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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. Clearly shows both subjects in the scene and defines the spatial relationship of the two to each other and the space around them
Master Shot
Fill Light
Shooting (Lined) Script
Direct Address
2. The measurement of acceptable diameter which creates the appearance of focus
Green Room
Circle of Confusion
Narrative Films
Talent Release
3. 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.
T-Stops
Overheads
Four Basic Elements in the Visual Language of Cinema
Camera Setup
4. Adjusting the optical center away from the focal plane and therefore increasing the magnification power of the lens (telephoto)
Rim Light
Zooming In
High-Key Lighting
Cross Cutting
5. 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)
Cable Wrangler
Lens Speed
Plot
Camera Setup
6. Character - Goal - and Conflict or Obstacles
Talent Release
Three Essential Elements of Drama
T-Stops
Shot Size
7. The subject of the story - the central character whom the audience will follow as they attempt to achieve their goal
Treatment
Circle of Confusion
Author's Draft
Protagonist
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
Key Light
Overheads
Shot List
Narrative Films
9. Ensures visibility in all parts of your scene with overall bright and even illumination. Minimizes shadows - texture and dimensionality.
High-Key Lighting
Boom Operator
3/4 Back Light
Nonlinear Editing System
10. Primary source of illumination in your scene. Usually it is a motivated light source.
Direct Address
Low-Key Lighting
Key Light
Location Technical Survey
11. Deciding where you want to shoot (the look - the access - the logistics - the sound - and securing it)
Key Light
Location Scouting
Pick-Ups
Zooming In
12. This type of move breaks the promise of showing something else to the viewer
1/3 - 2/3 Rule
Unmotivated Move
Back Light
1/3 - 2/3 Rule
13. Transforming what is vague and internal into a series of viewable and audible actions and events
Prime Lens
Automatic Dialogue Replacement
Dramatization
Zoom Lens (Variable Focal Length Lens)
14. To alternate between two or more scenes when editing a sequence
High-Key Lighting
Cross Cutting
Four Basic Elements in the Visual Language of Cinema
Boom Operator
15. Closely scrutinizing the location for its technical and aesthetic capabilities
T-Stops
Location Technical Survey
Overheads
Parallel Action
16. List of all the shots that make up the film in the order in which they will be shot
Shot List
Automatic Dialogue Replacement
Parallel Action
Cutaway Shot
17. All camera moves need to be...
1/3 - 2/3 Rule
Lens Speed
Motivated Move
Three Pre-Visualization Tools
18. An interior scene that can be used in case your exterior shoot is cancelled because of bad weather
Direct Address
Cover-Set
Lens Speed
Camera Setup
19. Another name for backlight because of the effect it gives the actor
Director of Photography
Rim Light
Zooming In
Green Room
20. Dramatic Structure Matches - Content and Activity Matches - Matched Action Cuts - Graphic Matches - and Sound Bridges
Camera Setup
Cover-Set
Five Ways to Create a Parallel Action Sequence
Art Direction
21. List of all the shots that make up the film in the order in which they will be shot
Shot List
Zooming Out
Camera Setup
Plot
22. 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.
Cold Reading
Low-Key Lighting
Headroom
Shooting (Lined) Script
23. The order of events in your film
Talent Release
Setting Levels
Plot
Protagonist
24. Shots that don't require any actors to be present like landscapes - location-establishing shots - and shots of objects and cutaways
High-Key Lighting
Pick-Ups
Director of Photography
Side Light
25. The person who pulls focus
Combination Move
Sound Recordist
Focus Puller
Side Light
26. Changing the plane of critical focus during a take while the camera is running
Pulling Focus
Cross Cutting
Key Light
Shooting (Lined) Script
27. Executing more than one move at a time
Unmotivated Move
Combination Move
Direct Address
Lens Speed
28. Shots that don't require any actors to be present like landscapes - location-establishing shots - and shots of objects and cutaways
Nondestructive Editing
Rim Light
Three Essential Elements of Drama
Pick-Ups
29. Executing more than one move at a time
Levels
Parallel Action
Nonlinear Editing System
Combination Move
30. 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.
Levels
Five Ways to Create a Parallel Action Sequence
Back Light
Rendering
31. The subject of the story - the central character whom the audience will follow as they attempt to achieve their goal
Protagonist
3/4 Back Light
1/3 - 2/3 Rule
Rule of Thirds
32. 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
Direct Address
Cutaway Shot
1/3 - 2/3 Rule
Ambient Sound
33. Hands-on lighting person who implements the lighting designs of the Director of Photography. In charge of setup and proper functioning of the lights.
Reverberation
Gaffer
Fill Light
Cold Reading
34. 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)
Rule of Thirds
Gaffer
Lens Speed
Levels
35. Dramatic Structure Matches - Content and Activity Matches - Matched Action Cuts - Graphic Matches - and Sound Bridges
Pick-Ups
Protagonist
Five Ways to Create a Parallel Action Sequence
Master Shot
36. 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
Rule of Thirds
T-Stops
Levels
Elliptical Editing
37. Finessing all of the edits one-by-one
Fine Cut
Art Direction
Headroom
Coverage
38. The recording of sync dialogue in a studio in cases where the production sound is not usable
Direct Address
Protagonist
Rim Light
Automatic Dialogue Replacement
39. Deciding where you want to shoot (the look - the access - the logistics - the sound - and securing it)
Direct Address
Dramatization
Art Direction
Location Scouting
40. Lens that offers a continuous range of focal lengths in one lens housing
Cutaway Shot
Zooming Out
Fine Cut
Zoom Lens (Variable Focal Length Lens)
41. The range of apparent focus along the z-axis
Sound Recordist
Shot List
Blocking
Depth of Field
42. A shot in which the subject looks directly at the camera
Direct Address
Shot List
Motivated Lighting
Three Pre-Visualization Tools
43. 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
Four Basic Properties of Sound
Circle of Confusion
Protagonist
44. Clearly shows both subjects in the scene and defines the spatial relationship of the two to each other and the space around them
Master Shot
Depth of Field
Fill Light
Motivated Move
45. The range between -12dB and 0dB that gives a buffer for any unforeseen audio spikes
Low-Key Lighting
Audition
Headroom
Cross Cutting
46. Standard calling card. 8x10 photograph on one side and a resume on the other.
Cable Wrangler
Boom Operator
Headshot/Bio
Master Shot
47. 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.
Back Light
Green Room
Call Sheets
Rule of Thirds
48. Adjusted to take into account the amount of light that is lost - dissipated - or absorbed by that particular lens
Prime Lens
Camera Setup
Zooming In
T-Stops
49. Removing extraneous time and territory
Camera Setup
Reverse Shots
T-Stops
Elliptical Editing
50. Adjusting the optical center away from the focal plane and therefore increasing the magnification power of the lens (telephoto)
Setting Levels
Zooming In
Camera Setup
Direct Address
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