What is a music video treatment?

A music video treatment is a written document (typically 1–3 pages) created by the director that describes their creative vision for the video before production begins. It includes a concept summary, visual world description, scene-by-scene breakdown, casting and location approach, and any special technical or creative elements. The treatment is used to align the production team and to pitch the concept to the artist, management, or record label for approval.

What is a call sheet in music video production?

A call sheet is the operational document distributed to all cast and crew members the day before a shoot. It lists every person working on the production with their specific call time (the time they need to arrive on set), their contact information, their role, and their scheduled scenes. The call sheet also includes the day's schedule (broken down by setup or scene), location details and addresses, parking instructions, nearest hospital, and any special notes for the day. It is prepared by the 1st Assistant Director.

What does 'picture lock' mean?

Picture lock is the point in post-production when the edit is finalized and no further changes will be made to the timing or sequence of shots. After picture lock, the colourист, sound team, visual effects artists, and deliverables team all begin their work from a fixed cut. Making changes after picture lock requires reopening the edit and recalling all post-production work that has already been completed from that version, so reaching picture lock is a significant milestone — and avoiding unnecessary changes after it is an important production discipline.

What is the difference between a 1st AD and a producer?

A 1st Assistant Director (1st AD) manages the day-to-day logistics and schedule of the shoot itself — calling action and cut, managing the pace of the day against the schedule, coordinating department heads on set, and ensuring the production stays on track. A producer manages the overall project — from budget and contract through to delivery — and oversees the production across all phases (pre-production, production, and post-production). On set during the shoot, the 1st AD is the most operationally critical crew member; the producer manages the broader project context.

Complete Guide

Music Video Production Glossary: 100+ Terms Explained

The complete music video production glossary — 100+ terms from pre-production to post, covering camera, lighting, crew roles, post-production, and industry vocabulary. A reference resource for artists, managers, and emerging filmmakers.

Music video production has its own vocabulary. A first-time artist on set, a manager reviewing a production brief, or an emerging director working through their first professional credit will encounter dozens of terms that are specific to the film and video production industry. This glossary covers more than 100 terms across all phases of music video production — pre-production, production, and post-production — with plain-language definitions written for people who need to understand what the terms mean rather than impress with jargon.

Entries are organised alphabetically by letter group. For detailed guidance on the production processes these terms relate to, see our complete guide to music video production and our pre-production checklist.

A

1st AC (First Assistant Camera): The crew member responsible for managing the camera's focus during shots — also called the Focus Puller. The 1st AC pulls focus during moving shots, maintains the camera, manages the follow focus system, and assists the Director of Photography with camera preparation. Precise focus pulling is a skilled discipline that significantly affects the visual quality of a production.
2nd AC (Second Assistant Camera): Manages media cards and data throughout the shoot day — loading and offloading footage from the camera. Also operates the slate (clapperboard) at the beginning of each take, assists the 1st AC, and keeps detailed camera reports.
Art Direction: The overall visual design of a production — sets, locations, props, wardrobe, and visual elements beyond the camera. In music video, art direction is often led by a Production Designer and includes everything the camera sees that isn't specifically camera or lighting.
Assembly Cut: The first rough edit of a music video — all usable footage arranged in rough sequence, usually running longer than the song. The assembly cut is the raw material from which the editor builds the refined cut. Not for client viewing; strictly an internal editing tool.
Aspect Ratio: The proportional relationship between the width and height of the frame. Standard HD is 16:9. Anamorphic cinematography typically produces a 2.39:1 ratio (wider than HD). The aspect ratio chosen for a production affects both the visual character of the video and its suitability for different platforms.

B

Best Boy Electric: The Gaffer's second-in-command. The Best Boy Electric manages the electrical equipment inventory, supervises the lighting crew (Electrics), and coordinates the logistics of the lighting department on set. The "Best Boy" title is historical and applies regardless of gender.
Best Boy Grip: The Key Grip's second-in-command. Manages grip equipment inventory and the grip crew.
B-Roll: Secondary footage used to supplement the main performance or narrative shots. In music video, B-roll might include location atmosphere shots, product shots, or cutaway images that provide visual variety in the edit. Named for the B-roll of supplementary tape used in early broadcast editing.
Blocking: The process of planning and rehearsing the movement of the artist(s) and camera through a scene. Blocking a setup before filming allows the DP to plan camera positions and the 1st AC to plan focus pulls before the camera rolls.
Boom Operator: In music video, this role is rarely needed since the audio track is pre-recorded and only playback audio is required on set. However, boom operators are common on any production that captures live audio — interviews, documentary, or behind-the-scenes content.

C

Call Sheet: The daily operational document for a production. Distributed to all cast and crew the day before the shoot, a call sheet lists every person's call time (when they need to arrive), location address, parking, schedule for the day, and department-specific notes. The 1st AD is responsible for the call sheet. See our pre-production checklist for what a complete call sheet includes.
Call Time: The time a specific crew member or cast member is required to arrive on set. Different departments have different call times — Hair and Makeup typically call early for artist preparation; camera crew calls when camera prep begins; the artist calls before their first shot. Managing call times is a core 1st AD responsibility.
Camera Department: The crew members responsible for operating, maintaining, and managing the camera(s) on set. Typically includes the Director of Photography, 1st AC, 2nd AC, and (on productions with camera movement) a Camera Operator, Steadicam Operator, or Drone Pilot.
Cinematic: A production aesthetic that references feature film visual grammar — widescreen aspect ratios, controlled lighting, deliberate camera movement, and careful composition. "Cinematic quality" in music video generally implies a higher production standard and a film-trained crew and equipment approach.
Clapperboard (Slate): The board clapped at the beginning of each take to synchronise audio and video and identify the scene, setup, and take number. The audible "clap" provides a sync point for the editor. Even on productions with no separate audio recording, slates identify footage in the edit.
Colour Grade / Colour Grading: The post-production process of adjusting and enhancing the colour, contrast, and tone of footage to achieve the desired visual look. In music video, colour grading is a significant creative step that can dramatically transform the mood and character of footage. Professional colour grading is typically performed in DaVinci Resolve or similar software.
Colour Temperature: The warmth or coolness of a light source, measured in Kelvin (K). Daylight is approximately 5600K (cool, bluish); tungsten/incandescent light is approximately 3200K (warm, orange). The camera's white balance setting determines how it interprets colour temperature, and mismatches between light sources create visible colour casts.
Continuity: Consistency of visual details — wardrobe, hair, makeup, props, set dressing — between shots that will be edited together. Continuity errors (a different hair position in the reverse shot, a prop that changes hands) are noticeable in the edit and undermine the illusion of seamless performance. Maintaining continuity is primarily the job of the Script Supervisor (if present) and the relevant department heads.
Coverage: The range of shots captured for a given performance or scene. Adequate coverage gives the editor sufficient options to build a compelling cut. Insufficient coverage leaves the editor without choices — forcing them to use takes or angles that don't work as well. First-time directors frequently underestimate the coverage they need.

D

Day-for-Night: A filming technique that uses daytime light and specific post-production work to create the appearance of nighttime footage. Requires careful exposure, often a blue-toned grade, and removal of obviously daytime elements from the frame. Used when actual night filming is impractical due to schedule, cost, or safety.
Director: The creative authority on a music video production. Responsible for developing the creative concept, writing the treatment, directing the artist's performance on set, overseeing all creative decisions during the shoot, and guiding the edit to ensure the final video matches the original creative vision. See our guide on how to direct your first music video.
Director of Photography (DP): Also called the Cinematographer. Responsible for the visual language of the production — camera choice, lens selection, lighting design, camera movement, and exposure. The DP translates the director's creative vision into the specific technical and aesthetic decisions that appear on screen. Leads the Camera and Lighting departments. See our explanation of the director vs. cinematographer distinction.
Dolly: A wheeled camera platform that moves along tracks, producing a smooth, controlled camera movement. Dolly moves are either Push-in (moving toward the subject) or Pull-back (moving away from the subject). The crew member who operates the dolly is called the Dolly Grip.
Dutch Angle: A camera angle where the frame is tilted diagonally rather than level. Used to create psychological unease or dramatic tension. Overused in music video as a stylistic default; most effective when used deliberately for specific emotional purposes.

E

EPK (Electronic Press Kit): A professional digital media package used by artists to present themselves to industry — labels, media, bookers, and festival programmers. Includes a biographical video, performance footage, photographs, written biography, and contact information. See our complete EPK guide for musicians.
Exposure: The amount of light reaching the camera sensor. Controlled by three variables: aperture (f-stop), shutter speed, and ISO. Correct exposure produces footage with the right brightness, contrast, and noise level for the intended look. Overexposure (too bright) or underexposure (too dark) creates footage that is difficult to correct in post-production.
Exterior / Interior (EXT / INT): Script notations indicating whether a scene takes place outside (exterior) or inside (interior). These designations affect crew requirements, equipment needs, and scheduling — exterior shoots are weather-dependent; interior shoots require controlled lighting setups.

F

Final Cut: The approved, completed edit of a music video — ready for colour grading and delivery. In the music industry, "final cut" authority (who gets to approve the final version) can be a contractual point between artist and production company.
Focus Pull: The act of adjusting the camera's focus point during a shot — typically to keep a moving subject sharp or to shift the audience's attention from one subject to another within the frame. See: 1st AC.
Frame Rate: The number of individual frames captured per second. Standard frame rates include 24fps (cinematic), 25fps (PAL broadcast standard), and 30fps (NTSC/online). High-speed (slow motion) footage is captured at 60fps, 120fps, or higher and played back at standard speed. Frame rate affects the motion quality and "look" of the footage.
F-Stop (Aperture): The measurement of the lens aperture — the opening through which light enters the camera. Lower f-stop numbers (f/1.4, f/2) allow more light and produce shallower depth of field (background blur). Higher f-stop numbers (f/8, f/11) allow less light and produce greater depth of field (more of the scene in focus). F-stop is one of the three components of exposure, alongside ISO and shutter speed.

G — H

Gaffer: The head of the electrical/lighting department. Works directly under the Director of Photography to design and execute the lighting for every setup. The gaffer leads the lighting crew, manages electrical safety on set, and is responsible for achieving the visual lighting look the DP has designed.
Gimbal: A motorised camera stabilisation device that uses gyroscopes to keep the camera level and smooth during handheld movement. Gimbals produce smooth, floating camera movement without the cost of a Steadicam rig. Common in contemporary music video production for dynamic handheld-style shots without camera shake.
Golden Hour: The period shortly after sunrise or before sunset when the sun is low on the horizon, producing warm, directional, soft-quality light. Highly valued in music video production for its flattering quality and distinct visual character. Requires precise scheduling and rapid shooting — golden hour lasts approximately 30–60 minutes depending on latitude and season.
Green Screen (Chroma Key): A production technique where subjects are filmed against a flat, brightly-lit green (or blue) background that is later removed in post-production and replaced with a different background. Requires careful, even lighting of the green screen and appropriate lighting of the subject. Common in music video for creating environments that would be impractical or impossible to shoot practically.
Grip Department: The crew responsible for camera support equipment — dollies, sliders, cranes, jibs, and rigging. The Grip Department enables camera movement and physically manipulates non-electrical lighting equipment (flags, nets, diffusion). Led by the Key Grip.
Handheld: A camera shooting style where the operator holds the camera rather than using a stabilisation device. Produces an organic, slightly unsteady movement that can read as energetic, intimate, or chaotic depending on the degree of movement and the edit context. Widely used in music video to create a sense of spontaneity or rawness.

I — L

ISO: A measurement of the camera sensor's sensitivity to light. Higher ISO settings allow shooting in lower light conditions but introduce digital noise (grain) into the image. Lower ISO settings produce cleaner images but require more light. One of the three components of exposure, alongside aperture and shutter speed.
Key Light: The primary light source illuminating the subject in a shot. The key light establishes the direction and quality of the main light. All other lights in a setup relate to the key — fill lights add detail to the shadow side; back lights and rim lights separate the subject from the background. See also: Three-Point Lighting.
Lens: The optical element(s) that focuses light onto the camera sensor. Lens choice significantly affects image character — focal length determines field of view and compression; aperture affects depth of field; optical quality affects sharpness, contrast, and rendering characteristics. Cinema lenses differ from photography lenses in having consistent focus scales across the set, smooth, non-breathing focus, and standardised iris control.
Lip Sync: The synchronisation of an artist's visible mouth movements with the playback audio track. In music video production, artists typically mime (lip sync) to a playback of the recorded track rather than singing live. The quality of an artist's lip sync performance — and the accuracy of their physical performance to the track's rhythm — significantly affects how convincing the video looks.
Location Scout: The process of researching, visiting, and assessing potential filming locations before the shoot. A thorough location scout considers visual suitability, access and parking, power availability, noise environment, permit requirements, and practical logistics. The director and DP typically scout locations together. See our pre-production checklist for a full location scout procedure.

M — P (Part 1)

Master Shot: A wide shot that captures an entire performance or scene from beginning to end, establishing the geography of the space and providing coverage of the complete action. The master shot is often the first setup on a location, providing the editor with a complete "safety" version of the scene before coverage is added.
Monitor: A high-quality screen used on set to view the camera's output in real time. The director and DP both watch the monitor during takes to assess framing, focus, and exposure. On larger productions, a separate "village" area is set up with monitors for the director and producers.
NDA (Non-Disclosure Agreement): A legal agreement requiring crew members, cast, and other parties to keep certain information about a production confidential. Common on productions involving high-profile artists, unreleased music, or commercially sensitive content.
Permit: Written authorisation from the relevant authority to film at a specific location. Permits are required for filming on public land, council-owned property, national parks, and many private properties. Australian permit requirements vary by state, council, and location type. See our pre-production checklist for a full guide to Australian filming permits.
Playback: The audio system on set that plays the recorded track during filming, allowing the artist to lip sync accurately. Playback is typically managed by the 1st AD or a dedicated Playback Operator. The volume, quality, and reliability of playback directly affects the quality of the artist's performance.

P (Part 2) — R

Picture Lock: The point at which the edit is finalised and no further changes will be made to timing or sequence. After picture lock, colour, sound, VFX, and delivery work proceeds from a fixed version. Changes after picture lock require reopening the edit and undoing completed downstream work.
Post-Production (Post): The phase of production that follows the shoot. Includes editing (assembly, rough cut, fine cut, picture lock), colour grading, visual effects, audio mix and mastering, and final delivery formatting. Post-production for a professional music video typically takes 2–4 weeks. See our production timeline guide.
Pre-Production: The planning and preparation phase before filming begins. Covers concept development, treatment writing, crew hiring, location scouting, casting, storyboarding, equipment booking, permit applications, and scheduling. Thorough pre-production is the single largest predictor of a successful shoot. See our complete pre-production checklist.
Producer: The person responsible for the overall management of a production — budget, logistics, contracts, crew coordination, and delivery. The producer manages the practical reality of making the video from initial brief to final delivery. On smaller productions, the producer and director may be the same person.
Production Designer: The crew member responsible for the overall visual design of a production — sets, props, wardrobe, and art direction. Works closely with the Director and DP to create the visual world of the video within the available budget.
Resolution: The number of pixels in the video image. Common resolutions include HD (1920x1080), 2K (2048x1080), and 4K (3840x2160 or 4096x2160). Higher resolution provides more detail and greater flexibility for reframing in post, but requires more storage and processing power.

S

Safety

An additional take of a shot after the director has a version they're happy with. "We have a preferred take and a safety" — the safety provides insurance if the preferred take has a technical problem discovered in post. Experienced directors and 1st ADs routinely take a safety on key shots.

Setup

A single camera position with a specific lens, lighting arrangement, and frame. A shoot day consists of moving through multiple setups, each requiring the lighting department and camera department to reconfigure for the new position and framing. The number of setups achievable in a day is a key productivity metric for production scheduling.

Shot List

A document listing every shot planned for a shoot day, in the order they will be filmed, with camera specifications (shot type, lens, movement), description of the frame, and notes. The shot list is the director's day-of reference document. A detailed shot list makes setup-by-setup planning significantly more efficient. See our storyboard guide for how shot lists relate to storyboards.

Shot Types

Standardised descriptions of frame composition relative to the subject:

EWS (Extreme Wide Shot) — vast landscape, subject tiny or absent
WS (Wide Shot) — full environment visible, subject identifiable
MWS (Medium Wide Shot) — subject full frame, environment visible
MS (Medium Shot) — waist up
MCU (Medium Close-Up) — chest up
CU (Close-Up) — face/head
ECU (Extreme Close-Up) — eyes, mouth, hands, detail

Steadicam

A camera stabilisation system worn by a trained Steadicam Operator, using a counterweighted arm to isolate the camera from the operator's body movement. Produces smooth, fluid camera movement while allowing the operator to walk, run, or move through complex environments. Steadicam operation is a specialist discipline with a significant learning curve.

Storyboard

A visual representation of a planned sequence of shots — drawn panels showing the composition, camera movement, and action for each setup. Storyboards are used in pre-production to plan and communicate the visual structure of the video before the shoot. See our complete storyboard guide.

Sync / Sync Licensing

Synchronisation — the licensing of music for use in video content. A sync licence allows a specific piece of music to be combined with video. In the context of music video promotion, a strong music video can attract sync licensing interest from television, film, and advertising — an important additional revenue stream for artists and labels.

T — Z

Take: A single, continuous recording of a shot from roll to cut. Multiple takes are recorded for each setup, with the director selecting the best performance and the DP confirming technical quality before moving to the next setup.
Technical Recce: A pre-production visit to a location by the director, DP, and key department heads to assess it technically and plan the production in detail. Distinct from a location scout (which assesses visual suitability); a technical recce plans the actual production — where each camera position will be, where lighting will be rigged, where the artist will move. See our pre-production checklist.
Three-Point Lighting: The foundational lighting setup in video production — Key Light (primary light source, illuminating the subject from the front/side), Fill Light (a softer light from the opposite side of key to reduce shadow intensity), and Back Light (a light from behind the subject that separates them from the background). Most professional lighting setups in music video begin with some variation of this structure before adding creative elements.
Treatment: The director's written creative proposal for a music video — typically 1–3 pages describing the visual concept, tone, structure, and key creative elements. The treatment is used to pitch the concept to the artist, management, or label, and to align the production team once approved. See our discussion of director treatments in our guide on directing your first music video.
VFX (Visual Effects): Digital manipulation of footage in post-production. Includes compositing (combining elements from different sources), motion graphics (animated text and design elements), screen replacements, crowd replication, and any digitally created element added to the live-action footage. VFX ranges from subtle (removing a visible rig from a shot) to extensive (creating an entire virtual environment).
White Balance: A camera setting that defines what "white" looks like under the current lighting conditions, ensuring accurate colour reproduction. Incorrect white balance produces footage with a colour cast — too orange (underbalanced for warm light) or too blue (overbalanced for cool light). Some productions deliberately use incorrect white balance as a creative tool.
Wrap: The end of a shoot day or entire production. "That's a wrap" signals that filming is complete. The wrap process includes returning hired equipment, clearing locations, securing footage, and crew payment. The 1st AD manages the wrap process to ensure it happens efficiently and that no equipment or location obligations are missed.
Wide Shot: See: Shot Types. A wide shot showing the full subject in their environment. Commonly used as an establishing shot to orient the audience.

This glossary covers the terminology you will encounter across music video production at a professional level. For applied guidance on these concepts in the context of an actual production, work through our full production guide series:

If you have a production enquiry or want to discuss an upcoming project, contact the 171 Entertainment team.