A
Action / Reaction
The fundamental unit of staged combat. Every attack (action) must be paired with a visible response (reaction). The reaction is often more important for camera than the attack itself; it's what sells the illusion of impact.
Action Designer
A specialist who designs physical sequences for camera, bringing choreography, direction and cinematography together into one approach. Different from a fight choreographer in that the camera is the main design consideration from the very start. See: Action Design for Film.
Arm Gag
A stunt involving the arm, typically a controlled hyperextension, lock or strike that creates the impression of injury or pain without any real harm.
B
Beat
A single action-reaction exchange in a choreographed sequence. A "10-beat fight" has ten of these exchanges. Also used more broadly to describe a unit of dramatic rhythm: a moment where something shifts in the story.
Breakaway Prop
A prop designed to shatter, bend, or deform safely on impact: bottles, chairs, glass panels. Made from sugar glass, balsa wood, or soft rubber depending on the requirement.
C
Camera Angle
The position of the camera relative to the action. In fight choreography, specific moves are designed to work from specific angles; the same sequence can look spectacular from one angle and confusing from another.
Choreography
The specific, agreed-upon sequence of movements in a fight scene. Nothing is improvised: every beat is set and rehearsed. On set, performers execute the choreography exactly as rehearsed.
Crossing the Line
Violating the 180-degree rule in a fight sequence: placing the camera on the wrong side of the action axis, which disorients the audience and makes spatial relationships in the fight unreadable.
Cut Point
The moment in a choreographed sequence where the editor will cut between shots. Good fight choreography anticipates cut points and designs the movement to make editing clean and rhythmic.
D
Distance Control
The practice of maintaining safe and consistent physical distance between performers during a fight sequence. Critical for safety and for camera legibility. Too close and the action is unreadable; the right distance allows clear framing while keeping performers safe.
Double
A stunt performer who physically resembles a principal actor and substitutes for them during dangerous or physically demanding sequences. The double performs the action; editorial cuts make the principal actor appear to have done it.
E
Eye Line
Where a performer's eyes are directed during a fight sequence, relative to the camera. Correct eye line maintains the illusion of combat; a performer looking at the wrong place (or directly into camera) immediately breaks the fourth wall.
F
Fight Choreographer
The person responsible for designing and rehearsing staged combat sequences. Works with performers before the shoot to establish the choreography, and is present on set to supervise execution and adjust for camera. See: What is Fight Choreography?
Flourish
A visually impressive but non-combative movement: a spin, a twirl, a blade isolation. Used in cinematic sword work to create visual rhythm and spectacle. Should serve the story, not interrupt it.
Footwork
The movement of the feet during a fight sequence. In cinematic work, footwork is designed around camera legibility and safety, keeping the right distance between performers and ensuring both are framed well throughout the sequence.
G
Gag
Industry term for a specific stunt or stunt sequence, like "the car gag" or "the fall gag". Distinct from a fight sequence in that a gag is usually a discrete, singular stunt moment rather than an extended choreographed exchange.
H
Hit
A moment of apparent contact in a fight sequence. A sold hit looks real on camera but involves little or no actual contact, achieved through precise timing, correct camera angle, sound design, and the receiving performer's reaction.
L
Lock-off
A camera shot with no movement: the camera is locked in position. Useful for specific fight moments where the action needs a clean, stable frame, or where a visual effect will be added in post.
P
Prep Day
A working day allocated to preparation before the shoot: location recce, rehearsal, equipment checks and safety planning. Prep days are billed separately from shoot days at the choreographer's standard day rate.
Previs / Previsualization
Planning a sequence ahead of the shoot: mapping camera angles, choreography, coverage and edit points before the production day. Action previs cuts down on-set decision-making and raises the odds of getting usable footage. See: Services.
R
Reaction
The physical response to an attack in a fight sequence. In cinematic combat, the receiver's reaction is as carefully choreographed as the attack, often more so. A bad reaction breaks the illusion regardless of how good the attack looks.
Recce
A location visit prior to the shoot. For stunt work, the choreographer identifies safety hazards, assesses the space for the planned sequences, and confirms camera positions. Essential for any location-based action sequence.
S
Safety
The non-negotiable foundation of all stunt and fight work. A fight choreographer's primary responsibility, before spectacle, before story, before schedule, is that no one gets hurt. This shapes every design decision.
Selling a Hit
The art of making apparent contact look real on camera without actual impact. Involves timing (the reaction follows the attack precisely), sound design, camera angle (hiding the miss), and committed physical performance from the receiving performer.
Stunt Coordinator
The head of the stunt department on a production. Responsible for overall stunt safety, team management, scheduling, and liaison with the director and production. Not the same as a fight choreographer, though on smaller productions one person often fills both roles.
Stunt Performer
A trained specialist who performs physically demanding or dangerous action for camera. See: What is a Stunt Performer?
T
Take
A single execution of a shot or sequence. Fight sequences often require multiple takes: for coverage, performance adjustment or safety checks. The choreography must be identical across all takes to ensure the edit works.
Timing
The precise coordination of movement between performers. In fight choreography, timing determines whether a sequence looks real or staged. A quarter-second off on a reaction can break the entire illusion.
W
Wire Work
Stunt technique using cables and rigging to achieve superhuman movement: flying, extreme jumps, gravity-defying falls. Requires a dedicated stunt rigger and specialist equipment. The wire is removed digitally in post-production.
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