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. Recording is too low

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2. First complete version of the narrative in proper screenplay format

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






4. This type of move breaks the promise of showing something else to the viewer






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






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






7. 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.






8. 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






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






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






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






12. Sound that includes both room acoustics and background noise






13. Sets up cables - holds second boom when necessary - and wrangles the cables when the boom operator follows a moving shot






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






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






16. Removing extraneous time and territory






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






18. Refers to the loudness of a signal as it enters the audio recorder which determines the strength of the recorded audio signal






19. Shot - Shot Sequence - Scene - and Dramatic Sequence






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






21. 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






22. 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.






23. Measures the strength of the incoming signal.






24. Frequency - Amplitude - Timbre - and Velocity






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






26. Legal document - signed before cameras roll - simply stating that the performer gives you the right to use his image and voice in your film






27. Refers to the size of your subject in the frame






28. 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






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






30. 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






31. The subject of the story - the central character whom the audience will follow as they attempt to achieve their goal






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






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






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






35. Process of combining the video and audio with the applied effect to create a new media file






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






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






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






39. To alternate between two or more scenes when editing a sequence






40. Adjusting the optical center back toward the focal plane causing the image to become more wide-angle






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






42. 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.






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






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






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






46. Lighting unit that is position 90






47. Clearly shows both subjects in the scene and defines the spatial relationship of the two to each other and the space around them






48. 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






49. Sets up cables - holds second boom when necessary - and wrangles the cables when the boom operator follows a moving shot






50. Form used in film production to keep track of all the mise-en-sc