| director of photography |
A cinematographer who is ultimately responsible for the process of recording a scene in the manner desired by the director. The Director of Photography has a number of possible duties: selection of film stock, cameras, and lenses; designing and selecting lighting, directing the gaffer's placement of lighting; shot composition (in consultation with the director) film developing and film printing. |
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| director's cut |
Contracts under the terms of the Hollywood Director's Guild usually allow 6 weeks for a director to assemble a cut of the movie without studio interference as he or she would like it to be seen. This director's cut is fully edited and has a synchronized soundtrack. This cut is usually not color corrected or density corrected and may not even have the final music and effects tracks. In more recent times the term Director's Cut has taken on a popular meaning that implies a polished final cut of the movie that the director has complete artistic control over. |
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| directors guild-producer training plan |
The Director's Guild of America has various training programs whereby successful applicants are placed in various productions and can gain experience working in the film or television industry. |
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| dissolve |
An editing technique whereby the images of one shot is gradually replaced by the images of another. |
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| distributor |
The organization responsible for coordinating the distribution of the finished movie to exhibitors, as well as the sale of videos, laserdiscs, and other media versions of movies. |
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| documentary |
A non-fiction narrative without actors. Typically a documentary is a journalistic record of an event, person, or place. See also: cinema verité. |
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| Dogme 95 |
A filmmaking movement launched in 1995 by Danish directors Lars von Trier and Thomas Vinterberg, among others. The Dogme 95 Manifesto renounces special effects and other forms of "gimmickry" in favor of stripped-down techniques. In order to qualify for Dogme status, filmmakers must abide by the following ten rules (known as the "Vow of Chastity") Shooting must be done on location. Props and sets must not be brought in (if a particular prop is necessary for the story, a location must be chosen where this prop is to be found) The sound must never be produced apart from the images or vice versa. (Music must not be used unless it occurs where the scene is being shot) The camera must be hand-held. Any movement or immobility attainable in the hand is permitted. (The film must not take place where the camera is standing; shooting must take place where the film takes place) The film must be in color. Special lighting is not acceptable. (If there is too little light for exposure the scene must be cut or a single lamp be attached to the camera) Optical work and filters are forbidden.
6. The film must not contain superficial action. (Murders, weapons, etc. must not occur.) 7. Temporal and geographical alienation are forbidden. (That is to say that the film takes place here and now.) Genre movies are not acceptable.
9. The film format must be Academy 35mm.
10. The director must not be credited. |
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| Dolby Noise Reduction |
Dolby Laboratories, Inc has produced a number of noise reduction and sound enhancement processes. Competitors include DTS and SDDS. |
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| dolly |
A dolly is a small truck which rolls along dolly tracks carrying the camera,some of the camera crew and occasionally the director. "Dolly" is also the action of moving the camera towards (dolly up/in) or away from (dolly/pull back) the object that it is pointing at. The term often appears in screenplays. There is a subtle difference between the results of a zoom shot and a dolly shot. In a zoom, the relative positions and sizes of all objects in the frame remains the same, whereas in a dolly shot this will change as the camera moves. Alfred Hitchcock's much-imitated shot in Vertigo used a combination zoom-in and dolly back, resulting in a dramatic change in perspective. |
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| dolly grip |
A grip that moves a dolly. |
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| dolly tracks |
A set of tracks upon which a camera can be moved. See also dolly. |
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| dope sheet |
A list of scenes from the script that have already been filmed, or a list of the contents of an exposed reel of film stock. An accurate dope sheet is the responsibility of the assistant cameraman. See also clapboard, continuity report. |
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| double |
An actor who stands in for another actor in certain scenes, some of which may involve dangerous circumstances or require special skills (e.g. a stunt double) Sometimes body doubles are used in scenes that call for nudity or intimacy. Contrast with stand-in. |
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| double bill |
Two movies shown consecutively, typically for a discounted single admission price. Often the movies are sequels or are otherwise related (by genre, eg) See also feature presentation, supporting feature, and trailer. |
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| draftsman |
A person who creates the plans for set construction. See also swing gang, production designer, and art director. |
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| dresser |
A wardrobe assistant who helps actors with their costumes. |
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| driver |
A person who drives either equipment or passenger trucks, typically between location shootings, sets, and the studio. The chief driver is called the transportation captain. See also transportation co-ordinator. |
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| dubbing |
The technique of combining multiple sound components into one. The term is also used to refer to automatic dialog replacement of a new language. |
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| dutch tilt |
A shot composed with the horizon not parallel with the bottom of the frame. Used extensively in Batman, and frequently by Orson Welles. |
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| Dynamic Visibility Analysis |
DVA |
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