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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. Adjusting the optical center back toward the focal plane causing the image to become more wide-angle
Rendering
Three Pre-Visualization Tools
Camera Setup
Zooming Out
2. The person who pulls focus
Master Shot
Director of Photography
Cross Cutting
Focus Puller
3. 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
Three Essential Elements of Drama
Coverage
Reverberation
Parallel Action
4. This type of move breaks the promise of showing something else to the viewer
Unmotivated Move
Fill Light
Nondestructive Editing
Rendering
5. Lens that has one fixed focal length for more precise manipulation of image quality
Audition
Reverse Shots
Protagonist
Prime Lens
6. Character - Goal - and Conflict or Obstacles
Three Essential Elements of Drama
Pulling Focus
Reverse Shots
Treatment
7. 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.
Shot List
Reverberation
Treatment
Shooting (Lined) Script
8. The range between -12dB and 0dB that gives a buffer for any unforeseen audio spikes
1/3 - 2/3 Rule
Shot Size
Depth of Field
Headroom
9. The strategy of using movie lights to duplicate where light would logically be emanating from
Rim Light
Reverse Shots
Shot Size
Motivated Lighting
10. Sets up cables - holds second boom when necessary - and wrangles the cables when the boom operator follows a moving shot
Levels
Setting Levels
Headshot/Bio
Cable Wrangler
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)
Nondestructive Editing
Peak Meter
Camera Setup
Key Light
12. Simple but comprehensive prose description of a film's plot
Four Basic Properties of Sound
Treatment
Fill Light
Zoom Lens (Variable Focal Length Lens)
13. 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
1/3 - 2/3 Rule
Talent Release
Cross Cutting
Parallel Action
14. 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
Four Basic Elements in the Visual Language of Cinema
Fill Light
Combination Move
Assistant Camera
15. 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.
Side Light
Prime Lens
Motivated Move
Overheads
16. 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.
Blocking
Unmotivated Move
Art Direction
Zoom Lens (Variable Focal Length Lens)
17. Shots that don't require any actors to be present like landscapes - location-establishing shots - and shots of objects and cutaways
Shot List
Call Sheets
Pick-Ups
Side Light
18. All camera moves need to be...
Zooming Out
Plot
Motivated Move
Cover-Set
19. To alternate between two or more scenes when editing a sequence
Five Ways to Create a Parallel Action Sequence
1/3 - 2/3 Rule
Blocking
Cross Cutting
20. Another name for backlight because of the effect it gives the actor
Wild Sound (Non-Sync Sound)
Motivated Lighting
Rim Light
Treatment
21. Form used in film production to keep track of all the mise-en-sc
Script Breakdown Sheet
Nonlinear Editing System
Combination Move
Sound Recordist
22. 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
Reverse Shots
Ambient Sound
Art Direction
23. 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.
Treatment
Low-Key Lighting
Zooming Out
Rendering
24. Transforming what is vague and internal into a series of viewable and audible actions and events
Ambient Sound
Pick-Ups
Treatment
Dramatization
25. Refers to the loudness of a signal as it enters the audio recorder which determines the strength of the recorded audio signal
Reverberation
Gaffer
Depth of Field
Levels
26. Recording is too low
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27. Responsible for the proper use and actual placement of the microphones for optimal quality
Boom Operator
Low-Key Lighting
Five Ways to Create a Parallel Action Sequence
Reverberation
28. Responsible for the proper use and actual placement of the microphones for optimal quality
Boom Operator
Green Room
3/4 Back Light
Cross Cutting
29. 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
Blocking
Cover-Set
Pick-Ups
30. Refers to the size of your subject in the frame
Peak Meter
Shot Size
Back Light
Cross Cutting
31. 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)
Cross Cutting
Shooting (Lined) Script
Lens Speed
Unmotivated Move
32. Measures the strength of the incoming signal.
1/3 - 2/3 Rule
Cable Wrangler
1/3 - 2/3 Rule
Peak Meter
33. Shooting a scene from various angles
Coverage
Side Light
1/3 - 2/3 Rule
Nonlinear Editing System
34. Drawings of shots - arranged on paper in the order they appear in a sequence
Fill Light
Storyboards
Rendering
Assistant Camera
35. Sound that includes both room acoustics and background noise
Side Light
Ambient Sound
Rule of Thirds
Boom Operator
36. Point to the original data without altering the media file
Gaffer
Zooming In
Media File Indicators
Three Pre-Visualization Tools
37. 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
T-Stops
Three Pre-Visualization Tools
Depth of Field
1/3 - 2/3 Rule
38. Lens that offers a continuous range of focal lengths in one lens housing
Setting Levels
Boom Operator
Call Sheets
Zoom Lens (Variable Focal Length Lens)
39. The person who pulls focus
Three Essential Elements of Drama
Focus Puller
Reverberation
Fine Cut
40. The measurement of acceptable diameter which creates the appearance of focus
Zooming Out
Circle of Confusion
Four Basic Elements in the Visual Language of Cinema
Direct Address
41. 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.
Zooming In
High-Key Lighting
Location Scouting
Overheads
42. Removing extraneous time and territory
Camera Setup
Elliptical Editing
Rule of Thirds
Coverage
43. Ensures visibility in all parts of your scene with overall bright and even illumination. Minimizes shadows - texture and dimensionality.
High-Key Lighting
T-Stops
Rule of Thirds
Master Shot
44. Finessing all of the edits one-by-one
Fine Cut
Back Light
Shot Size
'In the Mud'
45. Changing the plane of critical focus during a take while the camera is running
Narrative Films
Author's Draft
Shooting (Lined) Script
Pulling Focus
46. Loud - sudden sound that exceeds 0dB
Prime Lens
Spike
Storyboards
Automatic Dialogue Replacement
47. 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
Rule of Thirds
Prime Lens
Elliptical Editing
Four Basic Elements in the Visual Language of Cinema
48. Another name for backlight because of the effect it gives the actor
Rim Light
Master Shot
Combination Move
Motivated Move
49. This type of move breaks the promise of showing something else to the viewer
Unmotivated Move
Motivated Lighting
Rule of Thirds
1/3 - 2/3 Rule
50. Deciding where you want to shoot (the look - the access - the logistics - the sound - and securing it)
Four Basic Elements in the Visual Language of Cinema
Three Pre-Visualization Tools
Location Scouting
Rim Light