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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. Shooting a scene from various angles






2. Shooting a scene from various angles






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






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






5. The movement of characters in the space






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






7. 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.






8. 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)






9. 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






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






11. 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.






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






13. 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






14. The person who pulls focus






15. Recording is too low

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






17. Form used in film production to keep track of all the mise-en-sc






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






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






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






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






22. Lighting unit that is position 90






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.






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






25. 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






26. 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.






27. 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.






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






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






30. Executing more than one move at a time






31. 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.






32. 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.






33. Executing more than one move at a time






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






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






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






37. Removing extraneous time and territory






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






39. Simple but comprehensive prose description of a film's plot






40. Transforming what is vague and internal into a series of viewable and audible actions and events






41. Shooting Script - Overheads - and Storyboards






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






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






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






45. 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.






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






47. The range between -12dB and 0dB that gives a buffer for any unforeseen audio spikes






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






49. 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.






50. 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)







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