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






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






3. 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






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






5. The recording of sync dialogue in a studio in cases where the production sound is not usable






6. All camera moves need to be...






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






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






9. All camera moves need to be...






10. 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






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






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






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






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






15. Frequency - Amplitude - Timbre - and Velocity






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






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






18. Organized process by which you schedule and work with a number of potential performers to determine their suitability to your film






19. An interior scene that can be used in case your exterior shoot is cancelled because of bad weather






20. The movement of characters in the space






21. Drawings of shots - arranged on paper in the order they appear in a sequence






22. Organized process by which you schedule and work with a number of potential performers to determine their suitability to your film






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






24. 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.






25. 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.






26. Finessing all of the edits one-by-one






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






28. Clearly shows both subjects in the scene and defines the spatial relationship of the two to each other and the space around them






29. The person who pulls focus






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






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






32. Another name for backlight because of the effect it gives the actor






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






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






35. Executing more than one move at a time






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






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






38. 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






39. Shooting Script - Overheads - and Storyboards






40. 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






41. Recording is too low

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42. Process of combining the video and audio with the applied effect to create a new media file






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






44. Refers to the loudness of a signal as it enters the audio recorder which determines the strength of the recorded audio signal






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






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






47. Controlling the strength of the signal






48. Recording is too low

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49. 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.






50. 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.