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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. 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.'
Three Pre-Visualization Tools
Reverberation
Master Shot
Pulling Focus
2. 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
Setting Levels
1/3 - 2/3 Rule
Fill Light
Boom Operator
3. 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.
Shooting (Lined) Script
Plot
Ambient Sound
Sound Recordist
4. 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.
Circle of Confusion
Zooming Out
Art Direction
Low-Key Lighting
5. Form used in film production to keep track of all the mise-en-sc
Depth of Field
Key Light
Automatic Dialogue Replacement
Script Breakdown Sheet
6. 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
Blocking
Assistant Camera
Boom Operator
Reverberation
7. 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.
Key Light
Direct Address
Low-Key Lighting
Cutaway Shot
8. 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
Props
Key Light
Audition
Narrative Films
9. Clearly shows both subjects in the scene and defines the spatial relationship of the two to each other and the space around them
Rendering
Master Shot
Nonlinear Editing System
Unmotivated Move
10. 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.'
Elliptical Editing
Shooting (Lined) Script
Reverberation
T-Stops
11. 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.
Boom Operator
Motivated Lighting
Reverse Shots
T-Stops
12. Changing the plane of critical focus during a take while the camera is running
Pulling Focus
Headroom
Circle of Confusion
1/3 - 2/3 Rule
13. Ensures visibility in all parts of your scene with overall bright and even illumination. Minimizes shadows - texture and dimensionality.
T-Stops
Wild Sound (Non-Sync Sound)
High-Key Lighting
Back Light
14. Primary source of illumination in your scene. Usually it is a motivated light source.
Key Light
Reverberation
Cutaway Shot
Depth of Field
15. Form used in film production to keep track of all the mise-en-sc
Combination Move
3/4 Back Light
Script Breakdown Sheet
Call Sheets
16. 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)
Reverse Shots
Ambient Sound
Nondestructive Editing
Shot Size
17. Lens that offers a continuous range of focal lengths in one lens housing
Zoom Lens (Variable Focal Length Lens)
Levels
Overheads
Reverse Shots
18. Soft light that fills in the shadows created by the Key Light
Audition
Fill Light
Blocking
Motivated Move
19. Lighting unit that is position 90
Peak Meter
Side Light
Author's Draft
Sound Recordist
20. 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.
Location Scouting
Rendering
'In the Mud'
Overheads
21. Shooting a scene from various angles
Coverage
Spike
Zooming Out
Storyboards
22. Deciding where you want to shoot (the look - the access - the logistics - the sound - and securing it)
Location Scouting
Parallel Action
Peak Meter
Nonlinear Editing System
23. Drawings of shots - arranged on paper in the order they appear in a sequence
1/3 - 2/3 Rule
Storyboards
Shot Size
Plot
24. Shooting a scene from various angles
Setting Levels
Call Sheets
Coverage
T-Stops
25. Organized process by which you schedule and work with a number of potential performers to determine their suitability to your film
Audition
Rule of Thirds
Nonlinear Editing System
Author's Draft
26. Controlling the strength of the signal
Cable Wrangler
Setting Levels
Nonlinear Editing System
Blocking
27. Legal document - signed before cameras roll - simply stating that the performer gives you the right to use his image and voice in your film
Cable Wrangler
Talent Release
Automatic Dialogue Replacement
Four Basic Properties of Sound
28. Primary source of illumination in your scene. Usually it is a motivated light source.
Protagonist
Key Light
Fill Light
Reverse Shots
29. Removing extraneous time and territory
Elliptical Editing
Script Breakdown Sheet
Zoom Lens (Variable Focal Length Lens)
Key Light
30. Measures the strength of the incoming signal.
Art Direction
Levels
Rendering
Peak Meter
31. The physical placement of the camera on the set necessary to get each shot in your shooting script
Treatment
Boom Operator
Rim Light
Camera Setup
32. Dramatic Structure Matches - Content and Activity Matches - Matched Action Cuts - Graphic Matches - and Sound Bridges
Fill Light
Master Shot
Camera Setup
Five Ways to Create a Parallel Action Sequence
33. Point to the original data without altering the media file
Key Light
Media File Indicators
Headshot/Bio
Nondestructive Editing
34. Reading from the script pages that actors are given minutes before the audition
Focus Puller
Assistant Camera
Cold Reading
Script Breakdown Sheet
35. Process of combining the video and audio with the applied effect to create a new media file
Reverse Shots
Depth of Field
Rendering
Rim Light
36. 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
Combination Move
Sound Recordist
Director of Photography
Circle of Confusion
37. Refers to the loudness of a signal as it enters the audio recorder which determines the strength of the recorded audio signal
Five Ways to Create a Parallel Action Sequence
Elliptical Editing
Master Shot
Levels
38. The recording of sync dialogue in a studio in cases where the production sound is not usable
Automatic Dialogue Replacement
Peak Meter
Fine Cut
Overheads
39. The range between -12dB and 0dB that gives a buffer for any unforeseen audio spikes
Headroom
Four Basic Elements in the Visual Language of Cinema
Assistant Camera
1/3 - 2/3 Rule
40. 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.
Cable Wrangler
Focus Puller
3/4 Back Light
Overheads
41. 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.
Four Basic Elements in the Visual Language of Cinema
Back Light
Reverberation
Blocking
42. Lens that has one fixed focal length for more precise manipulation of image quality
Prime Lens
Zoom Lens (Variable Focal Length Lens)
Circle of Confusion
Focus Puller
43. Transforming what is vague and internal into a series of viewable and audible actions and events
Treatment
Four Basic Properties of Sound
Green Room
Dramatization
44. 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
Nonlinear Editing System
Cutaway Shot
45. A shot in which the subject looks directly at the camera
Pick-Ups
Storyboards
Direct Address
Call Sheets
46. 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.
Art Direction
Coverage
Plot
Call Sheets
47. Transforming what is vague and internal into a series of viewable and audible actions and events
Dramatization
Cross Cutting
Peak Meter
Reverberation
48. Point to the original data without altering the media file
Overheads
Rendering
Media File Indicators
Director of Photography
49. 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
Script Breakdown Sheet
Parallel Action
Rule of Thirds
Gaffer
50. Shooting Script - Overheads - and Storyboards
Four Basic Properties of Sound
Dramatization
Rendering
Three Pre-Visualization Tools