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. All camera moves need to be...






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






3. The measurement of acceptable diameter which creates the appearance of focus






4. The subject of the story - the central character whom the audience will follow as they attempt to achieve their goal






5. 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.






6. 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.






7. Legal document - signed before cameras roll - simply stating that the performer gives you the right to use his image and voice in your film






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






9. Shooting a scene from various angles






10. 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.






11. 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.






12. The strategy of using movie lights to duplicate where light would logically be emanating from






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. First complete version of the narrative in proper screenplay format

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15. Lighting unit that is position 90






16. 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.






17. Closely scrutinizing the location for its technical and aesthetic capabilities






18. Adjusting the optical center away from the focal plane and therefore increasing the magnification power of the lens (telephoto)






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






20. List of all the shots that make up the film in the order in which they will be shot






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






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.






23. Shooting a scene from various angles






24. All camera moves need to be...






25. Deciding where you want to shoot (the look - the access - the logistics - the sound - and securing it)






26. The order of events in your film






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






28. The person who pulls focus






29. 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.






30. Sound that includes both room acoustics and background noise






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






32. Responsible for the proper use and actual placement of the microphones for optimal quality






33. Adjusted to take into account the amount of light that is lost - dissipated - or absorbed by that particular lens






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






35. 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)






36. 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






37. 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.






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






39. Measures the strength of the incoming signal.






40. Adjusted to take into account the amount of light that is lost - dissipated - or absorbed by that particular lens






41. Frequency - Amplitude - Timbre - and Velocity






42. This type of move breaks the promise of showing something else to the viewer






43. Lens that offers a continuous range of focal lengths in one lens housing






44. Often used as a guide for framing human subjects and for composition in general. The frame is divided into thirds with imaginary lines along the horizontal and vertical axes and then place significant objects - focus points - and elements of intere






45. Another name for backlight because of the effect it gives the actor






46. 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






47. Measures the strength of the incoming signal.






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






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






50. 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.