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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. 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)
Three Essential Elements of Drama
Overheads
Levels
Lens Speed
2. Dramatic Structure Matches - Content and Activity Matches - Matched Action Cuts - Graphic Matches - and Sound Bridges
Lens Speed
Fill Light
Call Sheets
Five Ways to Create a Parallel Action Sequence
3. Shooting a scene from various angles
Back Light
Zoom Lens (Variable Focal Length Lens)
Coverage
Peak Meter
4. Adjusting the optical center away from the focal plane and therefore increasing the magnification power of the lens (telephoto)
Five Ways to Create a Parallel Action Sequence
Zooming In
Storyboards
Director of Photography
5. The movement of characters in the space
Blocking
High-Key Lighting
Headroom
Treatment
6. An interior scene that can be used in case your exterior shoot is cancelled because of bad weather
Depth of Field
Cover-Set
Peak Meter
Narrative Films
7. Ensures visibility in all parts of your scene with overall bright and even illumination. Minimizes shadows - texture and dimensionality.
Script Breakdown Sheet
High-Key Lighting
Depth of Field
Location Scouting
8. Transforming what is vague and internal into a series of viewable and audible actions and events
Camera Setup
High-Key Lighting
Cover-Set
Dramatization
9. The strategy of using movie lights to duplicate where light would logically be emanating from
Director of Photography
Zooming Out
Props
Motivated Lighting
10. To alternate between two or more scenes when editing a sequence
'In the Mud'
Rendering
Cold Reading
Cross Cutting
11. 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.
Three Pre-Visualization Tools
Art Direction
Sound Recordist
Levels
12. All camera moves need to be...
Rendering
Blocking
Motivated Move
Sound Recordist
13. Refers to the loudness of a signal as it enters the audio recorder which determines the strength of the recorded audio signal
Shot List
T-Stops
Automatic Dialogue Replacement
Levels
14. The physical placement of the camera on the set necessary to get each shot in your shooting script
Director of Photography
Five Ways to Create a Parallel Action Sequence
Combination Move
Camera Setup
15. Frequency - Amplitude - Timbre - and Velocity
Talent Release
Cold Reading
Green Room
Four Basic Properties of Sound
16. The order of events in your film
Shot List
Cutaway Shot
Plot
Four Basic Properties of Sound
17. Transforming what is vague and internal into a series of viewable and audible actions and events
Dramatization
Wild Sound (Non-Sync Sound)
Treatment
Cross Cutting
18. Lens that has one fixed focal length for more precise manipulation of image quality
Prime Lens
High-Key Lighting
Five Ways to Create a Parallel Action Sequence
Sound Recordist
19. 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
1/3 - 2/3 Rule
Cross Cutting
Nondestructive Editing
Dramatization
20. Lighting unit that is position 90
Storyboards
Side Light
Rim Light
'In the Mud'
21. Changing the plane of critical focus during a take while the camera is running
Blocking
Art Direction
Side Light
Pulling Focus
22. Sets up cables - holds second boom when necessary - and wrangles the cables when the boom operator follows a moving shot
Cross Cutting
Cable Wrangler
Storyboards
Elliptical Editing
23. Clearly shows both subjects in the scene and defines the spatial relationship of the two to each other and the space around them
Narrative Films
Media File Indicators
Parallel Action
Master Shot
24. Legal document - signed before cameras roll - simply stating that the performer gives you the right to use his image and voice in your film
Audition
Pulling Focus
Talent Release
Zooming In
25. A shot in which the subject looks directly at the camera
Direct Address
Narrative Films
Nonlinear Editing System
Pulling Focus
26. Soft light that fills in the shadows created by the Key Light
Fill Light
3/4 Back Light
Circle of Confusion
Elliptical Editing
27. Standard calling card. 8x10 photograph on one side and a resume on the other.
Shot List
Storyboards
Cold Reading
Headshot/Bio
28. Shot - Shot Sequence - Scene - and Dramatic Sequence
Rim Light
Green Room
Zooming Out
Four Basic Elements in the Visual Language of Cinema
29. Hands-on lighting person who implements the lighting designs of the Director of Photography. In charge of setup and proper functioning of the lights.
Protagonist
Author's Draft
Gaffer
Talent Release
30. A shot in which the subject looks directly at the camera
Depth of Field
Direct Address
'In the Mud'
Focus Puller
31. Shooting Script - Overheads - and Storyboards
Camera Setup
Pulling Focus
Levels
Three Pre-Visualization Tools
32. Adjusting the optical center back toward the focal plane causing the image to become more wide-angle
Cable Wrangler
Prime Lens
Talent Release
Zooming Out
33. 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.
1/3 - 2/3 Rule
Elliptical Editing
Green Room
Cover-Set
34. 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
Elliptical Editing
Pick-Ups
Nonlinear Editing System
Art Direction
35. 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
Four Basic Properties of Sound
Parallel Action
Pick-Ups
Nonlinear Editing System
36. 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.
Cutaway Shot
Rendering
Depth of Field
Sound Recordist
37. Lens that has one fixed focal length for more precise manipulation of image quality
Prime Lens
Unmotivated Move
Overheads
Camera Setup
38. 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
Unmotivated Move
T-Stops
Four Basic Properties of Sound
Narrative Films
39. A shot of a detail within your scene other than the characters' faces
Blocking
Cutaway Shot
Setting Levels
Low-Key Lighting
40. 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.
High-Key Lighting
Fine Cut
Overheads
Treatment
41. 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.'
Direct Address
Headroom
Reverberation
Shot List
42. Character - Goal - and Conflict or Obstacles
Script Breakdown Sheet
Headroom
Nonlinear Editing System
Three Essential Elements of Drama
43. All camera moves need to be...
Motivated Move
Dramatization
Four Basic Elements in the Visual Language of Cinema
Circle of Confusion
44. Closely scrutinizing the location for its technical and aesthetic capabilities
Reverberation
Motivated Lighting
Pulling Focus
Location Technical Survey
45. First complete version of the narrative in proper screenplay format
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46. Another name for backlight because of the effect it gives the actor
Rim Light
Motivated Move
Zooming Out
Nonlinear Editing System
47. The person who pulls focus
Focus Puller
Reverberation
Camera Setup
Shooting (Lined) Script
48. The measurement of acceptable diameter which creates the appearance of focus
High-Key Lighting
Location Scouting
Circle of Confusion
Five Ways to Create a Parallel Action Sequence
49. Finessing all of the edits one-by-one
Shooting (Lined) Script
Fine Cut
Cross Cutting
Rim Light
50. 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.
Coverage
Motivated Lighting
Assistant Camera
Art Direction
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