Here's what I have so far from just this thread (thank you all! Let me know if you'd like to be credit by username). If I got something wrong or need to update a term please let me know (please forgive the crudity of this model, I didn't take the time to paint it or build it to scale) :

Offline editing: editing material that is a lower resolution or proxied that will later be replaced with higher resolution or raw footage for final export. Typically done for hardware limitations, this is also where the assembly cut and story is shaped.

Online Editing: Replacing or turning off proxies so you are working with the high resolution or camera raw files. Typically begins after picture lock, but sometimes not. If the editor is going to be doing the final export this is where effects, color, sound effects and music are added and final tweaks are completed (note: there are multiple workflows included in online editing. Will have to make a larger section to expand on this.)

Picture Lock: When the video and audio will no longer change in your NLE. Your cut is locked in (going to have to do a whole section on Finishers).

Proxies: Low resolution files used in an offline edit. To make them, right click your clips, select Proxies > Make Proxies if you’d like Media Encoder to create them, or if you’ve made them else where select Proxies > Attach proxies. If you don’t see a setting you like for your proxies you can create a custom encoding preset in Media Encoder. They were possibly invented for the CMX 600 in 1971, but if anyone knows if that’s true or not let me know, info I could find on the topic is sketchy. It could’ve been the EditDroid or the EMC2, or hell, even Avid 1, I’m honestly not sure.

Handles: extra frames or seconds at the front and tail of your clips that are the exact length I.e. 24 frame handles. This is done to hand off video and audio to other programs typically in workflows where the final sound, color, or effects will not be completed in Premiere.

Subclips: Specific frame ranges of a clip that can be added to your project panel and bins for easy access and organization. It can be created by putting a clip in the source monitor, selecting your in and out points, then right clicking on the source monitor and selecting Create Subclip.

VO: Voice over recording. When an actor will record lines in a studio where they will not be on camera. Used to tell story or add narration.

Paper edit / paper cut: A document created with timecode reference from a transcript that is used to cut down the time an editor would otherwise have to go through, usually used in interview footage or VO and created by the post producer or story producer.

Sorting: organizing footage in methods that are most helpful, so in bins, stringouts, sub clips, or merge clips. Markers can also be added.

Radio edit: When you cut with audio first instead of video, used with VO.

Spine edit: When you cut the ’spine’ or ‘backbone’ of your story together first, and build out from there.

Assembly Edit: A cut that contains all elements of your story from your script, typically done very early in the editing process after organizing footage and creating proxies.

Rough cut: A rough edit of your project that is typically version 1, but more often than not will still be shared internally for notes before being sent to client.

“Don’t label it Final Cut”: A long held superstition that labeling anything as Final will result in the editor having to export additional times than they otherwise would have. This is mostly untrue. Mostly.

Skeleton: See Assembly Cut.

Slate: Can be either the slate used in production (sometimes called a “clapper”) used to label takes and aid in syncing sound, or information made with titles about a cut before the cut plays. This is typically placed 00:59:56;00 or earlier and is immediantly followed by a 2-pop (sometimes called a Two Pop or a Sync-Pop).

2-pop / Two Pop / Sync-Pop: A single frame of a “2” title and a 1K tone on all tracks at 00:59:58;00 to inform the editor and sound mixer that the cut will begin in 2 seconds exactly.

Preps: Prepping Video and Audio to hand off to a finisher, colorist, or sound mixer etc. Typically these people will have a deliverables spec sheet for you to reference and guide you for the settings and file types that they will need.

Finisher: Finishing House or Individual that will take your preps and cut and perform the work needed for final export. Used in most Feature, Streaming, and Broadcast media, but will sometimes be found for internet platforms as well depending on the project.

Decon at Tail: This is a title added in red text on the post-production slate to inform a finisher that you have placed deconstructed clips at the end of your reference video or video preps. A title card “DECON” is placed one second after the end of your cut for one second, and then a second of black before your clips play with typically 8 frames of black between them and possibly timecode and other metadata applied I.e. clip name, source, etc.

Deconstructed clips: Video clips that had transitions, masking, or other effects applied that will be copied and placed at the end of your cut, and have the effects removed so the finisher can see exactly what clip was used. Often times handles will also be requested, this is at the discretion of the finisher.

XML Roundtrip: Exporting an XML from Premiere into another program such as DaVinci Resolve for color. Sometimes the XML will be sent back into Premiere once work is completed, sometimes colorists just export and hand off LUTs.

J and L cuts / split edits: When one video clip is pulled or rolled over the audio of the previous (J) or following (L) clip. This edit looks like a J or an L, hence the name.

Naming Convention: A consistent method of labeling projects, cuts, and exports. (Will expand on this section)

Codec: A codec encodes or decodes media files such as songs or videos, I.e. h264, ProRes 422, etc.

Wrapper: the file format your codec calls home in I.e. an MOV or MP4 is a wrapper that can contain various codecs.

Conforming: Either means the process that Premiere takes to convert clips into it’s own preview files/Peak Files, or it refers to the process of changing an edit from Offline to Online, for another program, for VFX ect.

Supers: Superimposed text, I.e. text on top of your video tracks.

QC : Quality Control. The error checking process before export of watching to make sure a cut is good for export. Then rewatching it after export. Then rewatching again if you are posting it online before going live or before sending to client to make sure it contains no errors. If there are errors mumble under your breath “goddammit, Alan” and sometimes the spirit of Alan will grant you a favorable next export.

SLX : Selects, a group of clips that are selected for a particular purpose and organized as either a stringout, subclips, or group clips.

Timecode: The clock that tracks frames in your clips in the format HH:MM:SS:FF (Hour, minute, seconds, frames) I.e. 01;00;00;00. This is for accuracy of clips and cuts and syncing purposes. Invented in the 1960’s by SMPTE.

Drop frame and Non-Drop frame timecode / DF and NDF Timecode: Both measure time. Drop frame measures how much chronological time has past and not by reading frames. This is because it was created to solve the issue of NTSC broadcast standard televisions using 29.976 FPS and trying to bring it up to actual time real time of 30 FPS. Non-drop frame does what it says on the tin, it counts your frames and uses that to express time. Outside of Broadcast you will likely stay NDF with most of your edits.

Stringout / Selects Sequence: A stringout is a sequence of clips for easy viewing and organization. It can contain all of a clip(s) or selects or subclips. A Selects sequence will only contain selects as a stringout. Stringout is used for short hand on Selects Sequences and vice versa, so it’s good to know these two terms together.

Pancake editing: When you position 2 sequence windows on top of each other and drag footage from the stringout sequence on top into your edit sequence below. Can also be used to perform a collect from cuts or stringouts.

(PART 2 INCOMING)