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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. Drawings of shots - arranged on paper in the order they appear in a sequence
Location Scouting
Storyboards
High-Key Lighting
Sound Recordist
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
Fine Cut
1/3 - 2/3 Rule
Rim Light
Assistant Camera
3. Lens that has one fixed focal length for more precise manipulation of image quality
Zoom Lens (Variable Focal Length Lens)
Pick-Ups
Cable Wrangler
Prime Lens
4. Refers to the size of your subject in the frame
Shot Size
Levels
Dramatization
Headshot/Bio
5. Organized process by which you schedule and work with a number of potential performers to determine their suitability to your film
Overheads
Assistant Camera
Three Pre-Visualization Tools
Audition
6. Frequency - Amplitude - Timbre - and Velocity
Four Basic Properties of Sound
Sound Recordist
Rim Light
Overheads
7. Responsible for the proper use and actual placement of the microphones for optimal quality
Media File Indicators
Boom Operator
Spike
Motivated Move
8. Measures the strength of the incoming signal.
Combination Move
Peak Meter
Rule of Thirds
Five Ways to Create a Parallel Action Sequence
9. Primary source of illumination in your scene. Usually it is a motivated light source.
Talent Release
Rendering
Fill Light
Key Light
10. 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)
Combination Move
Headroom
Levels
Nondestructive Editing
11. A shot of a detail within your scene other than the characters' faces
Low-Key Lighting
Pick-Ups
Cutaway Shot
Audition
12. The range between -12dB and 0dB that gives a buffer for any unforeseen audio spikes
Protagonist
Headroom
Pulling Focus
Three Essential Elements of Drama
13. Shots that don't require any actors to be present like landscapes - location-establishing shots - and shots of objects and cutaways
Motivated Move
Direct Address
Headshot/Bio
Pick-Ups
14. First complete version of the narrative in proper screenplay format
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15. The things that our characters actually handle in a scene
Props
Call Sheets
Rendering
Zoom Lens (Variable Focal Length Lens)
16. 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.
Cable Wrangler
Automatic Dialogue Replacement
Low-Key Lighting
Location Scouting
17. The movement of characters in the space
Four Basic Properties of Sound
Rim Light
Circle of Confusion
Blocking
18. The order of events in your film
Elliptical Editing
Rule of Thirds
Three Pre-Visualization Tools
Plot
19. 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.
Parallel Action
Zooming Out
Key Light
Call Sheets
20. The person who pulls focus
Camera Setup
Lens Speed
Focus Puller
Peak Meter
21. 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
Boom Operator
Cold Reading
Shot List
22. Shooting a scene from various angles
Nondestructive Editing
Coverage
'In the Mud'
Back Light
23. 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
Location Technical Survey
Motivated Move
Cross Cutting
Parallel Action
24. The movement of characters in the space
Blocking
Automatic Dialogue Replacement
Prime Lens
Narrative Films
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.
Cross Cutting
Director of Photography
Boom Operator
Green Room
26. Deciding where you want to shoot (the look - the access - the logistics - the sound - and securing it)
Location Scouting
Setting Levels
Pick-Ups
Headroom
27. Adjusted to take into account the amount of light that is lost - dissipated - or absorbed by that particular lens
Wild Sound (Non-Sync Sound)
Nondestructive Editing
Zoom Lens (Variable Focal Length Lens)
T-Stops
28. Lighting unit that is position 90
Side Light
Shot Size
Depth of Field
Wild Sound (Non-Sync Sound)
29. Changing the plane of critical focus during a take while the camera is running
Protagonist
Cutaway Shot
Cover-Set
Pulling Focus
30. 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
Talent Release
Fine Cut
Wild Sound (Non-Sync Sound)
31. Shooting Script - Overheads - and Storyboards
Dramatization
Three Pre-Visualization Tools
Author's Draft
Protagonist
32. The range of apparent focus along the z-axis
Fill Light
Spike
Circle of Confusion
Depth of Field
33. A type of location sound that isn't recorded simultaneously with the picture. Two types are Ambient Sound and Location Sound.
Media File Indicators
Director of Photography
3/4 Back Light
Wild Sound (Non-Sync Sound)
34. 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
Cable Wrangler
'In the Mud'
Four Basic Elements in the Visual Language of Cinema
Narrative Films
35. 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
Art Direction
Rule of Thirds
Assistant Camera
1/3 - 2/3 Rule
36. Primary source of illumination in your scene. Usually it is a motivated light source.
Key Light
Gaffer
Reverse Shots
Protagonist
37. Adjusting the optical center back toward the focal plane causing the image to become more wide-angle
Automatic Dialogue Replacement
Zooming Out
Cable Wrangler
'In the Mud'
38. Lighting unit that is 45
Peak Meter
Rendering
Setting Levels
3/4 Back Light
39. 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
Back Light
Reverberation
Circle of Confusion
Parallel Action
40. Frequency - Amplitude - Timbre - and Velocity
Blocking
Four Basic Properties of Sound
Zoom Lens (Variable Focal Length Lens)
Back Light
41. Sets up cables - holds second boom when necessary - and wrangles the cables when the boom operator follows a moving shot
Green Room
Cross Cutting
Direct Address
Cable Wrangler
42. Adjusting the optical center away from the focal plane and therefore increasing the magnification power of the lens (telephoto)
Blocking
Fill Light
Zooming In
Motivated Lighting
43. 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.
Three Pre-Visualization Tools
Overheads
Depth of Field
Green Room
44. Refers to the loudness of a signal as it enters the audio recorder which determines the strength of the recorded audio signal
Shooting (Lined) Script
Wild Sound (Non-Sync Sound)
Headshot/Bio
Levels
45. An interior scene that can be used in case your exterior shoot is cancelled because of bad weather
Cutaway Shot
Reverberation
Dramatization
Cover-Set
46. 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.
Shooting (Lined) Script
Back Light
Shot List
Narrative Films
47. Standard calling card. 8x10 photograph on one side and a resume on the other.
'In the Mud'
Headshot/Bio
Boom Operator
Props
48. The strategy of using movie lights to duplicate where light would logically be emanating from
Plot
Prime Lens
Motivated Lighting
Three Pre-Visualization Tools
49. First complete version of the narrative in proper screenplay format
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50. Process of combining the video and audio with the applied effect to create a new media file
Media File Indicators
Rendering
Pulling Focus
Zooming Out