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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. Transforming what is vague and internal into a series of viewable and audible actions and events
Zoom Lens (Variable Focal Length Lens)
Dramatization
Fill Light
Fill Light
2. Sound that includes both room acoustics and background noise
Shooting (Lined) Script
Three Essential Elements of Drama
Prime Lens
Ambient Sound
3. To alternate between two or more scenes when editing a sequence
Plot
Three Pre-Visualization Tools
Cross Cutting
Pulling Focus
4. Sets up cables - holds second boom when necessary - and wrangles the cables when the boom operator follows a moving shot
Cable Wrangler
T-Stops
Assistant Camera
Circle of Confusion
5. Shots that don't require any actors to be present like landscapes - location-establishing shots - and shots of objects and cutaways
Pick-Ups
Peak Meter
Key Light
Rule of Thirds
6. 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.'
Four Basic Properties of Sound
Reverberation
Reverse Shots
Circle of Confusion
7. Lighting unit that is 45
3/4 Back Light
Combination Move
Circle of Confusion
Fine Cut
8. Finessing all of the edits one-by-one
High-Key Lighting
Fine Cut
Zoom Lens (Variable Focal Length Lens)
Low-Key Lighting
9. 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.
Spike
Blocking
Art Direction
Rendering
10. Hands-on lighting person who implements the lighting designs of the Director of Photography. In charge of setup and proper functioning of the lights.
Spike
Gaffer
Zoom Lens (Variable Focal Length Lens)
Key Light
11. The measurement of acceptable diameter which creates the appearance of focus
T-Stops
Rendering
Circle of Confusion
Cutaway Shot
12. Character - Goal - and Conflict or Obstacles
High-Key Lighting
Side Light
3/4 Back Light
Three Essential Elements of Drama
13. A shot of a detail within your scene other than the characters' faces
Prime Lens
Cutaway Shot
Unmotivated Move
Director of Photography
14. The physical placement of the camera on the set necessary to get each shot in your shooting script
Depth of Field
Author's Draft
Setting Levels
Camera Setup
15. Form used in film production to keep track of all the mise-en-sc
Back Light
Script Breakdown Sheet
Ambient Sound
Zoom Lens (Variable Focal Length Lens)
16. Dramatic Structure Matches - Content and Activity Matches - Matched Action Cuts - Graphic Matches - and Sound Bridges
Five Ways to Create a Parallel Action Sequence
Motivated Move
Automatic Dialogue Replacement
Talent Release
17. Character - Goal - and Conflict or Obstacles
Prime Lens
Sound Recordist
1/3 - 2/3 Rule
Three Essential Elements of Drama
18. Executing more than one move at a time
Audition
Combination Move
Green Room
Five Ways to Create a Parallel Action Sequence
19. First complete version of the narrative in proper screenplay format
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20. 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.
High-Key Lighting
Overheads
Dramatization
Props
21. 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.
Depth of Field
Spike
Cover-Set
Call Sheets
22. Measures the strength of the incoming signal.
Pick-Ups
Audition
Focus Puller
Peak Meter
23. An interior scene that can be used in case your exterior shoot is cancelled because of bad weather
Cold Reading
Media File Indicators
Parallel Action
Cover-Set
24. 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)
Four Basic Properties of Sound
Shooting (Lined) Script
Location Technical Survey
Nondestructive Editing
25. Frequency - Amplitude - Timbre - and Velocity
Master Shot
Four Basic Properties of Sound
Levels
Protagonist
26. Adjusting the optical center back toward the focal plane causing the image to become more wide-angle
Talent Release
Lens Speed
Depth of Field
Zooming Out
27. This type of move breaks the promise of showing something else to the viewer
Gaffer
Back Light
Unmotivated Move
Props
28. Legal document - signed before cameras roll - simply stating that the performer gives you the right to use his image and voice in your film
Zooming In
Unmotivated Move
Nonlinear Editing System
Talent Release
29. Reading from the script pages that actors are given minutes before the audition
Cold Reading
Talent Release
Peak Meter
Direct Address
30. Sound that includes both room acoustics and background noise
Boom Operator
Ambient Sound
Cutaway Shot
Script Breakdown Sheet
31. Clearly shows both subjects in the scene and defines the spatial relationship of the two to each other and the space around them
Boom Operator
Master Shot
Zoom Lens (Variable Focal Length Lens)
Four Basic Elements in the Visual Language of Cinema
32. Transforming what is vague and internal into a series of viewable and audible actions and events
1/3 - 2/3 Rule
Plot
Wild Sound (Non-Sync Sound)
Dramatization
33. 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.
Director of Photography
Low-Key Lighting
Reverse Shots
Headroom
34. Recording is too low
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35. Removing extraneous time and territory
Elliptical Editing
Three Pre-Visualization Tools
Side Light
Low-Key Lighting
36. 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
Setting Levels
Three Pre-Visualization Tools
Narrative Films
Rendering
37. 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)
Location Scouting
Pick-Ups
Lens Speed
Ambient Sound
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
Fine Cut
Audition
Parallel Action
Combination Move
39. Measures the strength of the incoming signal.
1/3 - 2/3 Rule
Five Ways to Create a Parallel Action Sequence
1/3 - 2/3 Rule
Peak Meter
40. Adjusted to take into account the amount of light that is lost - dissipated - or absorbed by that particular lens
Call Sheets
Treatment
Key Light
T-Stops
41. Adjusted to take into account the amount of light that is lost - dissipated - or absorbed by that particular lens
Prime Lens
Rendering
Rim Light
T-Stops
42. 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.
Author's Draft
Back Light
Prime Lens
Spike
43. Works closely with the director on the visual interprataino of the script and the photographic look of the movie (cinematography). This involves lighting - film stocks - video format - expressive camera angles - compositions - exposures - and f
Shot Size
Media File Indicators
Director of Photography
Five Ways to Create a Parallel Action Sequence
44. The range between -12dB and 0dB that gives a buffer for any unforeseen audio spikes
Headroom
Unmotivated Move
Key Light
Location Scouting
45. 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.
Combination Move
Shooting (Lined) Script
Rule of Thirds
Script Breakdown Sheet
46. Clearly shows both subjects in the scene and defines the spatial relationship of the two to each other and the space around them
Key Light
Camera Setup
Master Shot
Treatment
47. Simple but comprehensive prose description of a film's plot
Props
Treatment
Focus Puller
Cable Wrangler
48. Refers to the size of your subject in the frame
Cutaway Shot
Cable Wrangler
Shot Size
Director of Photography
49. Another name for backlight because of the effect it gives the actor
Rendering
Treatment
Wild Sound (Non-Sync Sound)
Rim Light
50. 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.
Motivated Move
Reverse Shots
Rendering
Author's Draft