McqMate
| 1. |
Action |
| A. | the scene description, character movement, described in a screenplay |
| B. | font character |
| C. | action script |
| D. | none of the above. |
| Answer» A. the scene description, character movement, described in a screenplay | |
| 2. |
AERIAL SHOT |
| A. | shot be taken from a plane |
| B. | wide angle shot |
| C. | shot taken by macro lens |
| D. | none of the above. |
| Answer» A. shot be taken from a plane | |
| 3. |
ANGLE ON |
| A. | scenes taking place in large settings |
| B. | scene taking place in corner |
| C. | scene in a room |
| D. | none of the above. |
| Answer» A. scenes taking place in large settings | |
| 4. |
Beat |
| A. | the actor should pause a moment, in silence, before continuing the scene |
| B. | statement |
| C. | interview |
| D. | none of the above. |
| Answer» A. the actor should pause a moment, in silence, before continuing the scene | |
| 5. |
b.g. |
| A. | curtain |
| B. | anything occurring in a rear plane of action |
| C. | below ground |
| D. | none of the above. |
| Answer» B. anything occurring in a rear plane of action | |
| 6. |
Character |
| A. | character actor |
| B. | the character\s name can then be written in script |
| C. | behavior |
| D. | none of the above. |
| Answer» B. the character\s name can then be written in script | |
| 7. |
INSERT |
| A. | insert an actor |
| B. | bring something very small into full frame |
| C. | inserting a page |
| D. | none of the above |
| Answer» B. bring something very small into full frame | |
| 8. |
Extreme Long Shot |
| A. | to give a general impression rather than specific information |
| B. | large size of shot |
| C. | big close up |
| D. | none of the above |
| Answer» A. to give a general impression rather than specific information | |
| 9. |
Long Shot |
| A. | showing the entire human body |
| B. | showing close up |
| C. | showing apart |
| D. | none of the above |
| Answer» A. showing the entire human body | |
| 10. |
Medium Shot |
| A. | a figure from the knees/waist up |
| B. | full figure |
| C. | back ground |
| D. | none of the above |
| Answer» A. a figure from the knees/waist up | |
| 11. |
Close-Up |
| A. | this shows very little background, and concentrates on either a face |
| B. | full figure |
| C. | action |
| D. | none of the above |
| Answer» A. this shows very little background, and concentrates on either a face | |
| 12. |
Extreme Close-Up |
| A. | an extreme version of the close up |
| B. | long shot of a character |
| C. | full figure |
| D. | none of the above |
| Answer» A. an extreme version of the close up | |
| 13. |
CLOSE ON |
| A. | shot description for a close-up |
| B. | closing of shots |
| C. | start |
| D. | none of the above |
| Answer» A. shot description for a close-up | |
| 14. |
CLOSER ANGLE |
| A. | new angle nearer to the subject. |
| B. | corner of an interior room |
| C. | close up |
| D. | none of the above |
| Answer» A. new angle nearer to the subject. | |
| 15. |
CONTINUOUS |
| A. | action that moves from one location to another without any interruptions in time |
| B. | continuity |
| C. | page continuity |
| D. | none of the above |
| Answer» A. action that moves from one location to another without any interruptions in time | |
| 16. |
CRAWL |
| A. | superimposed titles move across on screen |
| B. | a camera movement |
| C. | an equipment |
| D. | a trolley. |
| Answer» A. superimposed titles move across on screen | |
| 17. |
CROSSFADE: |
| A. | fade to black then fade to next scene |
| B. | cross fire |
| C. | crossing of unwanted elements |
| D. | none of the above |
| Answer» A. fade to black then fade to next scene | |
| 18. |
Dialog |
| A. | people are supposed to say according to the script |
| B. | discussion with script writer and director |
| C. | title card |
| D. | none of the above |
| Answer» A. people are supposed to say according to the script | |
| 19. |
Director |
| A. | head of an institution |
| B. | person converting a script into a movie. |
| C. | set designer |
| D. | none of the above |
| Answer» B. person converting a script into a movie. | |
| 20. |
DISSOLVE TO |
| A. | a common transition |
| B. | dissolving materials |
| C. | solving an issue |
| D. | none of the above |
| Answer» A. a common transition | |
| 21. |
Dolly |
| A. | a mechanism for camera movement |
| B. | a chair carrying actors |
| C. | a game |
| D. | none of the above |
| Answer» A. a mechanism for camera movement | |
| 22. |
ESTABLISHING SHOT |
| A. | establishment |
| B. | beginning of a film to suggest where the story takes place |
| C. | final shot |
| D. | none of the above |
| Answer» B. beginning of a film to suggest where the story takes place | |
| 23. |
EXT. |
| A. | scene takes place out of doors |
| B. | extra actor |
| C. | extra properties |
| D. | none of the above |
| Answer» A. scene takes place out of doors | |
| 24. |
EXTREMELY LONG SHOT (XLS): |
| A. | very long distance from the subject or action |
| B. | panoramic shot |
| C. | close up shot |
| D. | none of the above |
| Answer» A. very long distance from the subject or action | |
| 25. |
FADE OUT |
| A. | image appear in to frame |
| B. | image slowly disappear to black |
| C. | image transit to another frame |
| D. | none of the above |
| Answer» B. image slowly disappear to black | |
| 26. |
DISSOLVE TO |
| A. | image appear in to frame |
| B. | image slowly disappear to black |
| C. | image transit to another frame |
| D. | none of the above |
| Answer» C. image transit to another frame | |
| 27. |
NEXT SCENE |
| A. | next chapter |
| B. | not the end of the movie, but end of a major movement |
| C. | next page |
| D. | none of the above |
| Answer» B. not the end of the movie, but end of a major movement | |
| 28. |
FAVOR ON |
| A. | a particular character or action is highlighted or "favored" in a shot |
| B. | in favor of |
| C. | favoring a character |
| D. | none of the above |
| Answer» A. a particular character or action is highlighted or "favored" in a shot | |
| 29. |
Feature Film |
| A. | any film at least one hour long that people pay to see |
| B. | documentary |
| C. | advertorial |
| D. | none of the above |
| Answer» A. any film at least one hour long that people pay to see | |
| 30. |
Final Draft |
| A. | writers last rewrite of a script |
| B. | drafting |
| C. | fair copy |
| D. | shooting script |
| Answer» A. writers last rewrite of a script | |
| 31. |
FREEZE FRAME: |
| A. | the picture stops moving, becoming a still for a period of time |
| B. | frame of mist or ice berg |
| C. | end of a movie |
| D. | none of the above |
| Answer» A. the picture stops moving, becoming a still for a period of time | |
| 32. |
INSERT |
| A. | a scene that must be given the camera\s full attention for a moment |
| B. | inserting a picture |
| C. | inserting a dialogue |
| D. | none of the above |
| Answer» A. a scene that must be given the camera\s full attention for a moment | |
| 33. |
INT. |
| A. | scene takes place indoors |
| B. | international movie |
| C. | interesting scene |
| D. | none of the above |
| Answer» A. scene takes place indoors | |
| 34. |
Intercutting |
| A. | at a point, two scenes will be shown a few moments each, back and forth |
| B. | cut between shots |
| C. | clapping |
| D. | none of the above |
| Answer» A. at a point, two scenes will be shown a few moments each, back and forth | |
| 35. |
Decoding |
| A. | convert text to code |
| B. | convert code to text |
| C. | convert to code to another code |
| D. | none of the above |
| Answer» B. convert code to text | |
| 36. |
IN to View |
| A. | to reveal more of the scene |
| B. | arial shot |
| C. | wide angle |
| D. | close up |
| Answer» A. to reveal more of the scene | |
| 37. |
Encoding |
| A. | convert text to code |
| B. | convert code to text |
| C. | convert to code to another code |
| D. | none of the above |
| Answer» A. convert text to code | |
| 38. |
Iris Out |
| A. | transition from one to another frame |
| B. | a black circle closes to end a scene |
| C. | fade in |
| D. | fade out |
| Answer» A. transition from one to another frame | |
| 39. |
wipe. |
| A. | erasing |
| B. | a transition |
| C. | cleaning |
| D. | none of the above |
| Answer» B. a transition | |
| 40. |
JUMP CUT TO: |
| A. | a transition |
| B. | action |
| C. | fight scene |
| D. | none of the above |
| Answer» A. a transition | |
| 41. |
LAP DISSOLVE: |
| A. | fading out one shot while the next one grows clearer |
| B. | last shot |
| C. | beginning shot |
| D. | none of the above |
| Answer» A. fading out one shot while the next one grows clearer | |
| 42. |
MATCH CUT TO: |
| A. | a transition often used to compare two completely unrelated objects |
| B. | cutting film |
| C. | removing |
| D. | none of the above |
| Answer» A. a transition often used to compare two completely unrelated objects | |
| 43. |
MATCH DISSOLVE TO |
| A. | fade in |
| B. | a match dissolve involves two objects of similar color, shape, |
| C. | not atransition |
| D. | none of the above |
| Answer» B. a match dissolve involves two objects of similar color, shape, | |
| 44. |
Montage |
| A. | a series of images showing a theme |
| B. | historic scene |
| C. | insert frame |
| D. | none of the above |
| Answer» A. a series of images showing a theme | |
| 45. |
MOS |
| A. | moment of silence |
| B. | movement of scene |
| C. | motion of systems |
| D. | none of the above |
| Answer» A. moment of silence | |
| 46. |
or O.C. |
| A. | off-screen or off-camera |
| B. | offset camera |
| C. | optical camera |
| D. | none of the above |
| Answer» A. off-screen or off-camera | |
| 47. |
Pan |
| A. | camera turning on a stationary axis |
| B. | trolley |
| C. | close up |
| D. | none of the above |
| Answer» A. camera turning on a stationary axis | |
| 48. |
|
| A. | cross-platform portable document format |
| B. | picture division format |
| C. | photograph digital frame |
| D. | none of the above |
| Answer» A. cross-platform portable document format | |
| 49. |
POV |
| A. | point of view |
| B. | picture of vision |
| C. | photographs of visual |
| D. | none of the above |
| Answer» A. point of view | |
| 50. |
PUSH IN: |
| A. | the camera physically moves towards a subject |
| B. | fighting scene |
| C. | movement |
| D. | none of the above |
| Answer» A. the camera physically moves towards a subject | |
| 51. |
REVERSE ANGLE |
| A. | reveal things for comic or dramatic effect |
| B. | reverse shot |
| C. | shot from back ground |
| D. | none of the above |
| Answer» A. reveal things for comic or dramatic effect | |
| 52. |
ROLL |
| A. | superimposed titles move vertically on screen |
| B. | film roll |
| C. | rolling of camera |
| D. | none of the above |
| Answer» A. superimposed titles move vertically on screen | |
| 53. |
Scene |
| A. | an event that takes place entirely in one location or time |
| B. | a frame |
| C. | a dialogue |
| D. | none of the above |
| Answer» A. an event that takes place entirely in one location or time | |
| 54. |
Shooting Script |
| A. | final draft used on set by the production people |
| B. | script prepared during shooting |
| C. | a review of script |
| D. | none of the above |
| Answer» A. final draft used on set by the production people | |
| 55. |
Slug Line |
| A. | beginning of a scene that briefly describes the location and time of day |
| B. | sub title |
| C. | closing film |
| D. | captions |
| Answer» A. beginning of a scene that briefly describes the location and time of day | |
| 56. |
SMASH CUT TO |
| A. | slow transition |
| B. | an especially sharp transition |
| C. | final shot |
| D. | none of the above |
| Answer» B. an especially sharp transition | |
| 57. |
Screenplay |
| A. | a specific script |
| B. | play back |
| C. | one line script |
| D. | none of the above |
| Answer» A. a specific script | |
| 58. |
SPLIT SCREEN SHOT: |
| A. | the space of the frame is split into more frames |
| B. | splitting of pages |
| C. | splitting of scenes |
| D. | none of the above |
| Answer» A. the space of the frame is split into more frames | |
| 59. |
Steadicam |
| A. | a camera built to remain stable while being moved |
| B. | a camera mounted on a tripod |
| C. | a steady shot |
| D. | none of the above |
| Answer» A. a camera built to remain stable while being moved | |
| 60. |
STOCK SHOT: |
| A. | footage of events in history, from other films |
| B. | stocking of previously recorded clips |
| C. | a still shot |
| D. | none of the above |
| Answer» A. footage of events in history, from other films | |
| 61. |
SUPER |
| A. | abbreviation for superimpose |
| B. | super star |
| C. | super picture |
| D. | none of the above |
| Answer» A. abbreviation for superimpose | |
| 62. |
Swish Pan |
| A. | a quick snap of the camera from one object to another |
| B. | a vessel |
| C. | a camera equipment |
| D. | none of the above |
| Answer» A. a quick snap of the camera from one object to another | |
| 63. |
Tracking Shot |
| A. | a camera following a person or an object |
| B. | track for camera movement |
| C. | dolly shot |
| D. | none of the above |
| Answer» A. a camera following a person or an object | |
| 64. |
Trailer |
| A. | theatrical advertisement for an upcoming film |
| B. | news reel |
| C. | trolley |
| D. | none of the above |
| Answer» A. theatrical advertisement for an upcoming film | |
| 65. |
Transition |
| A. | these describe the style in which one scene becomes the next |
| B. | transmission |
| C. | broadcast |
| D. | none of the above |
| Answer» A. these describe the style in which one scene becomes the next | |
| 66. |
V.O. |
| A. | voice over |
| B. | very old scene |
| C. | visual opacity |
| D. | none of the above |
| Answer» A. voice over | |
| 67. |
WIPE TO |
| A. | a transition in which one scene "wipes away" for the next |
| B. | clean out |
| C. | shot taken in rain |
| D. | none of the above |
| Answer» A. a transition in which one scene "wipes away" for the next | |
| 68. |
ZOOM |
| A. | the image seems to close in on a person or object |
| B. | zoom out |
| C. | long shot |
| D. | extreme long shot |
| Answer» A. the image seems to close in on a person or object | |
| 69. |
Structure of script |
| A. | dialogue and description |
| B. | elements of design |
| C. | design of characters |
| D. | none of the above |
| Answer» A. dialogue and description | |
| 70. |
Power point |
| A. | corporate presentation |
| B. | documentary |
| C. | feature film |
| D. | none of the above |
| Answer» A. corporate presentation | |
| 71. |
In TV interview double look means__________________________ |
| A. | The gaze of the interviewer towards interviewed |
| B. | Looking only at the person being interviewed |
| C. | Looking at both the interviewer and camera lens |
| D. | None of the above |
| Answer» A. The gaze of the interviewer towards interviewed | |
| 72. |
Bert Haanstra’s classic documentary___________________ documents Holland’s struggle against the sea |
| A. | Delta Project |
| B. | Delta Finale |
| C. | Delta Phase I |
| D. | The Eastern Scheldt |
| Answer» C. Delta Phase I | |
| 73. |
The classical Italian neo-realist film, The Bicycle Thief (1948), directed by Vittorio DeSica was scripted by___________________________ |
| A. | Vittoria DeSica |
| B. | Cesare Zavatini |
| C. | Roberto Rossellini |
| D. | Michelangelo Antonioni |
| Answer» A. Vittoria DeSica | |
| 74. |
_______________________was the first film maker who introduced parallel action editing (cross-cut) to heighten the anxiety of the audience |
| A. | Cecil Hepworth |
| B. | D.W. Griffith |
| C. | Mack Sennette |
| D. | Stuart Blackton |
| Answer» B. D.W. Griffith | |
| 75. |
Story board narrates the story of the movie through____________________ |
| A. | rough sketches |
| B. | film strips |
| C. | story synopsis |
| D. | comic strips |
| Answer» A. rough sketches | |
| 76. |
Treatment, a terminology in cinema means____________________ |
| A. | synopsis of a film |
| B. | a proposal for the production of a film |
| C. | A short written outline of a film specifying how the story is to be told |
| D. | Summary of the story |
| Answer» C. A short written outline of a film specifying how the story is to be told | |
| 77. |
Sir David Attenborough is a renowned_______________________ |
| A. | Script writer |
| B. | film editor |
| C. | Feature film director |
| D. | video documentary director |
| Answer» D. video documentary director | |
| 78. |
Property of media production |
| A. | Non- movable Property |
| B. | Land property |
| C. | Portable objects on a set. |
| D. | None of the above |
| Answer» C. Portable objects on a set. | |
| 79. |
Docu-drama |
| A. | Fictionalized drama based on actual events |
| B. | A modern drama |
| C. | Documentary |
| D. | None of the above |
| Answer» A. Fictionalized drama based on actual events | |
| 80. |
Quantitative research |
| A. | Numerical analysis |
| B. | Using old documents |
| C. | A systematic analysis written work |
| D. | None of the above |
| Answer» A. Numerical analysis | |
| 81. |
Content Analysis |
| A. | A systematic analysis written work, speech, or film |
| B. | Numerical analysis |
| C. | Quantitative analysis |
| D. | None of the above |
| Answer» A. A systematic analysis written work, speech, or film | |
| 82. |
Creating a storyboard of a video programme is usually at |
| A. | Production stage |
| B. | after the shoot |
| C. | pre-production stage |
| D. | Scripting stage |
| Answer» C. pre-production stage | |
| 83. |
Soap Opera |
| A. | Serial drama, on television |
| B. | Russian Opera |
| C. | Italian opera |
| D. | None of the above |
| Answer» A. Serial drama, on television | |
| 84. |
Story board |
| A. | Script |
| B. | Pre visualization sequence |
| C. | Clap board |
| D. | Condense of a story |
| Answer» B. Pre visualization sequence | |
| 85. |
ENG |
| A. | English News Group |
| B. | Electronic News gathering |
| C. | Electronic News Group |
| D. | English News Gathering |
| Answer» B. Electronic News gathering | |
| 86. |
A TV producer is not supposed to _______________________________ |
| A. | be present during the recording of a sit.com |
| B. | oversee the editing process |
| C. | edit and rewrite the script |
| D. | prepare final VTR for the purpose of broadcasting |
| Answer» D. prepare final VTR for the purpose of broadcasting | |
| 87. |
Programmes genre where the unscripted behavior of ordinary people are the focus of interest is known as ____________________________ |
| A. | actuality footage |
| B. | reality television |
| C. | naturalism |
| D. | real TV |
| Answer» B. reality television | |
| 88. |
The number of minutes of tape used to shoot a sequence compared to the screen time of the finished product is known as _________________________________ |
| A. | shooting ratio |
| B. | canning ratio |
| C. | fog index |
| D. | screen index |
| Answer» A. shooting ratio | |
| 89. |
Lip-sync is a term used in________________________________ |
| A. | dubbing |
| B. | lighting |
| C. | rehearsals |
| D. | makeup |
| Answer» A. dubbing | |
| 90. |
Program genres where the unscripted behaviors of ordinary people are the focus of interest is known as_______________________________________ |
| A. | Realism |
| B. | actuality footage |
| C. | naturalism |
| D. | reality TV |
| Answer» B. actuality footage | |
| 91. |
__________________________is not a type of liner editing |
| A. | assemble editing |
| B. | insert editing |
| C. | A/B roll editing |
| D. | slide editing |
| Answer» C. A/B roll editing | |
| 92. |
Program genres where the unscripted behaviors of ordinary people are the focus of interest is known as __________________________ |
| A. | Realism |
| B. | actuality footage |
| C. | naturalism |
| D. | reality TV |
| Answer» B. actuality footage | |
| 93. |
_________________________is not a type of liner editing |
| A. | assemble editing |
| B. | insert editing |
| C. | A/B roll editing |
| D. | slide editing |
| Answer» C. A/B roll editing | |
| 94. |
Film strip normally runs at a speed of ________ per second. |
| A. | 24 frames |
| B. | 25 frames |
| C. | 30 frames |
| D. | 16 frames |
| Answer» A. 24 frames | |
| 95. |
Camera angles, continuity, cutting, close – ups and _________ are the five C’s of Cinematography |
| A. | compulsion |
| B. | calculation |
| C. | co-operation |
| D. | composition |
| Answer» B. calculation | |
| 96. |
The video effect that slowly replaces one image on the screen with another is known as___________ |
| A. | bumper |
| B. | bridge |
| C. | dissolve |
| D. | crash |
| Answer» C. dissolve | |
| 97. |
Which of the following is not part of the five C’s of cinematography |
| A. | compulsion |
| B. | camera angles |
| C. | cutting |
| D. | composition |
| Answer» D. composition | |
| 98. |
Candid pictures |
| A. | Posed picture |
| B. | Un posed pict |
| C. | Group photo |
| D. | None of the above |
| Answer» B. Un posed pict | |
| 99. |
Composition |
| A. | Arrangements of camera parts |
| B. | Pleasing arrangements of elements |
| C. | Focusing |
| D. | None of the above |
| Answer» B. Pleasing arrangements of elements | |
| 100. |
The first shot is a man looking up. The second shot is a low angle shot of a high rise apartment. The second shot is a _____________________________shot |
| A. | long shot |
| B. | mid – shot |
| C. | extreme long shot |
| D. | point - of – view |
| Answer» D. point - of – view | |
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