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. Shooting Script - Overheads - and Storyboards






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






3. Character - Goal - and Conflict or Obstacles






4. 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






5. Standard calling card. 8x10 photograph on one side and a resume on the other.






6. All camera moves need to be...






7. 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






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






9. The movement of characters in the space






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






11. Finessing all of the edits one-by-one






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






13. 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.






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






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






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






17. 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.






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






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






20. Character - Goal - and Conflict or Obstacles






21. 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.






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






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






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






25. Closely scrutinizing the location for its technical and aesthetic capabilities






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

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






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






29. 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)






30. 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.






31. A shot of a detail within your scene other than the characters' faces






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






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






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






35. 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.






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






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






38. Measures the strength of the incoming signal.






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






40. Legal document - signed before cameras roll - simply stating that the performer gives you the right to use his image and voice in your film






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






42. 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.






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






44. 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.






45. The movement of characters in the space






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






47. A shot in which the subject looks directly at the camera






48. 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.'






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