Test your basic knowledge |

Intro To Film Production

Subjects : performing-arts, film
Instructions:
  • Answer 50 questions in 15 minutes.
  • If you are not ready to take this test, you can study here.
  • Match each statement with the correct term.
  • Don't refresh. All questions and answers are randomly picked and ordered every time you load a test.

This is a study tool. The 3 wrong answers for each question are randomly chosen from answers to other questions. So, you might find at times the answers obvious, but you will see it re-enforces your understanding as you take the test each time.
1. Sheets for each shooting day; they detail what portion of the script is being shot on a specific day - who needs to be on the set - when they need to be there - and how to get to the set.






2. The person who pulls focus






3. Loud - sudden sound that exceeds 0dB






4. The things that our characters actually handle in a scene






5. Sound bouncing off surfaces. Results in a booming or echo-y sound as the signal duplicates itself over and over again which is refereed to as 'acoustically live.'






6. First complete version of the narrative in proper screenplay format

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7. Recording is too low

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8. Shooting a scene from various angles






9. Hands-on lighting person who implements the lighting designs of the Director of Photography. In charge of setup and proper functioning of the lights.






10. A type of location sound that isn't recorded simultaneously with the picture. Two types are Ambient Sound and Location Sound.






11. Revolve around conflict - and express ideas and cocepts through stories in which a character who needs to accomplish something encounters obastacles and much struggle to get what they need






12. Frequency - Amplitude - Timbre - and Velocity






13. The look of the environment in which your scenes take place - and the choice and design of the objects and costumes employed in the film have a profound impact on the tone - the characterizations - and the meaning of your movie.






14. Executing more than one move at a time






15. Form used in film production to keep track of all the mise-en-sc






16. Not limited by the linear characteristics of video tape. We can move around in the footage in any direction - instantaneously. All film projects - whether shot on film of DV are edited on NLE. All visual and aural components must be turned into dig






17. Closer shots of the subjects in the scene from and angle that includes a portion of the other person's shoulder or head. This is also called and over-the-shoulder shot.






18. Point to the original data without altering the media file






19. Shots that don't require any actors to be present like landscapes - location-establishing shots - and shots of objects and cutaways






20. Measures the strength of the incoming signal.






21. Drawings of shots - arranged on paper in the order they appear in a sequence






22. Clearly shows both subjects in the scene and defines the spatial relationship of the two to each other and the space around them






23. Yields very dark and prominent shadow areas. Occurs when the fill light is considerable lower than the key - allowing areas to be submerged in shadows.






24. The range of apparent focus along the z-axis






25. Measures the strength of the incoming signal.






26. The recording of sync dialogue in a studio in cases where the production sound is not usable






27. An interior scene that can be used in case your exterior shoot is cancelled because of bad weather






28. Separate comfortable waiting space to put the next-in line actor. A place where actors can relax - drink some water - and go over their lines.






29. Standard calling card. 8x10 photograph on one side and a resume on the other.






30. Dramatic Structure Matches - Content and Activity Matches - Matched Action Cuts - Graphic Matches - and Sound Bridges






31. Drawings of shots - arranged on paper in the order they appear in a sequence






32. Sheets for each shooting day; they detail what portion of the script is being shot on a specific day - who needs to be on the set - when they need to be there - and how to get to the set.






33. Revolve around conflict - and express ideas and cocepts through stories in which a character who needs to accomplish something encounters obastacles and much struggle to get what they need






34. Finessing all of the edits one-by-one






35. Refers to the loudness of a signal as it enters the audio recorder which determines the strength of the recorded audio signal






36. The range between -12dB and 0dB that gives a buffer for any unforeseen audio spikes






37. A shot of a detail within your scene other than the characters' faces






38. A shot in which the subject looks directly at the camera






39. Adjusting the optical center back toward the focal plane causing the image to become more wide-angle






40. Light that separates the subject from the background by positioning a somewhat lower intensity light at a high angle and behind the subject. It traces the edges of the figure and creates depth.






41. The range between -12dB and 0dB that gives a buffer for any unforeseen audio spikes






42. The head of the sound department responsible for recording the best possible quality sound. Chooses the appropriate microphones and mic placement for each and every scene that requires sound. They also monitor and maintain proper recording levels.






43. Expresses the director's visual strategy for every scene in the film. It shows you what shots are used to cover a scene and in how they connect together as an edited scene. Camera angles - shot sizes - camera moves - etc. are all marked.






44. Sets up cables - holds second boom when necessary - and wrangles the cables when the boom operator follows a moving shot






45. Soft light that fills in the shadows created by the Key Light






46. Finessing all of the edits one-by-one






47. Organized process by which you schedule and work with a number of potential performers to determine their suitability to your film






48. Shooting Script - Overheads - and Storyboards






49. Shot - Shot Sequence - Scene - and Dramatic Sequence






50. The ability of a lens to gather light is determined by the largest possible f-stop of that particular lens (a fast lens can open up to allow more light than a slow lens)