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. Frequency - Amplitude - Timbre - and Velocity






2. 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






3. 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.






4. Recording is too low

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5. 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.'






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






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






8. Sound that includes both room acoustics and background noise






9. 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.






10. Recording is too low

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






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






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






14. 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.






15. Closely scrutinizing the location for its technical and aesthetic capabilities






16. Shot - Shot Sequence - Scene - and Dramatic Sequence






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






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






19. Executing more than one move at a time






20. 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)






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






22. The person who pulls focus






23. The range of apparent focus along the z-axis






24. Ensures visibility in all parts of your scene with overall bright and even illumination. Minimizes shadows - texture and dimensionality.






25. Removing extraneous time and territory






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






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






28. 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)






29. 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






30. 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)






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






32. 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






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






34. Removing extraneous time and territory






35. The order of events in your film






36. 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






37. 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.






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






39. Lens that offers a continuous range of focal lengths in one lens housing






40. List of all the shots that make up the film in the order in which they will be shot






41. Lighting unit that is 45






42. Controlling the strength of the signal






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






44. 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.






45. Closely scrutinizing the location for its technical and aesthetic capabilities






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






47. A shot of a detail within your scene other than the characters' faces






48. 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.






49. The movement of characters in the space






50. 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.