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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.
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2. 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
Cross Cutting
Storyboards
Unmotivated Move
Rule of Thirds
3. The range of apparent focus along the z-axis
Location Scouting
Four Basic Elements in the Visual Language of Cinema
Depth of Field
Pulling Focus
4. A type of location sound that isn't recorded simultaneously with the picture. Two types are Ambient Sound and Location Sound.
Nonlinear Editing System
Wild Sound (Non-Sync Sound)
Rendering
Combination Move
5. Frequency - Amplitude - Timbre - and Velocity
Sound Recordist
Reverse Shots
Four Basic Properties of Sound
Shot Size
6. Sound that includes both room acoustics and background noise
Nondestructive Editing
Protagonist
Peak Meter
Ambient Sound
7. All camera moves need to be...
Shooting (Lined) Script
Depth of Field
Motivated Move
Boom Operator
8. Dramatic Structure Matches - Content and Activity Matches - Matched Action Cuts - Graphic Matches - and Sound Bridges
Zooming Out
Five Ways to Create a Parallel Action Sequence
Reverse Shots
Author's Draft
9. 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.'
Cover-Set
Reverberation
Fine Cut
3/4 Back Light
10. Another name for backlight because of the effect it gives the actor
Rim Light
Headroom
Reverse Shots
Coverage
11. The subject of the story - the central character whom the audience will follow as they attempt to achieve their goal
Headroom
Direct Address
Blocking
Protagonist
12. Responsible for the proper use and actual placement of the microphones for optimal quality
Direct Address
High-Key Lighting
Boom Operator
Motivated Move
13. Lighting unit that is position 90
Headshot/Bio
Five Ways to Create a Parallel Action Sequence
Side Light
Camera Setup
14. 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.
Dramatization
Direct Address
1/3 - 2/3 Rule
Call Sheets
15. Lens that has one fixed focal length for more precise manipulation of image quality
Prime Lens
Cold Reading
Ambient Sound
Protagonist
16. Standard calling card. 8x10 photograph on one side and a resume on the other.
Green Room
Headshot/Bio
Master Shot
Sound Recordist
17. All camera moves need to be...
Blocking
Rim Light
Motivated Move
Reverberation
18. Reading from the script pages that actors are given minutes before the audition
Three Essential Elements of Drama
3/4 Back Light
'In the Mud'
Cold Reading
19. 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
Unmotivated Move
Nonlinear Editing System
Direct Address
Zooming In
20. Point to the original data without altering the media file
Media File Indicators
T-Stops
High-Key Lighting
Director of Photography
21. 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
Camera Setup
Rule of Thirds
Headshot/Bio
Camera Setup
22. Soft light that fills in the shadows created by the Key Light
Fill Light
Cable Wrangler
Wild Sound (Non-Sync Sound)
Props
23. To alternate between two or more scenes when editing a sequence
Protagonist
Cross Cutting
1/3 - 2/3 Rule
Green Room
24. Clearly shows both subjects in the scene and defines the spatial relationship of the two to each other and the space around them
Overheads
Master Shot
Author's Draft
Levels
25. Finessing all of the edits one-by-one
Fine Cut
Focus Puller
Green Room
Treatment
26. 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
Director of Photography
High-Key Lighting
Talent Release
Spike
27. 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
Location Technical Survey
Script Breakdown Sheet
Narrative Films
Nonlinear Editing System
28. 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
Media File Indicators
Assistant Camera
Cold Reading
3/4 Back Light
29. Refers to the loudness of a signal as it enters the audio recorder which determines the strength of the recorded audio signal
Motivated Move
Overheads
Levels
Depth of Field
30. Sets up cables - holds second boom when necessary - and wrangles the cables when the boom operator follows a moving shot
Treatment
Cable Wrangler
Wild Sound (Non-Sync Sound)
Director of Photography
31. 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.
Director of Photography
Spike
Lens Speed
Back Light
32. 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.
Fine Cut
Back Light
Zooming In
Parallel Action
33. The head of the sound department responsible for recording the best possible quality sound. Chooses the appropriate microphones and mic placement for each and every scene that requires sound. They also monitor and maintain proper recording levels.
Parallel Action
Sound Recordist
Unmotivated Move
Master Shot
34. Executing more than one move at a time
Combination Move
Motivated Lighting
Location Scouting
Ambient Sound
35. A type of location sound that isn't recorded simultaneously with the picture. Two types are Ambient Sound and Location Sound.
Cross Cutting
Wild Sound (Non-Sync Sound)
Direct Address
Spike
36. Executing more than one move at a time
Storyboards
Combination Move
Setting Levels
Prime Lens
37. Drawings of shots - arranged on paper in the order they appear in a sequence
High-Key Lighting
Storyboards
Treatment
Art Direction
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
1/3 - 2/3 Rule
Narrative Films
Nondestructive Editing
Parallel Action
39. The recording of sync dialogue in a studio in cases where the production sound is not usable
Elliptical Editing
Author's Draft
Automatic Dialogue Replacement
Levels
40. Refers to the size of your subject in the frame
Motivated Move
Prime Lens
Shot Size
Pulling Focus
41. Sound that includes both room acoustics and background noise
Talent Release
Ambient Sound
Zooming Out
Wild Sound (Non-Sync Sound)
42. Shots that don't require any actors to be present like landscapes - location-establishing shots - and shots of objects and cutaways
3/4 Back Light
Pick-Ups
Shot Size
Headshot/Bio
43. 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.
Storyboards
Three Pre-Visualization Tools
Reverse Shots
Props
44. Hands-on lighting person who implements the lighting designs of the Director of Photography. In charge of setup and proper functioning of the lights.
Assistant Camera
Coverage
Nondestructive Editing
Gaffer
45. Sets up cables - holds second boom when necessary - and wrangles the cables when the boom operator follows a moving shot
Director of Photography
Cross Cutting
Pick-Ups
Cable Wrangler
46. 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.
Spike
Fine Cut
Green Room
Four Basic Elements in the Visual Language of Cinema
47. The things that our characters actually handle in a scene
Props
Treatment
Script Breakdown Sheet
Back Light
48. Standard calling card. 8x10 photograph on one side and a resume on the other.
T-Stops
Five Ways to Create a Parallel Action Sequence
Master Shot
Headshot/Bio
49. Process of combining the video and audio with the applied effect to create a new media file
Reverse Shots
Rendering
Four Basic Properties of Sound
Pulling Focus
50. Adjusted to take into account the amount of light that is lost - dissipated - or absorbed by that particular lens
Side Light
T-Stops
High-Key Lighting
Shot Size