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Test your basic knowledge |
Intro To Film Production
Start Test
Study First
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. Lighting unit that is 45
Media File Indicators
Call Sheets
Spike
3/4 Back Light
2. Lens that has one fixed focal length for more precise manipulation of image quality
Script Breakdown Sheet
Prime Lens
Cable Wrangler
Four Basic Elements in the Visual Language of Cinema
3. 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
Nonlinear Editing System
Dramatization
Script Breakdown Sheet
Assistant Camera
4. The things that our characters actually handle in a scene
Nonlinear Editing System
Call Sheets
Props
1/3 - 2/3 Rule
5. The strategy of using movie lights to duplicate where light would logically be emanating from
T-Stops
Direct Address
Motivated Lighting
Storyboards
6. Process of combining the video and audio with the applied effect to create a new media file
Rendering
Cover-Set
Zooming In
Reverberation
7. 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.
Fill Light
Elliptical Editing
Call Sheets
Motivated Lighting
8. All camera moves need to be...
Parallel Action
1/3 - 2/3 Rule
Motivated Move
Five Ways to Create a Parallel Action Sequence
9. 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
Location Scouting
Focus Puller
Four Basic Elements in the Visual Language of Cinema
Narrative Films
10. Refers to the size of your subject in the frame
Back Light
Depth of Field
Director of Photography
Shot Size
11. Clearly shows both subjects in the scene and defines the spatial relationship of the two to each other and the space around them
Director of Photography
Master Shot
Narrative Films
Lens Speed
12. Character - Goal - and Conflict or Obstacles
T-Stops
Boom Operator
Master Shot
Three Essential Elements of Drama
13. The range of apparent focus along the z-axis
Setting Levels
Overheads
Depth of Field
Automatic Dialogue Replacement
14. The person who pulls focus
Director of Photography
Dramatization
Back Light
Focus Puller
15. Loud - sudden sound that exceeds 0dB
Sound Recordist
Author's Draft
Spike
Media File Indicators
16. Drawings of each scene from a bird's eye perspective. They help figure out important details like the axis of action - camera placement - and blocking.
Pick-Ups
Storyboards
3/4 Back Light
Overheads
17. The movement of characters in the space
Zoom Lens (Variable Focal Length Lens)
Blocking
Wild Sound (Non-Sync Sound)
Zooming In
18. Closely scrutinizing the location for its technical and aesthetic capabilities
Media File Indicators
Location Technical Survey
Prime Lens
Zoom Lens (Variable Focal Length Lens)
19. Camera and lens expert. They are responsible for the proper functioning of the camera - which includes setting it up - cleaning the gate - checking and pulling focus - and selecting filters and lenses. They know precise details about what various
Assistant Camera
Nondestructive Editing
Gaffer
Setting Levels
20. Character - Goal - and Conflict or Obstacles
Parallel Action
Author's Draft
Depth of Field
Three Essential Elements of Drama
21. A shot of a detail within your scene other than the characters' faces
Talent Release
Motivated Lighting
Cutaway Shot
Side Light
22. 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.
Protagonist
Back Light
Reverberation
Five Ways to Create a Parallel Action Sequence
23. A shot of a detail within your scene other than the characters' faces
Shot Size
Cross Cutting
Spike
Cutaway Shot
24. Simple but comprehensive prose description of a film's plot
Direct Address
Five Ways to Create a Parallel Action Sequence
Fine Cut
Treatment
25. Sound that includes both room acoustics and background noise
Three Essential Elements of Drama
Ambient Sound
Zoom Lens (Variable Focal Length Lens)
Script Breakdown Sheet
26. The movement of characters in the space
Camera Setup
Wild Sound (Non-Sync Sound)
Master Shot
Blocking
27. 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.
Five Ways to Create a Parallel Action Sequence
Master Shot
Low-Key Lighting
Blocking
28. The order of events in your film
Plot
Focus Puller
Elliptical Editing
Location Technical Survey
29. All camera moves need to be...
Four Basic Elements in the Visual Language of Cinema
Rendering
Motivated Move
Zooming In
30. Deciding where you want to shoot (the look - the access - the logistics - the sound - and securing it)
Ambient Sound
Location Scouting
Zooming Out
Sound Recordist
31. Standard calling card. 8x10 photograph on one side and a resume on the other.
Headshot/Bio
T-Stops
3/4 Back Light
3/4 Back Light
32. Primary source of illumination in your scene. Usually it is a motivated light source.
Green Room
Key Light
Green Room
T-Stops
33. The range between -12dB and 0dB that gives a buffer for any unforeseen audio spikes
Headroom
Props
Three Pre-Visualization Tools
Headshot/Bio
34. Ensures visibility in all parts of your scene with overall bright and even illumination. Minimizes shadows - texture and dimensionality.
Fill Light
Shot Size
High-Key Lighting
Setting Levels
35. Any cutting - arranging - trimming - corrections - or effects you might perform occur only virtually - in a preview mode. Original media files are not altered in any way. (Digital NLE is an example)
'In the Mud'
Fill Light
Nondestructive Editing
Direct Address
36. Simple but comprehensive prose description of a film's plot
Spike
Treatment
Unmotivated Move
Fine Cut
37. An interior scene that can be used in case your exterior shoot is cancelled because of bad weather
Side Light
Cover-Set
Zooming Out
Talent Release
38. Frequency - Amplitude - Timbre - and Velocity
Peak Meter
Levels
Back Light
Four Basic Properties of Sound
39. Removing extraneous time and territory
Four Basic Properties of Sound
Focus Puller
Elliptical Editing
Spike
40. The subject of the story - the central character whom the audience will follow as they attempt to achieve their goal
Master Shot
Three Pre-Visualization Tools
Protagonist
Treatment
41. The things that our characters actually handle in a scene
Treatment
Props
Overheads
Blocking
42. 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.
Cold Reading
Art Direction
3/4 Back Light
Coverage
43. Adjusting the optical center back toward the focal plane causing the image to become more wide-angle
Five Ways to Create a Parallel Action Sequence
Pulling Focus
Location Technical Survey
Zooming Out
44. Soft light that fills in the shadows created by the Key Light
Levels
Low-Key Lighting
Blocking
Fill Light
45. To alternate between two or more scenes when editing a sequence
Cross Cutting
Prime Lens
Treatment
Low-Key Lighting
46. Sound that includes both room acoustics and background noise
Location Technical Survey
Reverse Shots
Five Ways to Create a Parallel Action Sequence
Ambient Sound
47. Shooting a scene from various angles
Pick-Ups
Side Light
Coverage
Cross Cutting
48. 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
Narrative Films
Direct Address
Motivated Move
T-Stops
49. Narrative technique that involves intercutting between two or more separate areas of action in such a way that the viewer assumes the scenes are occurring simulataneously
Parallel Action
Peak Meter
Protagonist
'In the Mud'
50. The measurement of acceptable diameter which creates the appearance of focus
Dramatization
Automatic Dialogue Replacement
Circle of Confusion
Narrative Films
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