Well said my cinematic pal. Allow me to expand a bit?
Cut. Well, turn the fucking camera off, pal. That part of the triad kinda is self-explanatory !!
Print it. Ya got it more or less on. Most camera reports, a multi-layered carbon copy document about 9" x 7" would be filled out as the takes were shot, in real time. Let’s say you did 11 takes of Roy Batty’s famous speech at the end of BladeRunner.
Takes 2, 9 and 11 would get circled and let’s say Take 9 made it into the movie.
The camera report would read just as seen here.
The circled takes represent takes to be “printed”- as stated above, to be made into positive film takes on the roll of Work Print film to be used in editing. Any takes not circled were not printed.
I spent a few years as a Camera Assistante or “A.C.” while learning the trade. Damned humbling work, being an A.C. Even now in the age of digital H.D. video taps on film cameras, the A.C. is the only person on the set who can wreck a take and nobody will know it until the film is developed and printed. That is because you can not only get emulsion build-up in the area at the edges of the actual frame “hole” ( the gate ), but more likely you get “hairs”- tiny fibers that drift in the air. They can float in as one is loading a fresh magazine or changing a lens or - and this is evil incarnate- you can get a hair in the gate * by virtue of taking the lens off of the camera body to check the gate for hairs*. :eek::eek::eek:
Now, it’s a nifty trick and one that can save your career to learn to check the gate without removing the lens. How can this be, you may ask? Glad you asked.
A lens- any lens, be it still photo or cinematic camera lens- will act as a magnifier if one looks right into the taking element. You learn the trick of holding a flashlight right next to your eye, pressed to the temple, aimed into the lens. As you slowly move your head around and look into the lens, the flashlight is severely focused onto different areas of the gate- with the single film frame in place. You can see if there are hairs or other offending matter in the gate without removing the lens.
It doesn’t mean you remove risk of airborne crap. One changes lenses all the time and one changes magazines every 400 feet or 1,000 feet depending on the mag in use. But still. One takes GREAT care to avoid stuff being lodged in the gate.
It’s hairy work, pun intended. Then… there are emulsion scratches. If you get a speck of dirt in there, it can get lodged in the bottom edge of the gate and literally introduce scratching into the film as it moves oh-so very quickly through the gate.
You develop the film, you have footage that is scratched. Horrorshow stuff. NOWADAYS, one can literally fix this digitally so it’s gone. But whoa back in the day…
My hardest gig as an A.C. was a documentary shooting along the Green River in Utah. We started near the Tavaputs Ranch and spent 2 weeks working our way down to the Green River. Then we rafted along the river and put out finally at Moab, Utah.
I was responsible for 4 different camera bodies, each of which had 3-4 magazines that fit onto it. All 16mm format.
Arriflex M ( for a Tyler Mount for the helicopter we used every day.
Arriflex S
Arriflex BL
Arriflex SR II.
For all of the wet, the incredible dust ( helicopters landing in the hard dry desert ground, etc ) I only took one scratch. It was one of the Arri M mags and it ruined most of a 400 foot magazine. And we didn’t know it until we got back to NYC and had the film developed and printed into positive work print. 
On the one hand, it’s a pretty good ratio. On the other hand, that footage was useless. Or so I thought. Turns out for quite a pretty penny, Production could have the negative printed through something called a Liquid Gate and in doing so, made an internegative that was clean of the scratch.
Still. I thought I’d lost a client.
Hope this is all useful. 
Oh- one last note: nobody…but nobody calls out “Cut” on a set except the Director. On some shows, the 1st Assistant Director, or “First AD” is charged with calling both Action and Cut and that transfer of power is worked out between the Director and First AD. Otherwise, you call Cut out at your own peril. I only called it out a small handful of times and only when I was in physical danger.