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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. The things that our characters actually handle in a scene
Boom Operator
1/3 - 2/3 Rule
Props
Call Sheets
2. Another name for backlight because of the effect it gives the actor
Side Light
Rim Light
3/4 Back Light
Fine Cut
3. 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.'
Call Sheets
Nondestructive Editing
Reverberation
Location Scouting
4. The range of apparent focus along the z-axis
Fill Light
Blocking
Nonlinear Editing System
Depth of Field
5. 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.
Cross Cutting
Shooting (Lined) Script
Spike
T-Stops
6. Closely scrutinizing the location for its technical and aesthetic capabilities
Location Technical Survey
Prime Lens
Director of Photography
Wild Sound (Non-Sync Sound)
7. Refers to the loudness of a signal as it enters the audio recorder which determines the strength of the recorded audio signal
Automatic Dialogue Replacement
Levels
Lens Speed
Narrative Films
8. The person who pulls focus
Fine Cut
Cold Reading
Focus Puller
Storyboards
9. Shot - Shot Sequence - Scene - and Dramatic Sequence
Blocking
Parallel Action
Zooming In
Four Basic Elements in the Visual Language of Cinema
10. Lens that has one fixed focal length for more precise manipulation of image quality
Prime Lens
Depth of Field
Wild Sound (Non-Sync Sound)
Elliptical Editing
11. Dramatic Structure Matches - Content and Activity Matches - Matched Action Cuts - Graphic Matches - and Sound Bridges
Camera Setup
Five Ways to Create a Parallel Action Sequence
Rendering
Gaffer
12. 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
Ambient Sound
Rule of Thirds
Parallel Action
Shooting (Lined) Script
13. Legal document - signed before cameras roll - simply stating that the performer gives you the right to use his image and voice in your film
Overheads
Talent Release
Reverse Shots
Blocking
14. Adjusting the optical center back toward the focal plane causing the image to become more wide-angle
Low-Key Lighting
Zooming Out
Zoom Lens (Variable Focal Length Lens)
Rim Light
15. Recording is too low
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16. List of all the shots that make up the film in the order in which they will be shot
Headroom
Shot List
Audition
Motivated Lighting
17. Controlling the strength of the signal
Assistant Camera
Overheads
Narrative Films
Setting Levels
18. The subject of the story - the central character whom the audience will follow as they attempt to achieve their goal
Rule of Thirds
Nondestructive Editing
Protagonist
Back Light
19. 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
Shot List
Author's Draft
Reverberation
20. The subject of the story - the central character whom the audience will follow as they attempt to achieve their goal
Location Scouting
Protagonist
Props
Cross Cutting
21. 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 Scouting
Lens Speed
Script Breakdown Sheet
Narrative Films
22. The range of apparent focus along the z-axis
Cross Cutting
Rendering
Depth of Field
Storyboards
23. Measures the strength of the incoming signal.
Five Ways to Create a Parallel Action Sequence
Side Light
Low-Key Lighting
Peak Meter
24. Adjusting the optical center away from the focal plane and therefore increasing the magnification power of the lens (telephoto)
Zooming In
Green Room
Shooting (Lined) Script
Zooming Out
25. 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.'
Circle of Confusion
Cold Reading
Focus Puller
Reverberation
26. A type of location sound that isn't recorded simultaneously with the picture. Two types are Ambient Sound and Location Sound.
Four Basic Elements in the Visual Language of Cinema
Wild Sound (Non-Sync Sound)
Art Direction
Rim Light
27. Reading from the script pages that actors are given minutes before the audition
Location Technical Survey
Call Sheets
Camera Setup
Cold Reading
28. Dramatic Structure Matches - Content and Activity Matches - Matched Action Cuts - Graphic Matches - and Sound Bridges
Five Ways to Create a Parallel Action Sequence
Wild Sound (Non-Sync Sound)
Setting Levels
Sound Recordist
29. Adjusted to take into account the amount of light that is lost - dissipated - or absorbed by that particular lens
T-Stops
Peak Meter
Elliptical Editing
Media File Indicators
30. This type of move breaks the promise of showing something else to the viewer
Wild Sound (Non-Sync Sound)
Unmotivated Move
Dramatization
Prime Lens
31. Another name for backlight because of the effect it gives the actor
Boom Operator
Setting Levels
Ambient Sound
Rim Light
32. The measurement of acceptable diameter which creates the appearance of focus
Cover-Set
Gaffer
Circle of Confusion
Three Pre-Visualization Tools
33. 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
Fill Light
Focus Puller
Rule of Thirds
Narrative Films
34. 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
Setting Levels
Low-Key Lighting
Parallel Action
Zooming Out
35. 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)
Cold Reading
Lens Speed
Prime Lens
Cable Wrangler
36. Simple but comprehensive prose description of a film's plot
Dramatization
Treatment
Shooting (Lined) Script
Four Basic Elements in the Visual Language of Cinema
37. 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.
Low-Key Lighting
Blocking
Prime Lens
Script Breakdown Sheet
38. Frequency - Amplitude - Timbre - and Velocity
Audition
Cross Cutting
Combination Move
Four Basic Properties of Sound
39. A shot in which the subject looks directly at the camera
Cover-Set
Three Pre-Visualization Tools
Elliptical Editing
Direct Address
40. Organized process by which you schedule and work with a number of potential performers to determine their suitability to your film
Assistant Camera
Automatic Dialogue Replacement
Green Room
Audition
41. Ensures visibility in all parts of your scene with overall bright and even illumination. Minimizes shadows - texture and dimensionality.
Coverage
Combination Move
Nonlinear Editing System
High-Key Lighting
42. 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
Call Sheets
Cover-Set
Zoom Lens (Variable Focal Length Lens)
Parallel Action
43. 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.
Cutaway Shot
Location Scouting
Back Light
Protagonist
44. Lighting unit that is position 90
Cross Cutting
Side Light
Author's Draft
Pick-Ups
45. This type of move breaks the promise of showing something else to the viewer
Motivated Lighting
Unmotivated Move
Five Ways to Create a Parallel Action Sequence
1/3 - 2/3 Rule
46. 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)
Lens Speed
Storyboards
Five Ways to Create a Parallel Action Sequence
Motivated Lighting
47. Sets up cables - holds second boom when necessary - and wrangles the cables when the boom operator follows a moving shot
Cable Wrangler
Director of Photography
Location Technical Survey
1/3 - 2/3 Rule
48. The physical placement of the camera on the set necessary to get each shot in your shooting script
Wild Sound (Non-Sync Sound)
Camera Setup
Cutaway Shot
Location Scouting
49. 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
Focus Puller
Peak Meter
Director of Photography
Pick-Ups
50. The order of events in your film
Plot
Combination Move
Spike
Director of Photography