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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. Loud - sudden sound that exceeds 0dB
Ambient Sound
Spike
Zoom Lens (Variable Focal Length Lens)
Call Sheets
2. The movement of characters in the space
Setting Levels
Script Breakdown Sheet
Blocking
Fine Cut
3. Lighting unit that is 45
3/4 Back Light
Depth of Field
Cross Cutting
Storyboards
4. 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
Assistant Camera
Nonlinear Editing System
Overheads
T-Stops
5. Character - Goal - and Conflict or Obstacles
Three Essential Elements of Drama
Circle of Confusion
Motivated Lighting
Pick-Ups
6. An interior scene that can be used in case your exterior shoot is cancelled because of bad weather
Cover-Set
Blocking
Combination Move
Coverage
7. A shot of a detail within your scene other than the characters' faces
Cutaway Shot
Nondestructive Editing
Circle of Confusion
Pulling Focus
8. 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)
Motivated Lighting
Lens Speed
Peak Meter
Peak Meter
9. To alternate between two or more scenes when editing a sequence
Nonlinear Editing System
Overheads
Combination Move
Cross Cutting
10. The person who pulls focus
Shot List
Parallel Action
1/3 - 2/3 Rule
Focus Puller
11. Character - Goal - and Conflict or Obstacles
Fine Cut
Talent Release
Three Essential Elements of Drama
Blocking
12. 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
Headroom
Levels
Art Direction
Nonlinear Editing System
13. Adjusted to take into account the amount of light that is lost - dissipated - or absorbed by that particular lens
Director of Photography
Zooming In
T-Stops
Headroom
14. Finessing all of the edits one-by-one
T-Stops
Automatic Dialogue Replacement
Unmotivated Move
Fine Cut
15. Changing the plane of critical focus during a take while the camera is running
Pulling Focus
Direct Address
Author's Draft
T-Stops
16. Executing more than one move at a time
Media File Indicators
Combination Move
Rule of Thirds
Zoom Lens (Variable Focal Length Lens)
17. Adjusting the optical center back toward the focal plane causing the image to become more wide-angle
Zooming Out
Motivated Move
Zoom Lens (Variable Focal Length Lens)
Location Scouting
18. Legal document - signed before cameras roll - simply stating that the performer gives you the right to use his image and voice in your film
Zooming Out
Talent Release
Audition
Nonlinear Editing System
19. Sound that includes both room acoustics and background noise
Art Direction
Levels
Ambient Sound
Depth of Field
20. Adjusted to take into account the amount of light that is lost - dissipated - or absorbed by that particular lens
Assistant Camera
Zooming In
Levels
T-Stops
21. The measurement of acceptable diameter which creates the appearance of focus
Four Basic Elements in the Visual Language of Cinema
Depth of Field
Circle of Confusion
Cutaway Shot
22. Adjusting the optical center away from the focal plane and therefore increasing the magnification power of the lens (telephoto)
Overheads
Zooming In
Headshot/Bio
Call Sheets
23. Lens that has one fixed focal length for more precise manipulation of image quality
Prime Lens
Pick-Ups
Shooting (Lined) Script
Cover-Set
24. The strategy of using movie lights to duplicate where light would logically be emanating from
Cutaway Shot
Motivated Lighting
Wild Sound (Non-Sync Sound)
Audition
25. Soft light that fills in the shadows created by the Key Light
Cross Cutting
Master Shot
Fill Light
Camera Setup
26. A type of location sound that isn't recorded simultaneously with the picture. Two types are Ambient Sound and Location Sound.
Rim Light
Gaffer
Four Basic Properties of Sound
Wild Sound (Non-Sync Sound)
27. Finessing all of the edits one-by-one
Fine Cut
Gaffer
Wild Sound (Non-Sync Sound)
Automatic Dialogue Replacement
28. The measurement of acceptable diameter which creates the appearance of focus
Rule of Thirds
Reverberation
Circle of Confusion
Direct Address
29. Sets up cables - holds second boom when necessary - and wrangles the cables when the boom operator follows a moving shot
Dramatization
Headroom
Cable Wrangler
Spike
30. The range of apparent focus along the z-axis
Low-Key Lighting
Depth of Field
Pick-Ups
Prime Lens
31. The range between -12dB and 0dB that gives a buffer for any unforeseen audio spikes
Back Light
'In the Mud'
Narrative Films
Headroom
32. 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.'
Reverberation
Four Basic Elements in the Visual Language of Cinema
Cable Wrangler
Ambient Sound
33. Shot - Shot Sequence - Scene - and Dramatic Sequence
Reverberation
Cross Cutting
Four Basic Properties of Sound
Four Basic Elements in the Visual Language of Cinema
34. First complete version of the narrative in proper screenplay format
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35. Dramatic Structure Matches - Content and Activity Matches - Matched Action Cuts - Graphic Matches - and Sound Bridges
Five Ways to Create a Parallel Action Sequence
Rule of Thirds
Direct Address
Headshot/Bio
36. Transforming what is vague and internal into a series of viewable and audible actions and events
Spike
Rendering
Dramatization
Side Light
37. The physical placement of the camera on the set necessary to get each shot in your shooting script
Reverse Shots
Script Breakdown Sheet
Camera Setup
High-Key Lighting
38. The order of events in your film
'In the Mud'
Fill Light
Media File Indicators
Plot
39. 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.
Overheads
Script Breakdown Sheet
Sound Recordist
Location Scouting
40. Soft light that fills in the shadows created by the Key Light
Prime Lens
Fill Light
Direct Address
Director of Photography
41. The strategy of using movie lights to duplicate where light would logically be emanating from
Location Scouting
Lens Speed
Motivated Lighting
Sound Recordist
42. 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.
Nonlinear Editing System
Green Room
Boom Operator
'In the Mud'
43. Lighting unit that is position 90
Side Light
Spike
Combination Move
Setting Levels
44. This type of move breaks the promise of showing something else to the viewer
Unmotivated Move
Treatment
Rim Light
Circle of Confusion
45. An interior scene that can be used in case your exterior shoot is cancelled because of bad weather
Talent Release
Motivated Move
Cover-Set
Plot
46. 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.
Cover-Set
Art Direction
Shot Size
Rim Light
47. List of all the shots that make up the film in the order in which they will be shot
Shot List
Rendering
Circle of Confusion
Boom Operator
48. The recording of sync dialogue in a studio in cases where the production sound is not usable
Automatic Dialogue Replacement
Storyboards
Zoom Lens (Variable Focal Length Lens)
Motivated Lighting
49. 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.
High-Key Lighting
Director of Photography
Call Sheets
Script Breakdown Sheet
50. Deciding where you want to shoot (the look - the access - the logistics - the sound - and securing it)
Master Shot
Overheads
Five Ways to Create a Parallel Action Sequence
Location Scouting