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. 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)






2. Sound that includes both room acoustics and background noise






3. Drawings of shots - arranged on paper in the order they appear in a sequence






4. Executing more than one move at a time






5. 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






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






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






8. 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.






9. Drawings of shots - arranged on paper in the order they appear in a sequence






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






11. Executing more than one move at a time






12. 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.






13. Frequency - Amplitude - Timbre - and Velocity






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. Sets up cables - holds second boom when necessary - and wrangles the cables when the boom operator follows a moving shot






16. Shooting Script - Overheads - and Storyboards






17. Measures the strength of the incoming signal.






18. 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






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






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






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






22. Sound that includes both room acoustics and background noise






23. 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






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






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






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






27. 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.






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






29. This type of move breaks the promise of showing something else to the viewer






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






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






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






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






34. Lighting unit that is 45






35. 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.






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






37. Adjusting the optical center back toward the focal plane causing the image to become more wide-angle






38. The movement of characters in the space






39. Lighting unit that is position 90






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






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






42. A type of location sound that isn't recorded simultaneously with the picture. Two types are Ambient Sound and Location Sound.






43. 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






44. Adjusting the optical center back toward the focal plane causing the image to become more wide-angle






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






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






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






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






49. 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)






50. The person who pulls focus