Directors Words At The End Of a Take are more than catchphrases—they’re the traffic lights for a film set. Knowing who says what (and why) keeps crews safe, saves time, and prevents missed slates or camera bumps. Here’s a clear, practical guide you can share with cast and crew.
“Cut!” — the stop signal
Cut tells everyone to stop performing, stop the action, and hold positions. The director typically calls it, though the camera operator, 1st AC, or stunt coordinator can call cut for safety. Don’t chatter right away: sound may still be rolling for room tone or notes, and camera may be holding for a tailslate.
“Hold” vs. “Reset” vs. “Back to one”
- Hold: Freeze—don’t strike props, don’t walk through frame. Something needs checking.
- Reset: Return items/actors to their start mark to run the same setup again.
- Back to one: Performance reset to first positions; crew stays in the current lighting/camera setup.
These calls help avoid full relights or needless camera moves when the director wants a quick do-over.
“Print it!” (or “We’re keeping that take”)
On film shoots, Print meant “send this take to the lab.” On digital, you’ll hear “Circle that” or “That’s the one.” Script Supervisors note the circled take for editorial. If continuity is dicey, the director may say “Print both” (or “2 & 4”) to keep options.
“Moving on” and “Next setup”
Moving on tells departments to prep the next setup: camera resets, new lens, different angle, or a fresh lighting plan. It’s different from “Back to one,” which repeats the same setup.
“Check the gate” / “Media check”
On film, “Check the gate” meant inspecting the camera gate for hairs or debris before moving on. Digitally, you’ll hear “Media check” or similar: verifying files, backups, and that slates match sound reports. Don’t strike until camera and sound confirm.
“That’s a wrap” — when the day (or an actor) is done
That’s a wrap officially ends the day—or ends work for a specific actor (“That’s a wrap on Alex”). It triggers strike/pack-down and crew turn-in. Expect cheers only after the director calls it; until then, the set’s live.
Who else speaks at the end of a take?
- 1st AD: Amplifies the director’s calls, manages safety/time.
- Script Supervisor: Confirms the circled takes, continuity notes.
- Camera team: Confirms tail/head slate, data card, and any needed re-rolls. (On some sets, the camera team prompts a tailslate, not the director.)
- Sound: Calls “Speed”/“Cut” for their recorder, flags wild lines, room tone.
Micro-glossary for new crew
- Action: Performance starts.
- Cut: Performance stops.
- Reset/Back to one: Return to first positions for another take.
- Moving on: New setup; departments prep changes.
- Print/Circle: Mark the preferred take(s) for editorial.
- Wrap: Day or actor is finished.
Bottom line
At the end of a take, clear language keeps sets efficient and safe. Directors set the tone with “Cut,” “Print,” and “Moving on,” while the AD team, camera, sound, and scripty close the loop. Learn the calls, echo them cleanly, and you’ll save minutes every setup—hours by wrap.
One trustworthy link for beginners
New to sets? Start with this plain-English explainer of common on-set calls: Backstage — 12 Film Terms on Set.
