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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 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.
Props
Headroom
Sound Recordist
Back Light
2. 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
'In the Mud'
Elliptical Editing
Key Light
3. Process of combining the video and audio with the applied effect to create a new media file
Headshot/Bio
Side Light
Rendering
Fill Light
4. 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
Parallel Action
Cold Reading
Four Basic Properties of Sound
Master Shot
5. Loud - sudden sound that exceeds 0dB
Art Direction
Wild Sound (Non-Sync Sound)
Spike
Four Basic Properties of Sound
6. Finessing all of the edits one-by-one
Nonlinear Editing System
Assistant Camera
Talent Release
Fine Cut
7. Soft light that fills in the shadows created by the Key Light
Master Shot
Shot Size
Motivated Lighting
Fill Light
8. 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
Five Ways to Create a Parallel Action Sequence
Overheads
Script Breakdown Sheet
9. Frequency - Amplitude - Timbre - and Velocity
Reverse Shots
Four Basic Properties of Sound
Fill Light
Director of Photography
10. The things that our characters actually handle in a scene
Rule of Thirds
Cross Cutting
Props
Zooming Out
11. 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.
Zooming Out
Cold Reading
Elliptical Editing
Shooting (Lined) Script
12. Hands-on lighting person who implements the lighting designs of the Director of Photography. In charge of setup and proper functioning of the lights.
Dramatization
Director of Photography
Gaffer
'In the Mud'
13. Refers to the size of your subject in the frame
Low-Key Lighting
Shot Size
Depth of Field
Back Light
14. Shooting a scene from various angles
Coverage
Direct Address
Blocking
Rendering
15. Adjusting the optical center away from the focal plane and therefore increasing the magnification power of the lens (telephoto)
Script Breakdown Sheet
Rim Light
Zooming In
Pick-Ups
16. The things that our characters actually handle in a scene
T-Stops
Props
Location Scouting
Reverse Shots
17. 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.
Direct Address
Camera Setup
Narrative Films
Overheads
18. 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
Five Ways to Create a Parallel Action Sequence
Headshot/Bio
Motivated Move
19. Another name for backlight because of the effect it gives the actor
High-Key Lighting
Rim Light
Elliptical Editing
Three Essential Elements of Drama
20. Dramatic Structure Matches - Content and Activity Matches - Matched Action Cuts - Graphic Matches - and Sound Bridges
Five Ways to Create a Parallel Action Sequence
Cover-Set
Author's Draft
High-Key Lighting
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.
Call Sheets
Shot Size
1/3 - 2/3 Rule
Four Basic Elements in the Visual Language of Cinema
22. Transforming what is vague and internal into a series of viewable and audible actions and events
Dramatization
Headshot/Bio
Setting Levels
Shot Size
23. 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)
Treatment
Cold Reading
Lens Speed
Reverse Shots
24. Shooting a scene from various angles
Assistant Camera
Protagonist
Circle of Confusion
Coverage
25. Sets up cables - holds second boom when necessary - and wrangles the cables when the boom operator follows a moving shot
Dramatization
Author's Draft
Spike
Cable Wrangler
26. Adjusting the optical center away from the focal plane and therefore increasing the magnification power of the lens (telephoto)
Zoom Lens (Variable Focal Length Lens)
Zooming In
Headroom
Blocking
27. 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.'
Storyboards
Reverberation
Headshot/Bio
Headroom
28. This type of move breaks the promise of showing something else to the viewer
'In the Mud'
Shot List
Unmotivated Move
Depth of Field
29. 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
Headshot/Bio
Director of Photography
Headroom
Treatment
30. Organized process by which you schedule and work with a number of potential performers to determine their suitability to your film
Four Basic Elements in the Visual Language of Cinema
Audition
Prime Lens
Spike
31. 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)
Key Light
Wild Sound (Non-Sync Sound)
Headshot/Bio
Lens Speed
32. Primary source of illumination in your scene. Usually it is a motivated light source.
Director of Photography
T-Stops
Motivated Move
Key Light
33. The order of events in your film
Three Essential Elements of Drama
Blocking
Plot
Camera Setup
34. Lens that has one fixed focal length for more precise manipulation of image quality
Overheads
Prime Lens
Setting Levels
Overheads
35. Simple but comprehensive prose description of a film's plot
Treatment
Three Essential Elements of Drama
Rim Light
Narrative Films
36. Responsible for the proper use and actual placement of the microphones for optimal quality
Boom Operator
Location Technical Survey
Four Basic Elements in the Visual Language of Cinema
Headshot/Bio
37. The subject of the story - the central character whom the audience will follow as they attempt to achieve their goal
Talent Release
3/4 Back Light
Protagonist
Four Basic Properties of Sound
38. The measurement of acceptable diameter which creates the appearance of focus
Circle of Confusion
Elliptical Editing
Treatment
Talent Release
39. A shot of a detail within your scene other than the characters' faces
Overheads
Cutaway Shot
Headshot/Bio
Author's Draft
40. The person who pulls focus
Location Scouting
Headshot/Bio
Gaffer
Focus Puller
41. Clearly shows both subjects in the scene and defines the spatial relationship of the two to each other and the space around them
Props
T-Stops
Five Ways to Create a Parallel Action Sequence
Master Shot
42. 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
Art Direction
Cross Cutting
Nonlinear Editing System
43. Adjusted to take into account the amount of light that is lost - dissipated - or absorbed by that particular lens
Master Shot
Lens Speed
T-Stops
Pick-Ups
44. The strategy of using movie lights to duplicate where light would logically be emanating from
Boom Operator
Rendering
Motivated Lighting
Talent Release
45. To alternate between two or more scenes when editing a sequence
Headshot/Bio
Depth of Field
Cross Cutting
Boom Operator
46. 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
Call Sheets
Shooting (Lined) Script
Protagonist
47. The recording of sync dialogue in a studio in cases where the production sound is not usable
Shot List
Reverse Shots
Storyboards
Automatic Dialogue Replacement
48. 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.
Narrative Films
Pick-Ups
Green Room
Back Light
49. First complete version of the narrative in proper screenplay format
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50. Lens that has one fixed focal length for more precise manipulation of image quality
Dramatization
Prime Lens
T-Stops
Gaffer