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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. Finessing all of the edits one-by-one
Cutaway Shot
Fine Cut
Assistant Camera
Nonlinear Editing System
2. 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
Combination Move
Assistant Camera
Combination Move
Prime Lens
3. Reading from the script pages that actors are given minutes before the audition
Gaffer
Cold Reading
Elliptical Editing
Prime Lens
4. 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.
Back Light
Assistant Camera
Headshot/Bio
Spike
5. 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
Treatment
Shot Size
Media File Indicators
Parallel Action
6. 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.
Reverse Shots
Cover-Set
Cold Reading
Headshot/Bio
7. The order of events in your film
Director of Photography
Zooming In
Plot
Nondestructive Editing
8. 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
Fill Light
Reverse Shots
Zooming In
9. Lighting unit that is 45
Plot
Focus Puller
3/4 Back Light
Zoom Lens (Variable Focal Length Lens)
10. 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
3/4 Back Light
1/3 - 2/3 Rule
Rendering
Overheads
11. Character - Goal - and Conflict or Obstacles
Three Essential Elements of Drama
Back Light
Low-Key Lighting
Camera Setup
12. Process of combining the video and audio with the applied effect to create a new media file
Plot
Rendering
Location Scouting
Cold Reading
13. Form used in film production to keep track of all the mise-en-sc
Script Breakdown Sheet
1/3 - 2/3 Rule
Back Light
Levels
14. Adjusting the optical center back toward the focal plane causing the image to become more wide-angle
Zooming Out
Green Room
Sound Recordist
Author's Draft
15. Controlling the strength of the signal
Setting Levels
Combination Move
Plot
Depth of Field
16. The things that our characters actually handle in a scene
Props
Script Breakdown Sheet
Cross Cutting
Prime Lens
17. Frequency - Amplitude - Timbre - and Velocity
Boom Operator
Four Basic Properties of Sound
Cross Cutting
Fine Cut
18. 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.
Master Shot
Zooming Out
Low-Key Lighting
Cold Reading
19. Controlling the strength of the signal
Location Technical Survey
Setting Levels
Unmotivated Move
Treatment
20. Standard calling card. 8x10 photograph on one side and a resume on the other.
Blocking
Headshot/Bio
Green Room
Cutaway Shot
21. Responsible for the proper use and actual placement of the microphones for optimal quality
Gaffer
1/3 - 2/3 Rule
Props
Boom Operator
22. Closely scrutinizing the location for its technical and aesthetic capabilities
Setting Levels
Direct Address
Cross Cutting
Location Technical Survey
23. Adjusting the optical center away from the focal plane and therefore increasing the magnification power of the lens (telephoto)
Elliptical Editing
Lens Speed
Zooming In
Narrative Films
24. Adjusting the optical center away from the focal plane and therefore increasing the magnification power of the lens (telephoto)
Zooming In
Cable Wrangler
Cutaway Shot
Reverse Shots
25. The order of events in your film
Zoom Lens (Variable Focal Length Lens)
Plot
High-Key Lighting
Zooming In
26. Dramatic Structure Matches - Content and Activity Matches - Matched Action Cuts - Graphic Matches - and Sound Bridges
Motivated Lighting
Overheads
Five Ways to Create a Parallel Action Sequence
Ambient Sound
27. Another name for backlight because of the effect it gives the actor
Wild Sound (Non-Sync Sound)
Talent Release
Shot Size
Rim Light
28. Lens that has one fixed focal length for more precise manipulation of image quality
Talent Release
Prime Lens
Reverberation
Assistant Camera
29. Shooting Script - Overheads - and Storyboards
Headshot/Bio
Assistant Camera
Three Pre-Visualization Tools
T-Stops
30. Clearly shows both subjects in the scene and defines the spatial relationship of the two to each other and the space around them
Pulling Focus
Green Room
Master Shot
Shot Size
31. A type of location sound that isn't recorded simultaneously with the picture. Two types are Ambient Sound and Location Sound.
Shot List
Reverse Shots
Wild Sound (Non-Sync Sound)
Rendering
32. The subject of the story - the central character whom the audience will follow as they attempt to achieve their goal
Levels
Reverberation
Protagonist
Location Scouting
33. 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
Author's Draft
Headshot/Bio
Rule of Thirds
Blocking
34. 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)
Nondestructive Editing
Zoom Lens (Variable Focal Length Lens)
Five Ways to Create a Parallel Action Sequence
Director of Photography
35. Refers to the size of your subject in the frame
Reverse Shots
Script Breakdown Sheet
Shot Size
Circle of Confusion
36. To alternate between two or more scenes when editing a sequence
Media File Indicators
Cold Reading
Cross Cutting
Fine Cut
37. The physical placement of the camera on the set necessary to get each shot in your shooting script
Camera Setup
Green Room
Rule of Thirds
Rim Light
38. Transforming what is vague and internal into a series of viewable and audible actions and events
Peak Meter
Lens Speed
Dramatization
Call Sheets
39. This type of move breaks the promise of showing something else to the viewer
Prime Lens
Headroom
Cold Reading
Unmotivated Move
40. 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
Rendering
Shooting (Lined) Script
Narrative Films
Plot
41. The range of apparent focus along the z-axis
Treatment
Depth of Field
Motivated Move
Cable Wrangler
42. Sound that includes both room acoustics and background noise
Script Breakdown Sheet
Ambient Sound
Audition
Cross Cutting
43. Measures the strength of the incoming signal.
Unmotivated Move
Peak Meter
High-Key Lighting
Five Ways to Create a Parallel Action Sequence
44. First complete version of the narrative in proper screenplay format
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45. Primary source of illumination in your scene. Usually it is a motivated light source.
Peak Meter
Depth of Field
Key Light
Zoom Lens (Variable Focal Length Lens)
46. The range between -12dB and 0dB that gives a buffer for any unforeseen audio spikes
Headroom
Motivated Lighting
Cross Cutting
Zooming In
47. Another name for backlight because of the effect it gives the actor
Parallel Action
Rim Light
Automatic Dialogue Replacement
Pulling Focus
48. 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
Prime Lens
Motivated Lighting
Audition
49. The subject of the story - the central character whom the audience will follow as they attempt to achieve their goal
Protagonist
Key Light
Reverberation
Pick-Ups
50. Recording is too low
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