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






2. Shot - Shot Sequence - Scene - and Dramatic Sequence






3. Recording is too low

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






5. Lens that has one fixed focal length for more precise manipulation of image quality






6. 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






7. Lighting unit that is position 90






8. 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.






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






10. The person who pulls focus






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






12. Shots that don't require any actors to be present like landscapes - location-establishing shots - and shots of objects and cutaways






13. The range between -12dB and 0dB that gives a buffer for any unforeseen audio spikes






14. Drawings of shots - arranged on paper in the order they appear in a sequence






15. 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.'






16. 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.






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






18. 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.






19. Sound that includes both room acoustics and background noise






20. The physical placement of the camera on the set necessary to get each shot in your shooting script






21. Simple but comprehensive prose description of a film's plot






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






23. Primary source of illumination in your scene. Usually it is a motivated light source.






24. Hands-on lighting person who implements the lighting designs of the Director of Photography. In charge of setup and proper functioning of the lights.






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






26. The order of events in your film






27. 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






28. 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)






29. Executing more than one move at a time






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






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






32. The things that our characters actually handle in a scene






33. Drawings of shots - arranged on paper in the order they appear in a sequence






34. Removing extraneous time and territory






35. 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.






36. Soft light that fills in the shadows created by the Key Light






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






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






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






40. The movement of characters in the space






41. 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.






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






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






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






45. The range between -12dB and 0dB that gives a buffer for any unforeseen audio spikes






46. 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.






47. 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.






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






49. Character - Goal - and Conflict or Obstacles






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