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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. 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
Director of Photography
'In the Mud'
Parallel Action
2. 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
Focus Puller
Narrative Films
Motivated Move
Rule of Thirds
3. 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.
Back Light
Location Technical Survey
Nonlinear Editing System
Call Sheets
4. The person who pulls focus
Location Scouting
Focus Puller
Gaffer
Three Pre-Visualization Tools
5. First complete version of the narrative in proper screenplay format
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6. Standard calling card. 8x10 photograph on one side and a resume on the other.
Motivated Move
T-Stops
Headshot/Bio
Zooming Out
7. 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.
Master Shot
Media File Indicators
Low-Key Lighting
Ambient Sound
8. Shooting a scene from various angles
Coverage
Cross Cutting
Peak Meter
Automatic Dialogue Replacement
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
Cold Reading
Storyboards
Narrative Films
Rule of Thirds
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.
Rule of Thirds
High-Key Lighting
Art Direction
Gaffer
11. The movement of characters in the space
Rule of Thirds
Master Shot
Key Light
Blocking
12. Controlling the strength of the signal
Elliptical Editing
Unmotivated Move
Setting Levels
Director of Photography
13. This type of move breaks the promise of showing something else to the viewer
Unmotivated Move
Circle of Confusion
Director of Photography
Pick-Ups
14. Legal document - signed before cameras roll - simply stating that the performer gives you the right to use his image and voice in your film
Plot
Media File Indicators
Talent Release
Location Scouting
15. Lighting unit that is position 90
Call Sheets
Audition
Nondestructive Editing
Side Light
16. 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.
Unmotivated Move
Talent Release
Sound Recordist
Gaffer
17. An interior scene that can be used in case your exterior shoot is cancelled because of bad weather
Props
Three Essential Elements of Drama
Cover-Set
Protagonist
18. Responsible for the proper use and actual placement of the microphones for optimal quality
Art Direction
Boom Operator
Wild Sound (Non-Sync Sound)
Storyboards
19. The things that our characters actually handle in a scene
Low-Key Lighting
Protagonist
Props
Prime Lens
20. Clearly shows both subjects in the scene and defines the spatial relationship of the two to each other and the space around them
Media File Indicators
3/4 Back Light
Side Light
Master Shot
21. The recording of sync dialogue in a studio in cases where the production sound is not usable
Spike
3/4 Back Light
Pick-Ups
Automatic Dialogue Replacement
22. The order of events in your film
Plot
Peak Meter
Motivated Move
Low-Key Lighting
23. The range between -12dB and 0dB that gives a buffer for any unforeseen audio spikes
Wild Sound (Non-Sync Sound)
Rendering
Camera Setup
Headroom
24. The person who pulls focus
Shot List
Zooming Out
Focus Puller
Motivated Move
25. Frequency - Amplitude - Timbre - and Velocity
Four Basic Properties of Sound
Shot Size
Audition
Location Technical Survey
26. To alternate between two or more scenes when editing a sequence
Cross Cutting
Storyboards
Shot Size
Nonlinear Editing System
27. Transforming what is vague and internal into a series of viewable and audible actions and events
Cable Wrangler
Dramatization
Parallel Action
Lens Speed
28. 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
Assistant Camera
Treatment
Nonlinear Editing System
Assistant Camera
29. Lighting unit that is 45
Director of Photography
Prime Lens
3/4 Back Light
Unmotivated Move
30. Dramatic Structure Matches - Content and Activity Matches - Matched Action Cuts - Graphic Matches - and Sound Bridges
Spike
Five Ways to Create a Parallel Action Sequence
Direct Address
Setting Levels
31. To alternate between two or more scenes when editing a sequence
Cross Cutting
Back Light
Low-Key Lighting
Setting Levels
32. Deciding where you want to shoot (the look - the access - the logistics - the sound - and securing it)
Shooting (Lined) Script
T-Stops
Location Scouting
Three Pre-Visualization Tools
33. Works closely with the director on the visual interprataino of the script and the photographic look of the movie (cinematography). This involves lighting - film stocks - video format - expressive camera angles - compositions - exposures - and f
High-Key Lighting
Low-Key Lighting
Direct Address
Director of Photography
34. Finessing all of the edits one-by-one
Overheads
Pick-Ups
Audition
Fine Cut
35. Refers to the loudness of a signal as it enters the audio recorder which determines the strength of the recorded audio signal
Setting Levels
Headshot/Bio
Levels
Prime Lens
36. The measurement of acceptable diameter which creates the appearance of focus
'In the Mud'
Narrative Films
Circle of Confusion
Elliptical Editing
37. Controlling the strength of the signal
Zooming Out
Rim Light
Setting Levels
Motivated Lighting
38. 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
Elliptical Editing
Audition
Rule of Thirds
Storyboards
39. 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
Elliptical Editing
Narrative Films
Treatment
Setting Levels
40. 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.
Elliptical Editing
Audition
Four Basic Properties of Sound
Shooting (Lined) Script
41. Lighting unit that is position 90
Side Light
Script Breakdown Sheet
Overheads
Nondestructive Editing
42. 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.'
Reverberation
Blocking
Protagonist
Prime Lens
43. The range between -12dB and 0dB that gives a buffer for any unforeseen audio spikes
Lens Speed
Headroom
Green Room
Key Light
44. Sets up cables - holds second boom when necessary - and wrangles the cables when the boom operator follows a moving shot
Location Technical Survey
Cable Wrangler
Cold Reading
Pick-Ups
45. List of all the shots that make up the film in the order in which they will be shot
Shot List
Parallel Action
Setting Levels
Gaffer
46. 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.
Media File Indicators
Back Light
'In the Mud'
Camera Setup
47. Changing the plane of critical focus during a take while the camera is running
Ambient Sound
Lens Speed
Pulling Focus
Rendering
48. Character - Goal - and Conflict or Obstacles
Three Essential Elements of Drama
Assistant Camera
Nondestructive Editing
Reverse Shots
49. 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.
Circle of Confusion
Sound Recordist
Green Room
3/4 Back Light
50. The range of apparent focus along the z-axis
Four Basic Elements in the Visual Language of Cinema
Depth of Field
Reverse Shots
Focus Puller