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. Removing extraneous time and territory






2. 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






3. First complete version of the narrative in proper screenplay format

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






5. 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






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






7. A shot in which the subject looks directly at the camera






8. Primary source of illumination in your scene. Usually it is a motivated light source.






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






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






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






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






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






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






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






16. The physical placement of the camera on the set necessary to get each shot in your shooting script






17. Shot - Shot Sequence - Scene - and Dramatic Sequence






18. 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.






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






20. Controlling the strength of the signal






21. The person who pulls focus






22. Removing extraneous time and territory






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






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






25. 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






26. A shot of a detail within your scene other than the characters' faces






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






28. 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






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






30. 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






31. Recording is too low

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






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






34. 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






35. Frequency - Amplitude - Timbre - and Velocity






36. Executing more than one move at a time






37. Shooting a scene from various angles






38. 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)






39. A shot in which the subject looks directly at the camera






40. A shot of a detail within your scene other than the characters' faces






41. 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.






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






43. 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.






44. Soft light that fills in the shadows created by the Key Light






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






46. Primary source of illumination in your scene. Usually it is a motivated light source.






47. 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)






48. 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)






49. Lens that has one fixed focal length for more precise manipulation of image quality






50. Soft light that fills in the shadows created by the Key Light