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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. 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
Narrative Films
Spike
Parallel Action
Depth of Field
2. All camera moves need to be...
Motivated Move
Camera Setup
Headshot/Bio
Prime Lens
3. Finessing all of the edits one-by-one
Reverse Shots
Gaffer
Three Pre-Visualization Tools
Fine Cut
4. To alternate between two or more scenes when editing a sequence
Levels
Cross Cutting
Talent Release
Cover-Set
5. Dramatic Structure Matches - Content and Activity Matches - Matched Action Cuts - Graphic Matches - and Sound Bridges
Circle of Confusion
Cable Wrangler
Five Ways to Create a Parallel Action Sequence
Automatic Dialogue Replacement
6. The movement of characters in the space
Blocking
Pulling Focus
Assistant Camera
Protagonist
7. Primary source of illumination in your scene. Usually it is a motivated light source.
Key Light
Headshot/Bio
Boom Operator
Shot Size
8. Transforming what is vague and internal into a series of viewable and audible actions and events
Four Basic Properties of Sound
Motivated Lighting
Motivated Lighting
Dramatization
9. Sets up cables - holds second boom when necessary - and wrangles the cables when the boom operator follows a moving shot
Nonlinear Editing System
Dramatization
Cable Wrangler
Sound Recordist
10. Adjusting the optical center back toward the focal plane causing the image to become more wide-angle
Camera Setup
Wild Sound (Non-Sync Sound)
Zooming Out
Parallel Action
11. List of all the shots that make up the film in the order in which they will be shot
Cable Wrangler
Shot List
Motivated Move
Zooming Out
12. Sound that includes both room acoustics and background noise
Five Ways to Create a Parallel Action Sequence
Cable Wrangler
Five Ways to Create a Parallel Action Sequence
Ambient Sound
13. 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.
Overheads
Audition
Pulling Focus
Fill Light
14. Executing more than one move at a time
Reverse Shots
T-Stops
Combination Move
Green Room
15. Dramatic Structure Matches - Content and Activity Matches - Matched Action Cuts - Graphic Matches - and Sound Bridges
Sound Recordist
Green Room
Five Ways to Create a Parallel Action Sequence
Treatment
16. 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
Automatic Dialogue Replacement
Narrative Films
Cold Reading
Protagonist
17. 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.'
Cable Wrangler
Narrative Films
Author's Draft
Reverberation
18. 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
Overheads
Master Shot
Assistant Camera
Camera Setup
19. 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
Unmotivated Move
Nonlinear Editing System
Props
Gaffer
20. 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
Zooming In
Depth of Field
Director of Photography
Cold Reading
21. The recording of sync dialogue in a studio in cases where the production sound is not usable
Three Pre-Visualization Tools
Protagonist
Boom Operator
Automatic Dialogue Replacement
22. A shot in which the subject looks directly at the camera
Shot List
Cross Cutting
Treatment
Direct Address
23. Hands-on lighting person who implements the lighting designs of the Director of Photography. In charge of setup and proper functioning of the lights.
Fill Light
Props
Gaffer
Parallel Action
24. Process of combining the video and audio with the applied effect to create a new media file
Narrative Films
Rendering
Reverberation
Blocking
25. 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
Depth of Field
Narrative Films
Protagonist
Audition
26. 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)
Elliptical Editing
Pulling Focus
Depth of Field
Lens Speed
27. Closely scrutinizing the location for its technical and aesthetic capabilities
Overheads
Rim Light
Rendering
Location Technical Survey
28. Reading from the script pages that actors are given minutes before the audition
Master Shot
Direct Address
Fine Cut
Cold Reading
29. Shooting Script - Overheads - and Storyboards
Circle of Confusion
Zoom Lens (Variable Focal Length Lens)
Three Pre-Visualization Tools
Cable Wrangler
30. This type of move breaks the promise of showing something else to the viewer
1/3 - 2/3 Rule
Unmotivated Move
Location Scouting
Call Sheets
31. Primary source of illumination in your scene. Usually it is a motivated light source.
Back Light
Location Technical Survey
Key Light
Storyboards
32. Refers to the size of your subject in the frame
Key Light
Shot Size
Talent Release
Director of Photography
33. 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
Back Light
Shot Size
Lens Speed
34. A type of location sound that isn't recorded simultaneously with the picture. Two types are Ambient Sound and Location Sound.
Wild Sound (Non-Sync Sound)
Camera Setup
Peak Meter
Media File Indicators
35. The things that our characters actually handle in a scene
Coverage
Headroom
Fill Light
Props
36. 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)
Nondestructive Editing
Direct Address
Treatment
Rendering
37. 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.
Overheads
'In the Mud'
Ambient Sound
Script Breakdown Sheet
38. Frequency - Amplitude - Timbre - and Velocity
Cable Wrangler
Three Pre-Visualization Tools
Four Basic Properties of Sound
Location Technical Survey
39. 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.
Overheads
Cutaway Shot
Focus Puller
Reverse Shots
40. The physical placement of the camera on the set necessary to get each shot in your shooting script
Camera Setup
Motivated Lighting
Shot List
Gaffer
41. 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.
Back Light
Lens Speed
Motivated Move
Shot List
42. Closely scrutinizing the location for its technical and aesthetic capabilities
Storyboards
Gaffer
Location Technical Survey
Key Light
43. 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.
Sound Recordist
Back Light
Ambient Sound
Script Breakdown Sheet
44. Responsible for the proper use and actual placement of the microphones for optimal quality
Boom Operator
Shot Size
Back Light
Cross Cutting
45. Sets up cables - holds second boom when necessary - and wrangles the cables when the boom operator follows a moving shot
Assistant Camera
Levels
Motivated Lighting
Cable Wrangler
46. Measures the strength of the incoming signal.
Nonlinear Editing System
Elliptical Editing
Peak Meter
Wild Sound (Non-Sync Sound)
47. Adjusting the optical center away from the focal plane and therefore increasing the magnification power of the lens (telephoto)
Back Light
Lens Speed
Zooming In
Setting Levels
48. Lighting unit that is position 90
Boom Operator
Side Light
Cross Cutting
Blocking
49. 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.
Low-Key Lighting
Headshot/Bio
Ambient Sound
Camera Setup
50. 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.
Art Direction
Rendering
Headroom
Camera Setup