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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. Lighting unit that is position 90






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






3. Shooting a scene from various angles






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






5. To alternate between two or more scenes when editing a sequence






6. The person who pulls focus






7. Frequency - Amplitude - Timbre - and Velocity






8. 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






9. 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.






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






11. 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)






12. Character - Goal - and Conflict or Obstacles






13. 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)






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






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






16. Refers to the size of your subject in the frame






17. 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.






18. 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






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






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






21. The things that our characters actually handle in a scene






22. Changing the plane of critical focus during a take while the camera is running






23. Sets up cables - holds second boom when necessary - and wrangles the cables when the boom operator follows a moving shot






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






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






26. 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






27. 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.






28. 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.'






29. 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.






30. Point to the original data without altering the media file






31. 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.






32. 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.






33. Reading from the script pages that actors are given minutes before the audition






34. A type of location sound that isn't recorded simultaneously with the picture. Two types are Ambient Sound and Location Sound.






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






36. Lighting unit that is 45






37. Loud - sudden sound that exceeds 0dB






38. Standard calling card. 8x10 photograph on one side and a resume on the other.






39. Ensures visibility in all parts of your scene with overall bright and even illumination. Minimizes shadows - texture and dimensionality.






40. Executing more than one move at a time






41. 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






42. 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.






43. Removing extraneous time and territory






44. The order of events in your film






45. Lighting unit that is position 90






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






47. 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.






48. 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)






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






50. Transforming what is vague and internal into a series of viewable and audible actions and events







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