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| TERM | DEFINITION | POLSKIE TŁUMACZENIE | CATEGORY |
|---|---|---|---|
| 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 |