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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. 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
Fine Cut
Four Basic Properties of Sound
Props
2. A type of location sound that isn't recorded simultaneously with the picture. Two types are Ambient Sound and Location Sound.
Low-Key Lighting
Wild Sound (Non-Sync Sound)
Coverage
High-Key Lighting
3. Sets up cables - holds second boom when necessary - and wrangles the cables when the boom operator follows a moving shot
Focus Puller
Rule of Thirds
Cable Wrangler
1/3 - 2/3 Rule
4. Primary source of illumination in your scene. Usually it is a motivated light source.
Key Light
Levels
Shot List
Props
5. Adjusting the optical center away from the focal plane and therefore increasing the magnification power of the lens (telephoto)
Zooming In
Headshot/Bio
Pulling Focus
Coverage
6. Clearly shows both subjects in the scene and defines the spatial relationship of the two to each other and the space around them
Master Shot
Narrative Films
Shot List
Script Breakdown Sheet
7. Lighting unit that is position 90
Zoom Lens (Variable Focal Length Lens)
Coverage
Side Light
Shot Size
8. Shooting Script - Overheads - and Storyboards
Motivated Move
Five Ways to Create a Parallel Action Sequence
Three Pre-Visualization Tools
Protagonist
9. Two-thirds of the depth range along the z-axis is behind the focus point and one-third is in front of the focus point
1/3 - 2/3 Rule
Cold Reading
3/4 Back Light
Combination Move
10. Shooting Script - Overheads - and Storyboards
Setting Levels
'In the Mud'
Three Pre-Visualization Tools
Key Light
11. Point to the original data without altering the media file
Reverse Shots
Prime Lens
Direct Address
Media File Indicators
12. The subject of the story - the central character whom the audience will follow as they attempt to achieve their goal
Peak Meter
Protagonist
'In the Mud'
Treatment
13. 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.
Assistant Camera
Lens Speed
Back Light
High-Key Lighting
14. The range of apparent focus along the z-axis
Media File Indicators
Director of Photography
Depth of Field
Script Breakdown Sheet
15. A shot in which the subject looks directly at the camera
Levels
Rim Light
Direct Address
Headroom
16. Process of combining the video and audio with the applied effect to create a new media file
Reverse Shots
Depth of Field
Rendering
Boom Operator
17. Sets up cables - holds second boom when necessary - and wrangles the cables when the boom operator follows a moving shot
Rim Light
Cable Wrangler
Location Scouting
Media File Indicators
18. 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.
Props
Sound Recordist
3/4 Back Light
Pulling Focus
19. The strategy of using movie lights to duplicate where light would logically be emanating from
Shot List
Motivated Lighting
Ambient Sound
Fill Light
20. 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
Storyboards
Nonlinear Editing System
Depth of Field
Sound Recordist
21. Adjusting the optical center back toward the focal plane causing the image to become more wide-angle
Master Shot
Overheads
Zooming Out
Prime Lens
22. This type of move breaks the promise of showing something else to the viewer
Focus Puller
Pick-Ups
Key Light
Unmotivated Move
23. Frequency - Amplitude - Timbre - and Velocity
Director of Photography
Location Technical Survey
Lens Speed
Four Basic Properties of Sound
24. Loud - sudden sound that exceeds 0dB
Unmotivated Move
Back Light
Media File Indicators
Spike
25. Adjusting the optical center back toward the focal plane causing the image to become more wide-angle
Script Breakdown Sheet
Four Basic Properties of Sound
Zooming Out
Motivated Move
26. Removing extraneous time and territory
Prime Lens
Elliptical Editing
Rendering
'In the Mud'
27. 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.
Overheads
Boom Operator
Cable Wrangler
Green Room
28. Organized process by which you schedule and work with a number of potential performers to determine their suitability to your film
Cross Cutting
Audition
Levels
Green Room
29. Lighting unit that is position 90
Setting Levels
Direct Address
Shot Size
Side Light
30. Loud - sudden sound that exceeds 0dB
Side Light
Director of Photography
Spike
Four Basic Elements in the Visual Language of Cinema
31. A shot in which the subject looks directly at the camera
Camera Setup
Talent Release
Shot Size
Direct Address
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.
Call Sheets
Four Basic Elements in the Visual Language of Cinema
Master Shot
Sound Recordist
33. Reading from the script pages that actors are given minutes before the audition
Location Technical Survey
Cold Reading
Dramatization
Levels
34. Recording is too low
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35. 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.
3/4 Back Light
Shooting (Lined) Script
Plot
Low-Key Lighting
36. Soft light that fills in the shadows created by the Key Light
Fill Light
Cutaway Shot
Pick-Ups
Audition
37. Measures the strength of the incoming signal.
Peak Meter
Camera Setup
Motivated Lighting
Ambient Sound
38. The strategy of using movie lights to duplicate where light would logically be emanating from
Location Scouting
Motivated Lighting
Camera Setup
Fill Light
39. This type of move breaks the promise of showing something else to the viewer
Sound Recordist
Unmotivated Move
Rim Light
Gaffer
40. Deciding where you want to shoot (the look - the access - the logistics - the sound - and securing it)
Media File Indicators
Plot
Location Scouting
Director of Photography
41. The range of apparent focus along the z-axis
Zooming Out
Depth of Field
Three Essential Elements of Drama
Pulling Focus
42. 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)
Coverage
Nondestructive Editing
Direct Address
Blocking
43. The person who pulls focus
Art Direction
Focus Puller
Depth of Field
Plot
44. 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
Motivated Move
Combination Move
Script Breakdown Sheet
45. An interior scene that can be used in case your exterior shoot is cancelled because of bad weather
Protagonist
'In the Mud'
Green Room
Cover-Set
46. Removing extraneous time and territory
Elliptical Editing
Fine Cut
Narrative Films
Plot
47. Responsible for the proper use and actual placement of the microphones for optimal quality
Nondestructive Editing
Green Room
Peak Meter
Boom Operator
48. To alternate between two or more scenes when editing a sequence
Back Light
1/3 - 2/3 Rule
Cross Cutting
Shot Size
49. Measures the strength of the incoming signal.
Unmotivated Move
Cross Cutting
Shot List
Peak Meter
50. Refers to the size of your subject in the frame
Zooming In
Circle of Confusion
Talent Release
Shot Size