / Standard Terms |
| completion bond | a promise by an insurance company to the person or financial organization financing a film production project that it will provide the money needed to complete the project, even if something unexpected happens | ubezpieczenie powodzenia produkcji / ukończenia realizacji filmu | Legal: Standard Terms Co-production Agreement (CPA) / Standard Terms |
| confirmed order | an initial contract for the provision of services which is decisive of their general scope and performance; any services that will arise during the duration of the contract wil require an additional order | dokument potwierdzający zamówienie usług, ich zakres i warunki | Legal: Standard Terms Co-production Agreement (CPA) / Standard Terms |
| contribution | a gift in-kind or payment to a coproduction | wkład rzeczowy lub finansowy w koprodukcję | Legal: Standard Terms Co-production Agreement (CPA) / Standard Terms |
| effective date | the time when parties to a contract begin their obligations to perform under the contract | data wejścia w życie | Legal: Standard Terms Co-production Agreement (CPA) / Standard Terms |
| equity investor | an individual, group, or company that purchases a stake in either the film or the company producing it with the expectation that it will rise in value in the form of capital gains | inwestor kapitałowy | Legal: Standard Terms Co-production Agreement (CPA) / Standard Terms |
| escrow account | an account managed by a neutral third-party to safeguard financial transactions | rachunek zabezpieczony, rachunek powierniczy | Legal: Standard Terms Co-production Agreement (CPA) / Standard Terms |
| irrevocable | impossible to change | nieodwołalny, bez możliwości wycofania | Legal: Standard Terms Co-production Agreement (CPA) / Standard Terms |
| notices | notifications as part of the formal communications between the parties and the giving of notices to, and the receipt of notices from, the other parties to the agreement | powiadomienia | Legal: Standard Terms Co-production Agreement (CPA) / Standard Terms |
| principal photography | the phase of producing a film or television show in which the bulk of shooting takes place, as distinct from the phases of pre-production and post-production. In contracts, this term is associated with different payment schedules | okres zdjęciowy; w kontekście umów, pojęcie to związane jest z dokonywaniem płatności określonych rat | Legal: Standard Terms Co-production Agreement (CPA) / Standard Terms |
| certificate of authorship | a key document in the chain of title of a motion picture. This is a statement by the writer identifying the author of the script. | świadectwo autorstwa | Legal: Types of Agreements |
| consultant agreement | an agreement between a production company and a consultant | umowa z konsultantem | Legal: Types of Agreements |
| extras agreement | a contract between the production company and extras | umowa ze statystą | Legal: Types of Agreements |
| location release form or agreement | a permission to the filmmaker and his team by the owner of certain property to film on specific private and public locations | zgoda na wykorzystanie lokacji | Legal: Types of Agreements |
| non-disclosure agreement (NDA) | a confidentiality agreement, a legally binding contract in which one party agrees to give a second party confidential information about its business or products and the second party agrees not to share this information with anyone else for a specified period of time. NDAs are used to protect sensitive information and intellectual property (IP) by outlining in detail what information must remain private and what information can be shared or released to the public. | NDA, umowa o zachowaniu poufności | Legal: Types of Agreements |
| sales agency agreement | a contract signed between a producer and a sales agent for the sale of the film | umowa z agentem sprzedaży | Legal: Types of Agreements |
| synchronisation license | a music license granted by the holder of the copyright of a particular composition, allowing the licensee to synchronise ('sync') music with some kind of visual media output | licencja muzyczna udzielona przez posiadacza praw autorskich do określonej kompozycji, umożliwiająca licencjobiorcy synchronizację muzyki z różnymi mediami wizualnymi | Legal: Types of Agreements |
| after the fact | too late; after sth is completed or finalised | po fakcie | Common Business Idioms |
| agreement in principle | an agreement in which not all the details have been worked out | porozumienie co do zasady | Common Business Idioms |
| ahead of the curve | highly creative, offering ideas not yet in general circulation | na czołowej pozycji, prowadzeniu | Common Business Idioms |
| ahead of the pack | to be more successful than the competition | prowadzić, przodować, być przed konkurencją, być ponad konkurentami | Common Business Idioms |
| all things being equal | in the event that all aspects of a situation remain the same | jeżeli nic się nie zmieni | Common Business Idioms |
| back to square one | to start something over again because a previous attempt failed | z powrotem w punkcie wyjścia | Common Business Idioms |
| back to the drawing board | forced to begin sth again | zaczynać na nowo, rozpoczynać od początku | Common Business Idioms |
| benefit of the doubt | a favourable or at least neutral opinion of someone or something until the full information about the subject is available. Regard someone as innocent until proven otherwise | kredyt zaufania | Common Business Idioms |
| big picture | wide perspective; a broad view of sth (not bogged down in the details) | szersza perspektywa, szerszy punkt widzenia, pełny obraz | Common Business Idioms |
| by the book | to do things exactly according to the rules or the law | według przepisów, zgodnie z zasadami | Common Business Idioms |
| call it a day | decide that one has worked enough on sth for the day | na dziś koniec, wystarczy na dziś | Common Business Idioms |
| call the shots | make the important decisions in an organisation | wydawać rozkazy, wydawać polecenia, dyktować warunki | Common Business Idioms |
| come to terms with sth | accept sth bad that has happened | zaakceptować coś, pogodzić się z czymś | Common Business Idioms |
| corner the market | to dominate a particular market | wykosić konkurencję (uzyskać monopol), zmonopolizować rynek | Common Business Idioms |
| cut corners | do something in the easiest, cheapest, or fastest way | pójść na łatwiznę, pójść po linii najmniejszego oporu, pójść na skróty (robić coś z minimalnym wysiłkiem) | Common Business Idioms |
| cut it fine | do sth at the last moment | prawie nie zdążyć, zostawić sobie mały zapas czasu | Common Business Idioms |
| cut someone some slack | avoid treating someone strictly or severely | dać komuś spokój, dać komuś trochę luzu | Common Business Idioms |
| cut to the chase | get to the point; explain the most important part of sth quickly; skip the preliminaries | przejść do rzeczy, przejść do sedna | Common Business Idioms |
| cut-throat | very intense, aggressive, and merciless competition | zaciekła rywalizacja | Common Business Idioms |
| do sth by the book | according to established procedure | stosować się do zasad | Common Business Idioms |
| easy come, easy go | something gained easily is also lost easily | łatwo przyszło, łatwo poszło | Common Business Idioms |
| eleventh hour | the last minute | w ostatniej chwili, za pięć dwunasta | Common Business Idioms |
| game plan | a strategy or plan for achieving success | plan działania mającego na celu odniesienie sukcesu w interesach | Common Business Idioms |
| get down the drain | something is wasted or lost | pójść na marne, splajtować, popaść w ruinę finansową | Common Business Idioms |
| get down to business | begin matters in earnest | przystępować do rzeczy, zabrać się do roboty | Common Business Idioms |
| get something off the ground | to start something (e.g. a project or a business) | zainicjować coś | Common Business Idioms |
| get the ball rolling | make something begin or happen | rozpoczynać coś, zacząć coś | Common Business Idioms |
| get the upper hand | to have more power than anyone else and so have control | mieć przewagę, zdobyć przewagę | Common Business Idioms |
| go the extra mile | make more effort than is expected of you | zrobić więcej (niż się od kogoś wymaga), poświęcić się bardziej, żeby osiągnąć cel (dosł. 'przejść dodatkową milę') | Common Business Idioms |
| have one’s hands tied | be unable to act freely | mieć związane ręce | Common Business Idioms |
| in a nutshell | very briefly | w pigułce, jednym słowem, krótko mówiąc, w skrócie | Common Business Idioms |
| in full swing | at a stage when the level of activity is at its highest | w pełni | Common Business Idioms |
| in the driver's seat | to be in charge or in control of a situation | u władzy, u steru | Common Business Idioms |
| in the pipeline | being worked on | w przygotowaniu | Common Business Idioms |
| in the works | under development; coming soon | w przygotowaniu, w planach | Common Business Idioms |
| keep one's eye on the ball | to give something one’s full attention and to not lose focus | być skoncentrowanym, być uważnym | Common Business Idioms |
| learn / know the ropes | become more familiar with a job or field of endeavour; be trained | znać się, być obeznanym | Common Business Idioms |
| long shot | something that has a very low probability of happening | ryzyko, ryzykowna próba | Common Business Idioms |
| movers and shakers | influential people, especially in a particular field | grube ryby, szychy | Common Business Idioms |
| no strings attached | something is given without involving special demands or limits | bez zobowiązań, bez ograniczeń | Common Business Idioms |
| no-brainer | something that is really obvious or easy | łatwizna, pestka | Common Business Idioms |
| off the hook | free from blame or responsibility to do sth | zwolniony z podejrzeń lub obowiązku | Common Business Idioms |
| on point | well done, effective, good (e.g. a speech / presentation can be on point) | celny, trafny, w punkt, idealny, bezbłędny | Common Business Idioms |
| on the same page | understanding a situation in the same way | mieć takie samo zdanie, zgadzać się | Common Business Idioms |
| on the spur of the moment | without advance planning | pod wpływem chwili, spontanicznie (zrobić coś) | Common Business Idioms |
| out in the open | something that is public knowledge and not secret anymore | jawnie, bez tajemnic | Common Business Idioms |
| out of the loop | not part of a group that is kept informed about something | być poza kręgiem decydentów, nie należeć do grupy wtajemniczonych | Common Business Idioms |
| race against time / clock | rush to meet a deadline, to be forced to do sth very quickly. | ścigać się z czasem | Common Business Idioms |
| raise red flags | warn of trouble ahead | wzbudzać podejrzenia | Common Business Idioms |
| raise the bar | to set standards or expectations higher | podnosić poprzeczkę, podnosić wymagania | Common Business Idioms |
| red tape bureaucracy | official rules and processes that seem unnecessary and cause delays | nadmierna biurokracja | Common Business Idioms |
| rocket science | something difficult to understand | wielka filozofia, wielkie rzeczy | Common Business Idioms |
| run the show | be the leader, who is in control of a group of people doing sth | przewodzić (komuś lub czemuś), kierować czymś, być liderem | Common Business Idioms |
| safe bet | something that is certain to happen | duże prawdopodobieństwo | Common Business Idioms |
| see eye to eye | to agree with somebody | zgadzać się | Common Business Idioms |
| sit on sth | delay revealing or acting on sth | przeciągać coś w czasie, odkładać coś na później | Common Business Idioms |
| sneak peek | an opportunity to view sth in advance of its official premiere | podgląd (przed oficjalnym pokazem) | Common Business Idioms |
| stand one’s ground | refuse to back down; insist on one’s position | nie ustępować pola | Common Business Idioms |
| take it or leave it | you must decide now whether you will accept this proposal | decydujesz się czy nie? | Common Business Idioms |
| take the bull by the horns | to directly confront a difficult situation in a brave and determined way | chwytać byka za rogi | Common Business Idioms |
| take the edge off something | lightly improve sth negative | złagodzić | Common Business Idioms |
| the bottom line | final result or the most important consideration of a situation, activity, or discussion; total profit or loss of a company | sedno sprawy, ogólny rozrachunek, rezultat | Common Business Idioms |
| touch base | make or renew contact with someone; to talk to someone briefly to find out how they are or what they think about sth | skontaktować się z kimś | Common Business Idioms |
| up in the air | something is undecided or uncertain | pod znakiem zapytania, w niepewności, palcem po wodzie pisane | Common Business Idioms |
| producer | the producer is in charge of initiating, coordinating, supervising, and controlling activities such as generating funds, employing essential staff members, contracting, and arranging for distributors. The producer is active in all aspects of the process, from project development to project completion | producent | Roles: Key Creative Team |
| director | the director is in charge of overseeing the creative aspects of a film, such as controlling the plot's content and flow, directing actors' performances, choosing the locations where the film will be shot, and managing technical details such as camera positioning, lighting use, and the timing and content of the film's soundtrack | operator filmowy, reżyser obrazu, autor zdjęć | Roles: Key Creative Team |
| screenwriter | screenwriters or scriptwriters are in charge of researching the story, constructing the narrative, composing the screenplay, and providing it to the Producers in the proper format. They are virtually always freelancers who pitch unique ideas to Producers in the hopes of having them optioned or sold, or who are commissioned by a Producer to write a screenplay based on a concept, true story, existing script, or literary work, such as a novel or short story | scenarzysta | Roles: Key Creative Team |
| executive producer | an executive producer is typically a project investor or someone who facilitated the project's finance. Depending on the financial circumstances, a project may have numerous executive producers | producent wykonawczy | Roles: Production Department |
| line producer | a line producer is typically in charge of a film's budget. In addition, or otherwise, they may manage the day-to-day physical components of film production | producent liniowy | Roles: Production Department |
| production manager | the production manager is in charge of the physical components of production, such as personnel, technology, budget, and schedule. It is the PM's obligation to ensure that the filming runs on time and within budget. The PM frequently works under the supervision of a line producer and reports directly to the Production Coordinator | kierownik produkcji | Roles: Production Department |
| production coordinator | the production coordinator is the production's information hub, in charge of coordinating all logistics such as recruiting personnel, renting equipment, and booking talent. The PC is an essential component in film production | koordynator produkcji | Roles: Production Department |
| production secretary | the production secretary assists the production co-ordinator and production manager with administration in the production office | sekretarz biura | Roles: Production Department |
| production accountant | production accountants are in charge of handling finances and keeping financial records during the filming process. They collaborate closely with the Producer and the production office to manage the day-to-day accounting office duties and report on the project's financial success in relation to budgets (cost reporting) | administrator filmu | Roles: Production Department |
| post-production supervisor | post-production supervisors are in charge of the post-production process, ensuring clarity of information and open lines of communication between the Producer, Editor, Supervising Sound Editor, Facilities Companies (such as film labs, CGI studios, and negative cutters), and the Production Accountant | kierownik postprodukcji | Roles: Production Department |
| first assistant director | the first assistant director (1st AD) works alongside the production manager and director. They are in charge of the day-to-day management of the cast and crew schedule, equipment, screenplay, and set. They ensure that filming is completed on time while also providing a working environment in which the director, principal artists (actors), and crew may concentrate on their work | II reżyser planowy | Roles: Production Department |
| second assistant director | the second assistant director (2nd AD) is the chief assistant to the first AD and assists him in carrying out the tasks allocated to him. The 2nd AD collaborates closely with the Production Coordinator to generate daily Call Sheets that inform the crew of the shooting day's schedule and crucial details | II reżyser biurowy | Roles: Production Department |
| third assistant director | the third assistant director (3rd AD) collaborates with the "First" on set and may communicate with the "Second" to move actors from unit base, organise crowd scenes, and manage one or more production assistants | asystent reżysera | Roles: Production Department |
| production assistant/production runner | the production assistant, often known as a runner, helps the first assistant director with on-set activities. PAs also help out in the production office with various general tasks | asystent produkcji | Roles: Production Department |
| continuity person | see Script Supervisor | sekretarz planu | Roles: Production Department |
| script supervisor | script supervisor keeps track of which parts of the script have been filmed and notes any differences between what was actually filmed and what was in the script. To maintain continuity from shot to shot and scene to scene, they take notes on every shot and keep track of props, blocking, and other elements. Also known as "continuity" | sekretarz planu | Roles: Production Department |
| stunt coordinator | where a stunt is required for the film and the use of stunt artists is necessary, the stunt coordinator will coordinate the casting and performance of the stunt, working closely with the Director | kaskader koordynator | Roles: Stunts Department |
| stunt performer | the stunt performer performs supervised stunts on film which are planned and overseen by stunt coordinators. They must perform action aspects of a film that require specific skills. They take the place of actors when an action is regarded as dangerous or certain skills are required | kaskader | Roles: Stunts Department |
| story producer | in TV, the story producer is in charge of the entire story across all episodes. In reality television, the narrative producer is in charge of developing a plot via editing/producing the show's source material. They may also be in charge of composing the host's dialogue | w telewizji, odpowiedzialny za fabułę wszystkich odcinków | Roles: Script Department |
| script editor | script editors provide a critical overview of the screenwriting process, employing their analytical skills to assist the screenwriter in identifying problems and thereby strengthening and developing the screenplay | redaktor scenariusza | Roles: Script Department |
| script co-ordinator | the script coordinator is in charge of writing each version of the script and annotating it for the production team's convenience | asystent redaktora scenariusza | Roles: Script Department |
| location manager | the location manager is in charge of locating and securing production locations, as well as arranging logistics, permits, and expenses involved. They are also the production's public face in the area | kierownik ds. lokacji, menadżer obiektów | Roles: Location Department |
| location assistant | the location assistant assists the location manager and is present on set before, during, and after production. General responsibilities include arriving first at the location to enable the set dressers on set; ensuring the cleanliness of the locations during production; and dealing with concerns from neighbours | asystent kierownika ds. lokacji | Roles: Location Department |
| location scout | the location scout is responsible for the initial location scouting for the production, taking into account production logistics such as location fees and financial constraints, local permitting costs and laws, camera and lighting requirements, proximity to other locations, production services, crew and unit parking, and so on | skaut | Roles: Location Department |
| director of photography/cinematographer | the director of photography oversees the film's camera and lighting departments. In collaboration with the director, the DoP makes judgements on lighting and scene framing | operator filmowy, operator obrazu, reżyser obrazu | Roles: Camera Department |
| camera operator | to capture the scenes on film, the camera operator works under the guidance of the director of photography or film director. Depending on the camera format used for filmmaking (e.g., film or digital), a director of photography may or may not control the camera, however these two responsibilities are sometimes combined | operator kamery, szwankier | Roles: Camera Department |
| first assistant camera (focus puller) | the first assistant camera (first AC) is in charge of maintaining the camera in focus while shooting | ostrzyciel | Roles: Camera Department |
| second assistant camera (clapper loader) | the second assistant camera (2nd AC) starts each take by operating the clapperboard and loading raw film stock into the camera magazines between takes. In addition, they are in charge of the log books that record when the film stock is received, used, and sent to the lab for processing in the light-tight cans. | asystent operatora obrazu, asystent kamery | Roles: Camera Department |
| loader | the loader moves film from the manufacturer's light-tight canisters to the camera magazines, where the 2nd AC attaches it to the camera. Following filming, the loader removes the film from the magazines and deposits it in the light-tight cans for transport to the lab | asystent operatora obrazu, asystent kamery | Roles: Camera Department |
| camera production assistant | the camera PA, who is usually a trainee in the camera department, supports the crew with minor details while learning the craft of the camera assistant, operator, or cinematographer | stażysta w pionie operatorskim | Roles: Camera Department |
| digital imaging technician (DIT) | the digital image technician is in charge of coordinating the internal workings of the digital camera on digital productions. Under the instruction of the director of photography, the DIT will edit the final image by adjusting the number of variables available in most professional digital cameras | asystent elektronicznej kamery cyfrowej (DIT) | Roles: Camera Department |
| data wrangler | on digital productions, the data wrangler is in charge of transferring data from the camera to a computer and/or hard drive | data wrangler | Roles: Camera Department |
| steadicam operator | a steadicam operator is someone who is skilled at operating a Steadicam (a camera stabilisation rig) | operator steadicam | Roles: Camera Department |
| motion control technician/operator | this technician operates a motion control rig, which is essentially a 'camera robot' capable of repeating camera moves for special effects purposes | operator robota pozwalającego na wykonanie niezwykle precyzyjnych i powtarzalnych ruchów kamery filmowej | Roles: Camera Department |
| video split/assist operator | video assist operators (VAOs) take the images generated by the film or digital cameras and display them on video monitors so the director and other crew members can see exactly what’s been shot. These images are also recorded for playback, so the action can be reviewed after each take | operator, który pobiera obrazy generowane przez kamery i wyświeta je na monitorach, dzięki czemu reżyser i inni członkowie ekipy mogą zobaczyć, co dokładnie zostało sfilmowane | Roles: Camera Department |
| production sound mixer (sound recordist) | the production sound mixer oversees the sound department on set and is in charge of recording all sound while filming. This includes selecting microphones, operating a sound recording device, and sometimes mixing audio signals in real time | operator dźwięku | Roles: Sound Department |
| sound designer | also called an SDx or a supervising sound editor, develops the sonic world for film, television, and theater projects. They create or source everything the audience hears. This includes the soundtrack, sound effects, and atmospheric sounds | reżyser dźwięku | Roles: Sound Department |
| sound editor | the sound editor is responsible for selecting and assembling sound recordings in preparation for the final sound mixing or mastering of a television program, motion picture, video game, or any production involving recorded or synthetic sound | montażysta dźwięku | Roles: Sound Department |
| sound supervisor, supervising sound editor | a professional audio engineer who works in theater, television, or film production. The main responsibility of someone in this position is to organise and manage the way sound is handled in post-production. A sound supervisor may also work on set during filming in some cases | asystent reżysera dźwięku | Roles: Sound Department |
| boom operator (boom swinger) | during filming, the boom operator is in charge of microphone placement and movement. The boom operator positions the microphone above or below the actors, just out of the camera's frame, using a boom pole | operator mikrofonu | Roles: Sound Department |
| key grip | the key grip is the set's chief grip and the head of the set operations department. The key grip assists the director of photography in setting up the stage and achieving proper lighting and blocking | szef wózkarzy | Roles: Grip Department |
| best boy (grip) | the best boy grip is the key grip's chief assistant. They are also in charge of keeping the grip truck organised throughout the day | II wózkarz | Roles: Grip Department |
| dolly grip | the dolly grip is the grip in charge of operating the camera dolly. They set up, level, and move the dolly track before pushing and pulling the dolly, with a camera operator and camera assistantas riders | wózkarz | Roles: Grip Department |
| gaffer | the gaffer is the head of the electrical department and is in charge of designing and executing a production's lighting plan. The gaffer is also known as the "Chief Lighting Technician" at times | mistrz oświetlenia | Roles: Electrical Department |
| best boy (electrical) | the best boy electric is the chief assistant to the gaffer | główny oświetlacz | Roles: Electrical Department |
| lighting technician | lighting technicians are responsible for the installation and operation of lighting equipment. | oświetlacz | Roles: Electrical Department |
| generator operator | the generator operator maintains the functioning of the generators typically used on film location, particularly in remote areas or where extra power is needed | agregaciarz | Roles: Electrical Department |
| production designer | the production designer is responsible for the overall aesthetic of the film, including settings, costumes, props, and character makeup. They play an important creative role in the creation of films and television shows, working closely with the director, cinematographer, and producer | scenograf | Roles: Art Department |
| art director | the art director works directly under the production designer, in collaboration with the set decorator and set designers. Much of their work involves the administrative aspects of the art department. They are responsible for assigning tasks to personnel such as the art department coordinator and construction coordinator, keeping track of the art department budget and schedule, and overall quality control. On films with smaller art departments, such as small independent films and short films, the terms "production designer" and "art director" are often used interchangeably, and the person filling the role may be credited as either | asystent scenografa | Roles: Art Department |
| set designer | the set designer is the draughtsman, frequently an architect, who creates the structures or interior spaces that the production designer has specified | projektant wnętrz | Roles: Art Department |
| illustrator | the illustrator makes visual representations of the designs in order to express the production designer's ideas | ilustrator | Roles: Art Department |
| set decorator | the set decorator is in charge of decorating the set, which includes all of the furnishings and other objects visible in the film | dekorator wnętrz | Roles: Art Department |
| buyer | the buyer finds, then buys or hires the set dressing | osoba, która znajduje, znajduje, a następnie kupuje lub wynajmuje scenografię | Roles: Art Department |
| set dresser | the set dressers apply and remove the "dressing," which includes furniture, drapes, rugs, and even doorknobs and wall sockets | osoba, która zajmuje się nakładaniem i zdejmowaniem dekoracji obejmujących meble, zasłony, dywany, a także klamki i gniazdka | Roles: Art Department |
| props master | the props master is responsible for locating and handling all of the objects utilised in the production. Usually has a team of assistants | główny rekwizytor | Roles: Art Department |
| standby props | standby props work on set during the filming of a scene, overseeing the use of props, and monitoring their continuity. They are able to respond quickly to requests for moving props and fixtures and to help position actors, crew and equipment | rekwizytor planowy | Roles: Art Department |
| props builder | props builders are technicians who have experience in construction, plastics casting, machining, and electronics | konstruktor rekwizytów | Roles: Art Department |
| armourer | the armourer is a props technician who specialises in firearms | zbrojmistrz | Roles: Art Department |
| construction coordinator/ construction manager | the construction coordinator is in charge of ordering materials, scheduling work, and supervising the construction staff of carpenters, painters, and labourers | kierownik budowy dekoracji | Roles: Art Department |
| key scenic | key scenic is in charge of the set's surface treatments, which include specific paint treatments such as ageing and gilding to simulate the appearance of wood, stone, brick, metal, and so on | osoba odpowiedzialna za elementy plastyczne scenografii | Roles: Art Department |
| greensman | greensman is concerned with the creative arranging of plant material or landscape design | koordynator ds. zieleni | Roles: Art Department |
| (key) make-up artist | make-up artists use make-up, hair, prosthetics and special effects to create the look of every character in a film. Their job is to shape an actor's appearance on screen | główny charakteryzator | Roles: Hair & Make-up Department |
| make-up assistant | the make-up assistant works under the direction of the make-up artist, creating various looks and carrying out wide-ranging tasks | asystent charakteryzatora | Roles: Hair & Make-up Department |
| hairdresser / hair stylist | the hairstylist is responsible for maintaining and styling the hair of everyone who appears in the film. They work with the make-up artist. | stylista - fryzjer | Roles: Hair & Make-up Department |
| special effects makeup artist SFX Makeup Artists | The SFX makeup artist is responsible applying the pre-made prosthetics or smaller on-skin effects. This type of makeup can include creating the appearance of things like wounds, scars and wrinkles for ageing effects applied directly onto the skin | wizażysta FX | Roles: Hair & Make-up Department |
| costume designer | the Costume Designer is responsible for all the costumes and clothing worn by the cast. They design and plan the creation of the garments, down to the fabrics, colours and sizes | kostiumograf | Roles: Wardrobe Department |
| assistant costume designer | the assistant designer is the one who dresses the background actors. They also often deal with the budgets | asystent kostiumografa | Roles: Wardrobe Department |
| costume supervisor | the costume supervisor collaborates closely with the designer to oversee the development or sourcing of garments, the hiring of support personnel, the budget, documentation, and department operations | II kostiumograf | Roles: Wardrobe Department |
| costume standby | the costume standby is always present on set to ensure the quality and consistency of the actors' and actresses' costumes before and throughout takes. They also help the cast with their wardrobe | osoba zawsze obecna na planie, aby zapewnić jakość i spójność kostiumów przed rozpoczęciem zdjęć i w ich trakcie | Roles: Wardrobe Department |
| art finisher | during pre-production, an art finisher may be hired to 'break down' garments. Making fresh clothes look dusty, faded and old is part of this specialised job | osoba, która zajmuje się np. nadawaniem nowym strojom wyglądu zakurzonych, wyblakłych, starych | Roles: Wardrobe Department |
| buyer, shopper | a buyer may be hired on large projects to source and acquire fabrics and outfits | przy dużych projektach, osoba zatrudniona w celu pozyskiwania i nabywania tkanin strojów | Roles: Wardrobe Department |
| wardrobe supervisor | the wardrobe supervisor is responsible for overseeing all wardrobe related activities during the course of a film shoot | garderobiana | Roles: Wardrobe Department |
| cutter/fitter | a costume cutter or fitter is a costume technician who fits or tailors outfits on-set. They are also known as seamstresses or tailors | technik kostiumów, który dopasowuje lub szyje stroje na planie | Roles: Wardrobe Department |
| film editor (offline editor for video productions) | the film editor (or offline editor for video productions) works with the director to put the various shots together to create a coherent film | montażysta obrazu | Roles: Post-production Department |
| assistant editor | an assistant editor assists the editor by collecting and arranging all the elements required for the edit | asystent montażysty | Roles: Post-production Department |
| online editor, finishing editor (for video productions) | after the offline edit is finished, the online editor adds visual effects, titles, and colour correction. Additionally, they guarantee that the programme meets the technical delivery specifications | montażysta online | Roles: Post-production Department |
| colourist | the colourist adjusts the colour of the film to achieve greater consistency | kolorysta | Roles: Post-production Department |
| negative cutter | the film is cut and spliced by the negative cutter. They deliver the assembled negative reels to the lab for printing | montażysta negatywu | Roles: Post-production Department |
| visual effects supervisor | the visual effects (VFX) supervisor is in charge of the visual effects department | VFX supervisor | Roles: Visual Effects (VFX) Department |
| compositor | the compositor is a visual effects artist responsible for combining images from a variety of sources, such as video, film, computer-generated 3D images, 2D animation, matte paintings and text | montażysta filmowy odpowiedzialny za łączenie obrazów z różnych źródeł | Roles: Visual Effects (VFX) Department |
| roto/paint artist | the roto/paint artist crafts mattes by hand for use in compositing. They may also use paint to remove visual information from a scene, such as wires and rigs, logos, and scratches | grafik zajmujący się rotoskopią | Roles: Visual Effects (VFX) Department |
| matte painter | these artists draw or paint entire sets or extend portions of an existing set | artysta zajmujący się tworzeniem podmalówek | Roles: Visual Effects (VFX) Department |
| sound designer | a member of a film crew who is in charge of a film's post-production sound | reżyser dźwięku | Roles: Post-production - Sound/Music |
| dialogue editor | the dialogue editor compiles and edits all soundtrack dialogue | montażysta dialogów | Roles: Post-production - Sound/Music |
| sound editor | the Sound Editor is in charge of compiling and editing all of the sound effects in the soundtrack | montażysta dźwięku | Roles: Post-production - Sound/Music |
| re-recording mixer | the re-recording mixer is responsible for balancing the sounds supplied by the dialogue, music, and effects editors | realizator zgrania dźwięku | Roles: Post-production - Sound/Music |
| music supervisor | works with composers, mixers and editors to develop and incorporate music into a film. Negotiate the necessary licensing rights for all source music used in a film | konsultant muzyczny | Roles: Post-production - Sound/Music |
| composer | in charge of creating the musical score for a film | kompozytor ścieżki dźwiękowej | Roles: Post-production - Sound/Music |
| foley artist | a person who re-creates sounds for film, video, and other media in post-production to enhance audio quality. They replace sounds that cannot properly be recorded on set | imitator dźwięku | Roles: Post-production - Sound/Music |
| foley mixer | the foley mixer adds sounds to film and TV footage during the post-production stage between filming and editing. Professional foley mixers work with foley artists and a foley editor | osoba odpowiedzialna za nagranie efektów synchronicznych | Roles: Post-production - Sound/Music |
| casting director | works closely with the director and producer to understand requirements, suggest artists for each role, arranges and conducts interviews and auditions | reżyser obsady | Roles: Other Production Crew |
| storyboard artist | uses pen and paper sketches to visualise stories. Two of the most common methods are quick pencil sketches and marker renderings, however Flash, Photoshop, and specialised storyboarding software are being used more and more these days | storybordzista | Roles: Other Production Crew |
| caterers | catering is delivered to each Unit Base for filming by specialised companies in trucks loaded with food and a variety of supplies like gas, water and ovens | catering | Roles: Other Production Crew |
| unit nurse | on a film production, a unit nurse offers basic healthcare and first aid coverage to cast and crew | pielęgniarka na planie | Roles: Other Production Crew |
| stills photographer | stills photographers typically work on set, capturing scenes from the film, but they could also be asked to build up studio shots that correspond to the film's aesthetic | fotosista | Roles: Other Production Crew |
| entertainment lawyer | specialises in legal matters relating to the entertainment industry, providing legal advice and drafting contracts for film production | prawnik specjalizujący się w przemysłach kreatywnych | Roles: Legal Department |
| publicist | develops and manages the public image of the film and its key talent. Coordinates press releases, interviews and promotional events. Works independently and are only contracted for the length of each filming, however they might also be retained to handle distribution publicity in the lead-up to the film's premiere | publicysta, rzecznik prasowy | Roles: Publicity and Marketing |
| marketing coordinator | assists in the development and implementation of marketing strategies for the film. Coordinates publicity materials and campaigns | koordynator ds. marketingu | Roles: Publicity and Marketing |
| distributor | responsible for promoting, marketing and releasing the film to theatres or other distribution channels. Negotiates deals with exhibitors and manages the distribution strategy. | dystrybutor | Roles: Distribution |
| sales agent | represents the film to potential buyers, negotiates distribution deals and helps secure distribution agreements for the film in various territories. | agent sprzedaży | Roles: Distribution |
Brak wyników dla danej selekcji. Prosimy o wybór innego działu lub kategorii.
Bardzo dziękujemy Anicie Simovic, Urszuli Piaseckiej, Krzysztofowi Czyżewskiemu, Mateuszowi Kozakowi oraz Marcinowi Kupieckiemu za ogromne wsparcie przy tworzeniu słowniczka.
The Glossary of Film Production Terms by KIPA został zrealizowany w ramach projektu KIPA Film Language Lab współfinansowanego przez Polski Instytut Sztuki Filmowej.