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. 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.






2. 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)






3. Adjusting the optical center away from the focal plane and therefore increasing the magnification power of the lens (telephoto)






4. 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.






5. Ensures visibility in all parts of your scene with overall bright and even illumination. Minimizes shadows - texture and dimensionality.






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






7. Character - Goal - and Conflict or Obstacles






8. Organized process by which you schedule and work with a number of potential performers to determine their suitability to your film






9. 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.






10. Executing more than one move at a time






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.






12. 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.






13. Sound that includes both room acoustics and background noise






14. Changing the plane of critical focus during a take while the camera is running






15. Lighting unit that is 45






16. The person who pulls focus






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






18. 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.






19. List of all the shots that make up the film in the order in which they will be shot






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






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






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






23. The measurement of acceptable diameter which creates the appearance of focus






24. Lighting unit that is 45






25. 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.






26. Shots that don't require any actors to be present like landscapes - location-establishing shots - and shots of objects and cutaways






27. Hands-on lighting person who implements the lighting designs of the Director of Photography. In charge of setup and proper functioning of the lights.






28. The movement of characters in the space






29. 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






30. The range between -12dB and 0dB that gives a buffer for any unforeseen audio spikes






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






32. Adjusted to take into account the amount of light that is lost - dissipated - or absorbed by that particular lens






33. Loud - sudden sound that exceeds 0dB






34. The physical placement of the camera on the set necessary to get each shot in your shooting script






35. 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.'






36. 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)






37. The physical placement of the camera on the set necessary to get each shot in your shooting script






38. The subject of the story - the central character whom the audience will follow as they attempt to achieve their goal






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






40. Frequency - Amplitude - Timbre - and Velocity






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






42. Removing extraneous time and territory






43. The strategy of using movie lights to duplicate where light would logically be emanating from






44. Dramatic Structure Matches - Content and Activity Matches - Matched Action Cuts - Graphic Matches - and Sound Bridges






45. Adjusting the optical center away from the focal plane and therefore increasing the magnification power of the lens (telephoto)






46. Measures the strength of the incoming signal.






47. First complete version of the narrative in proper screenplay format

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48. 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)






49. The subject of the story - the central character whom the audience will follow as they attempt to achieve their goal






50. Responsible for the proper use and actual placement of the microphones for optimal quality