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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. Shooting a scene from various angles
Storyboards
Narrative Films
Location Technical Survey
Coverage
2. Shooting a scene from various angles
Coverage
Location Scouting
Depth of Field
Reverse Shots
3. Reading from the script pages that actors are given minutes before the audition
Shot List
Master Shot
Rule of Thirds
Cold Reading
4. Shots that don't require any actors to be present like landscapes - location-establishing shots - and shots of objects and cutaways
Pick-Ups
Key Light
Cable Wrangler
Back Light
5. The movement of characters in the space
Nondestructive Editing
Headshot/Bio
Blocking
Storyboards
6. The recording of sync dialogue in a studio in cases where the production sound is not usable
Zoom Lens (Variable Focal Length Lens)
Motivated Lighting
Automatic Dialogue Replacement
Pulling Focus
7. 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.
Rim Light
Cover-Set
Overheads
Spike
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)
Pick-Ups
Lens Speed
Side Light
Boom Operator
9. 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
Narrative Films
1/3 - 2/3 Rule
Cover-Set
Lens Speed
10. Changing the plane of critical focus during a take while the camera is running
Overheads
Master Shot
Pulling Focus
Protagonist
11. 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.
Cover-Set
Reverse Shots
Back Light
Reverberation
12. Dramatic Structure Matches - Content and Activity Matches - Matched Action Cuts - Graphic Matches - and Sound Bridges
Five Ways to Create a Parallel Action Sequence
Reverse Shots
Three Essential Elements of Drama
Rule of Thirds
13. 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
Director of Photography
Shot List
Circle of Confusion
Shot Size
14. The person who pulls focus
Boom Operator
Art Direction
Dramatization
Focus Puller
15. Recording is too low
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16. Another name for backlight because of the effect it gives the actor
Fine Cut
Rim Light
Cutaway Shot
High-Key Lighting
17. Form used in film production to keep track of all the mise-en-sc
Script Breakdown Sheet
Automatic Dialogue Replacement
Spike
Three Essential Elements of Drama
18. Refers to the size of your subject in the frame
Audition
Cross Cutting
Shot Size
High-Key Lighting
19. The things that our characters actually handle in a scene
Three Pre-Visualization Tools
Props
Headroom
High-Key Lighting
20. Adjusted to take into account the amount of light that is lost - dissipated - or absorbed by that particular lens
Focus Puller
Blocking
Media File Indicators
T-Stops
21. 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
Setting Levels
Circle of Confusion
Sound Recordist
Rule of Thirds
22. Lighting unit that is position 90
Nondestructive Editing
Side Light
Cable Wrangler
3/4 Back Light
23. 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.
'In the Mud'
Shot List
Low-Key Lighting
Headroom
24. Process of combining the video and audio with the applied effect to create a new media file
'In the Mud'
Overheads
Blocking
Rendering
25. 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
Motivated Lighting
Assistant Camera
Peak Meter
Ambient Sound
26. 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.
Camera Setup
Motivated Lighting
Reverse Shots
Assistant Camera
27. 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.
Five Ways to Create a Parallel Action Sequence
Nondestructive Editing
Shooting (Lined) Script
Treatment
28. Soft light that fills in the shadows created by the Key Light
Headshot/Bio
Three Pre-Visualization Tools
Cover-Set
Fill Light
29. A shot in which the subject looks directly at the camera
Fill Light
Side Light
Direct Address
Location Technical Survey
30. Executing more than one move at a time
Setting Levels
Four Basic Elements in the Visual Language of Cinema
Combination Move
Boom Operator
31. 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.
Cross Cutting
Wild Sound (Non-Sync Sound)
Script Breakdown Sheet
Art Direction
32. 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.
Blocking
Motivated Move
Sound Recordist
Side Light
33. Executing more than one move at a time
Combination Move
Motivated Lighting
Nondestructive Editing
Focus Puller
34. Point to the original data without altering the media file
Circle of Confusion
Headshot/Bio
Media File Indicators
Location Scouting
35. Standard calling card. 8x10 photograph on one side and a resume on the other.
'In the Mud'
Dramatization
Shooting (Lined) Script
Headshot/Bio
36. Adjusting the optical center away from the focal plane and therefore increasing the magnification power of the lens (telephoto)
'In the Mud'
Direct Address
Talent Release
Zooming In
37. Removing extraneous time and territory
1/3 - 2/3 Rule
Elliptical Editing
Pulling Focus
Three Essential Elements of Drama
38. Deciding where you want to shoot (the look - the access - the logistics - the sound - and securing it)
Four Basic Elements in the Visual Language of Cinema
Location Scouting
Ambient Sound
Call Sheets
39. Simple but comprehensive prose description of a film's plot
Treatment
Headshot/Bio
Key Light
Plot
40. Transforming what is vague and internal into a series of viewable and audible actions and events
Master Shot
Media File Indicators
Low-Key Lighting
Dramatization
41. Shooting Script - Overheads - and Storyboards
Key Light
'In the Mud'
Three Pre-Visualization Tools
Narrative Films
42. Primary source of illumination in your scene. Usually it is a motivated light source.
Sound Recordist
Green Room
Protagonist
Key Light
43. 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
Zooming Out
Director of Photography
Cover-Set
Storyboards
44. Dramatic Structure Matches - Content and Activity Matches - Matched Action Cuts - Graphic Matches - and Sound Bridges
Five Ways to Create a Parallel Action Sequence
Parallel Action
Setting Levels
Protagonist
45. 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.
Zoom Lens (Variable Focal Length Lens)
Call Sheets
Wild Sound (Non-Sync Sound)
Wild Sound (Non-Sync Sound)
46. Organized process by which you schedule and work with a number of potential performers to determine their suitability to your film
Location Scouting
Audition
Coverage
Three Pre-Visualization Tools
47. The range between -12dB and 0dB that gives a buffer for any unforeseen audio spikes
Narrative Films
Four Basic Properties of Sound
Headroom
Automatic Dialogue Replacement
48. Clearly shows both subjects in the scene and defines the spatial relationship of the two to each other and the space around them
1/3 - 2/3 Rule
Cutaway Shot
Master Shot
High-Key Lighting
49. 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.
Cover-Set
Setting Levels
Sound Recordist
Protagonist
50. 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)
Gaffer
Fine Cut
Lens Speed
Headroom
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