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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. 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
1/3 - 2/3 Rule
Four Basic Properties of Sound
Location Scouting
Art Direction
2. Sound that includes both room acoustics and background noise
Side Light
Prime Lens
Reverse Shots
Ambient Sound
3. All camera moves need to be...
Motivated Move
Wild Sound (Non-Sync Sound)
Cover-Set
Coverage
4. Form used in film production to keep track of all the mise-en-sc
3/4 Back Light
Nondestructive Editing
Script Breakdown Sheet
Spike
5. Shots that don't require any actors to be present like landscapes - location-establishing shots - and shots of objects and cutaways
Ambient Sound
Four Basic Properties of Sound
Motivated Lighting
Pick-Ups
6. Deciding where you want to shoot (the look - the access - the logistics - the sound - and securing it)
Zoom Lens (Variable Focal Length Lens)
Reverberation
Overheads
Location Scouting
7. 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.
Five Ways to Create a Parallel Action Sequence
Dramatization
Green Room
Overheads
8. 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.
Author's Draft
Sound Recordist
Low-Key Lighting
Cold Reading
9. Lighting unit that is position 90
Side Light
Depth of Field
Motivated Lighting
T-Stops
10. A shot of a detail within your scene other than the characters' faces
1/3 - 2/3 Rule
Overheads
Cutaway Shot
Headshot/Bio
11. 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.
Nonlinear Editing System
Shooting (Lined) Script
Boom Operator
Elliptical Editing
12. 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.
Reverberation
Location Technical Survey
Automatic Dialogue Replacement
Art Direction
13. The things that our characters actually handle in a scene
Low-Key Lighting
Props
Headroom
Depth of Field
14. Clearly shows both subjects in the scene and defines the spatial relationship of the two to each other and the space around them
Master Shot
Levels
Automatic Dialogue Replacement
Audition
15. 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
'In the Mud'
Assistant Camera
T-Stops
Cable Wrangler
16. Closely scrutinizing the location for its technical and aesthetic capabilities
1/3 - 2/3 Rule
Pick-Ups
Gaffer
Location Technical Survey
17. Controlling the strength of the signal
Side Light
Location Scouting
Setting Levels
Rendering
18. The things that our characters actually handle in a scene
Director of Photography
Props
Boom Operator
Script Breakdown Sheet
19. 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.
Green Room
Pick-Ups
Back Light
Rule of Thirds
20. The order of events in your film
Plot
Boom Operator
Cross Cutting
Cold Reading
21. Process of combining the video and audio with the applied effect to create a new media file
Rendering
1/3 - 2/3 Rule
Three Essential Elements of Drama
Five Ways to Create a Parallel Action Sequence
22. The subject of the story - the central character whom the audience will follow as they attempt to achieve their goal
Nondestructive Editing
Direct Address
Protagonist
Motivated Move
23. Adjusting the optical center away from the focal plane and therefore increasing the magnification power of the lens (telephoto)
Cross Cutting
Low-Key Lighting
Zooming In
Elliptical Editing
24. 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
Motivated Lighting
1/3 - 2/3 Rule
Green Room
Focus Puller
25. 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.
Unmotivated Move
Ambient Sound
Sound Recordist
Nondestructive Editing
26. Primary source of illumination in your scene. Usually it is a motivated light source.
Direct Address
Shot List
Setting Levels
Key Light
27. Ensures visibility in all parts of your scene with overall bright and even illumination. Minimizes shadows - texture and dimensionality.
Fill Light
High-Key Lighting
1/3 - 2/3 Rule
T-Stops
28. Shooting Script - Overheads - and Storyboards
Three Pre-Visualization Tools
Rim Light
Script Breakdown Sheet
T-Stops
29. Form used in film production to keep track of all the mise-en-sc
Lens Speed
Key Light
Call Sheets
Script Breakdown Sheet
30. List of all the shots that make up the film in the order in which they will be shot
Shot List
Four Basic Elements in the Visual Language of Cinema
Call Sheets
Nondestructive Editing
31. Removing extraneous time and territory
'In the Mud'
Green Room
Elliptical Editing
Fill Light
32. 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
Master Shot
Parallel Action
Headroom
Zoom Lens (Variable Focal Length Lens)
33. Organized process by which you schedule and work with a number of potential performers to determine their suitability to your film
Audition
Camera Setup
Motivated Lighting
Shooting (Lined) Script
34. Transforming what is vague and internal into a series of viewable and audible actions and events
Cover-Set
Protagonist
Zoom Lens (Variable Focal Length Lens)
Dramatization
35. The strategy of using movie lights to duplicate where light would logically be emanating from
Motivated Lighting
Zoom Lens (Variable Focal Length Lens)
Setting Levels
Rim Light
36. Ensures visibility in all parts of your scene with overall bright and even illumination. Minimizes shadows - texture and dimensionality.
Storyboards
High-Key Lighting
Motivated Move
Ambient Sound
37. The movement of characters in the space
Author's Draft
Blocking
Author's Draft
Three Pre-Visualization Tools
38. 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
Narrative Films
Focus Puller
Wild Sound (Non-Sync Sound)
Depth of Field
39. Lighting unit that is 45
Call Sheets
3/4 Back Light
Camera Setup
Four Basic Properties of Sound
40. Lens that has one fixed focal length for more precise manipulation of image quality
Rule of Thirds
Direct Address
Master Shot
Prime Lens
41. Dramatic Structure Matches - Content and Activity Matches - Matched Action Cuts - Graphic Matches - and Sound Bridges
Nonlinear Editing System
Five Ways to Create a Parallel Action Sequence
3/4 Back Light
Rendering
42. Legal document - signed before cameras roll - simply stating that the performer gives you the right to use his image and voice in your film
Talent Release
Low-Key Lighting
Fine Cut
Reverberation
43. This type of move breaks the promise of showing something else to the viewer
Parallel Action
Unmotivated Move
Four Basic Properties of Sound
Reverse Shots
44. To alternate between two or more scenes when editing a sequence
Talent Release
Direct Address
Cover-Set
Cross Cutting
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.
Low-Key Lighting
Ambient Sound
Call Sheets
Cold Reading
46. 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.
T-Stops
Peak Meter
Back Light
1/3 - 2/3 Rule
47. Finessing all of the edits one-by-one
Narrative Films
Fine Cut
Treatment
Prime Lens
48. Loud - sudden sound that exceeds 0dB
Motivated Move
Director of Photography
Spike
Dramatization
49. The person who pulls focus
Focus Puller
Cover-Set
Fill Light
Treatment
50. Recording is too low
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